Cultural impact of Taylor Swift

Effect the music artist has had on popular cultureTemplate:SHORTDESC:Effect the music artist has had on popular culture

American musician Taylor Swift (b. 1989) has made an impact on popular culture with her music, artistry, performances, image, views, and actions, often referred to as **the Taylor Swift effect** by publications. Debuting as a 16-year-old independent singer-songwriter in 2006, Swift steadily amassed fame, success, and public curiosity throughout her career, becoming a cultural figure.

Regarded as a trailblazer of the 21st century, Swift is known for her versatile musicality, songwriting prowess and business acuity that have inspired numerous artists and entrepreneurs worldwide. She began in country music, seeped into pop, and explored alternative rock, indie folk and electronic styles, blurring music genre boundaries. Critics describe her as a cultural quintessence wielding a rare combination of chart success, critical acclaim, and intense fan support, enabling her to have a wide impact on and response from the music industry and beyond. With a strong political and economic leverage, Swift has used her influence and social media power to spotlight issues within the industry and society at large, fostering reforms to Spotify, Apple Music, Ticketmaster and recording contracts and awareness of artists' rights, masters, intellectual property, corporate greed, sexism and racism, while also receiving scrutiny and criticism.

From the end of the album era to the rise of the Internet, Swift heralded changes in how music is distributed to, perceived and consumed by the general public across the 2000s, 2010s, and 2020s. Her consistent commercial success is considered unprecedented by journalists, with unique achievements in album sales, digital sales, streaming, airplay, vinyl sales, charts, and touring, simultaneously. *Bloomberg Businessweek* said Swift is "The Music Industry", one of her many honorific sobriquets. According to *Billboard*, Swift is "an advocate, a style icon, a marketing wiz, a prolific songwriter, a pusher of visual boundaries and a record-breaking road warrior."

Swift is a prominent subject of critical fascination, intellectual research, media studies, and cultural analysis, generally focused on concepts of internet culture, celebrity culture, poptimism, feminism, capitalism, consumerism, Americanism, post-postmodernism, and various sociomusicological phenomena. Scholars attribute Swift's dominant cultural position, despite the polarizing disposition of her mass media perception, to her musical sensibility and artistic integrity, global and intergenerational appeal, acumen for marketing trends, and the complex sociological relationship between Swift, her fandom, detractors, and the mainstream media. Various academic institutions offer courses on Swift.

## Fame and stardom

Taylor Swift is one of the best-selling music artists of all time. She has released 10 studio albums—*Taylor Swift* (2006), *Fearless* (2008), *Speak Now* (2010), *Red* (2012), *1989* (2014), *Reputation* (2017), *Lover* (2019), *Folklore* (2020), *Evermore* (2020), and *Midnights* (2022); and four re-recorded albums—*Fearless (Taylor's Version)* (2021), *Red (Taylor's Version)* (2021), *Speak Now (Taylor's Version)* (2023), and *1989 (Taylor's Version)* (2023). All were supported by varying number of singles, apart from her non-album songs and collaborations, and were commercially lucrative and positively received by music critics. *Billboard* noted that only a handful of artists have had Swift's trifecta of chart success, critical acclaim, and fan support, resulting in her widespread impact.

Several publications note Swift's popularity and longevity as the kind of "ceaseless" fame and "global influence" unseen since the 20th century. To CNN, Swift began the 2010s decade as a country star and ended it as an "all-time musical titan". *New York* author Jody Rosen dubbed Swift the world's biggest pop star, leaving her peers "vying for second place". *The New York Times* author Ben Sisario compared Swift's cultural dominance to that of Michael Jackson and Madonna in the 1980s, calling it something the "entertainment business had largely accepted as impossible to replicate in the fragmented 21st century." Swift is the richest female musician in history, with a 2023 net worth of $740 million in 17 years.

### Cultural omnipresence

{{#vardefine:QuoteboxInstance|**Expression error: Unrecognized punctuation character "{".**}}{{#vardefine:WhichPairParams

```

```

“
{{#var:Quote}}
”

–
{{#var:Source}}
[{{#var:EditButton}}]

Journalists describe Swift as a cultural touchstone. *The Guardian* columnist Greg Jericho dubbed Swift a "cultural vitality" whose consistent popularity, accentuated by the era of internet, surpassed that of the Rolling Stones, Bob Dylan, David Bowie, Bruce Springsteen and U2, all of whom had a short-lived commercial and critical prime, whereas Swift continued to find success in the 18th year of her career with *Midnights*. Jericho cited numeric 2022 infographics showing that only Drake, Kanye West and Beyoncé could compete with Swift in terms of popularity. Chris Molanphy of *Slate* stated that Swift's career has lasted longer than that of the Beatles, breaking the band's once-deemed "unbeatable" records. *Elle* described her as a "pop megastar at celestial echelons", and *Vanity Fair* called her "the biggest pop star in the world".

Within celebrity culture, Swift's music, life, and image are points of attention. Swift became a teen idol upon the release of her eponymous debut studio album in 2006, and has since become a dominant figure in popular culture, often referred to as a pop icon or diva. Gayle Pamerleau of the University of Pittsburgh at Greensburg credited globalization for Swift's fame and called her a social contagion benefitting "from existing in a time of 24-hour, global connectedness, when everybody knows what everyone else is thinking and doing." Kristy Fairclough of the University of Salford dubbed Swift "the center of the cultural universe." *The Ringer*'s Kate Knibbs wrote, Swift is inescapable as her music saturates "deep into the tissue of contemporary public life whether we like it or not." Hence, Swift's career choices result in reforms in the music industry. In a 2016 article, *Billboard* opined that despite having had only a decade-old career, Swift had shown an "undeniable" cultural impact. *Time* included Swift on its 2010, 2015 and 2019 rankings of the 100 most influential people. In 2014, she was named to *Forbes*' 30 Under 30 list in the music category. Swift became the youngest woman to be included on *Forbes*' list of the 100 most powerful women in 2015, ranked at number 64. She was the most googled woman in 2019 and musician in 2022.

### American symbol

 File:YouTube Presents Taylor Swift 04.jpg
Journalists associate Swift's fame with Americanism. According to Knibbs, with *Fearless*, Swift had become a "countrified celebrity solidified into industrial-grade American fame" due to her craftsmanship. Jack Dickey of *Time* said, Swift became "America's most important musician" by 2014. *Maxim* called her career "a quintessential American success story". Shaina Weatherhead, writing for *Collider*, called Swift "a pillar of the cultural zeitgeist", embodying love, diligence and feminism, irrespective of "whether [Swift] likes it or not". Weatherhead added Swift's fame turned her into a staple of American culture beyond just American music.

Cultural critic Greil Marcus noted that Swift "wears the American flag on her face"—red lips, white skin, and blue eyes. According to *Vulture* writer Nate Jones, Swift is the "musical embodiment of American hegemony". Emily St. James of *Vox* wrote, Swift tells the stories of American millennials through her songs, in the manner Springsteen represented American baby boomers. Swift also metaphorically called herself as "Miss Americana" in her 2019 song "Miss Americana & the Heartbreak Prince", which also inspired the namesake 2020 documentary about her life and career.

### Tributes and honorifics

Template:Further information

 File:Taylor Swift on Bloomberg Businessweek cover.jpeg
Swift received various honorific titles and sobriquets recognizing her impact. "America's Sweetheart" is a title the media used for her in her early days, owing to her "all-American girl" image; "Princess of Country" stemmed from her mainstream popularity as a country star. Some media called her "the Pop Titan" or the "Queen of Pop" due to her pop music dominance. *Time* and *PopSugar* used "Queen of Bridges" to appreciate Swift's ability to compose well-received bridges. "Queen of Easter Eggs" was coined once Swift became known for the Easter eggs and clues embedded in her album cycles. Swift was dubbed "The Music Industry" by *Bloomberg Businessweek*, Odyssey, and American journalist Barbara Walters in light of her grip on the industry's fiber.

In 2019, Swift became the first recipient of the Woman of the Decade (the 2010s) title from *Billboard* for being "one of the most accomplished musical artists of all time over the course of the 2010s", and the American Music Awards named her Artist of the Decade for her highest tally in the 2010s. In 2021, Brit Awards awarded Swift the Global Icon trophy "in recognition of her immense impact on music across the world". In 2022, Nashville Songwriters Association International named her the Songwriter of the Decade to acknowledge her success as a writer. In 2023, she was presented the Innovator Award by iHeartRadio Music Awards for "her impact on global pop culture".

Various objects and locations have been named after Swift. The Country Music Hall of Fame and Museum in Nashville, Tennessee, established the Taylor Swift Education Center to host curriculum-connected activities for school groups, music programs, workshops and book talks. Swift received an honorary Doctor of Fine Arts degree from New York University in 2022 for being "one of the most prolific and celebrated artists of her generation". Entomologists conferred a Tennessee-endemic millipede species the scientific name *Nannaria swiftae*; botanists named a plant remote sensor TSWIFT (Tower Spectrometer on Wheels for Investigating Frequent Timeseries).

## Genre and musicianship

### Reshaping country music

 File:Taylor Swift 5, 2012.jpg
Swift helped shape the 21st-century country music scene. The country landscape is "much different today", according to Tom Roland of *Billboard*, due to Swift and her career decisions that several critics regarded "unorthodox". Rosen described Swift as the first country act whose fame extended beyond the U.S. and marked internationally, as she offered "modernity, cosmopolitanism, youth" in a genre traditionally representing conservatism, parochialism and older adults. Her chart success extended to Asia and the U.K., where country music had not been popular. As of February 2011, *Fearless* sold 400,000 copies in Hong Kong, Taiwan, Indonesia and the Philippines. Following her rise to fame, country record labels became interested in signing young singers capable of writing their own music. In 2008, Sasha Frere-Jones of *The New Yorker* called Swift a "preternaturally skilled student of established values". Frere-Jones wrote, as the opening act for Rascal Flatts, Swift "[strutted] across stage platforms, performing a percussion duet on garbage cans, and switching gears without pause—her voice, all the while, light and breathy and without affectation—she returned the crowd's energy with the professionalism she has shown since the age of fourteen." *Rolling Stone* said Swift's country music had a large impact on 2010s pop music.

 File:Taylor Swift "Tim McGraw" original lyric draft.jpg
According to Roland, Swift insisted on writing her songs, mining inspiration from her real life; she entered country music, which has historically been "a place where adults sang grown-up songs for other adults". With her autobiographical songs of romance and heartbreak, Swift introduced the country genre to a relatable younger generation. Although the U.S. country radio's target audience was between ages 25 and 54, listeners were generally limited to those older than 35 years. Various country music acts, label executives, and radio programmers have unsuccessfully attempted to lower this median age since the early 1980s, but with Swift's rise in the early 2000s the median age dropped below 25 with the genre attracting teenagers. According to programmer John Shomby, Swift "wrote for that specific age and was the first one to ever do that."

Swift was one of the first country acts to employ internet as a marketing tool, promoting her music through MySpace, which was the largest social networking website in the world from 2005 to 2009. She created her MySpace page the day before her then-label, Big Machine Records, was launched (August 31, 2005), and eventually amassed over 45 million streams via MySpace, which label CEO Scott Borchetta cited to convince "skeptical" country radio stations of Swift's niche audience. Social media followings and streaming service data have since been used "to prove an act's viability to radio". Sisario credited Swift with widening the appeal of country music, introducing it to younger audiences, and contributing to country radio surpassing Top 40 as the largest format in the U.S.

### Poptimist spearhead

Journalists highlighted how Swift redefined the 21st-century pop music direction by expanding pop's perceived boundaries to bring forth emotional engagement and artistic ambition without forfeiting commercial success, defying critical beliefs. In 2013, Rosen described the *Red*-era Swift as a prim figure—"a rock critic's darling who hasn't the faintest whiff of countercultural cool about her", setting her apart from pop stars that followed the "raunchiness" trend of the period.

 File:Taylor Swift 2 (18477753053) (crop).jpg  With *1989*, Roland said Swift "managed to conquer country and, in an unprecedented move, transition fully into life as a pop artist [...] without even a hiccup." *1989*'s commercial success transformed Swift's image from a country singer to a full-fledged pop star. Its singles received heavy rotation on U.S. radio over one and a half years following its release, which *Billboard* noted as "a kind of cultural omnipresence" that was rare for a 2010s album. Humanities academic Shaun Cullen described Swift as a figure "at the cutting edge of postmillennial pop". Retrospectives from *GQ*'s Jay Willis, *Vulture*'s Sasha Geffen, and *NME*'s Hannah Mylrea note how *1989* avoided hip hop and R&B crossover trends, influencing younger artists to explore "pure pop" and cultivating a trend of nostalgic 1980s-styled sound. Ian Gormely of *The Guardian* called Swift the flagbearer of 21st-century poptimism, replacing dance/urban trends with ambition and proving "chart success and clarity of artistic vision aren't mutually exclusive ideas." Geffen attributed Swift's pop transition success to her lyrics rooted in layered, emotional engagement rather than superficial themes that dominated mainstream pop.

According to Lucy Harbron of *Clash*, pop stars like Dua Lipa would not exist if Swift had not normalized blending various pop music genres in *1989*—an explicit trend among pop artists since the album. It paved the way for artists "who no longer wish to be ghettoised into separated musical genres", for BBC's Neil Smith. In 2022, critics Sam Sanders and Ann Powers regarded Swift as a "surprisingly successful composite of megawatt pop star and bedroom singer-songwriter."

### Musical heterogeneity

Swift has ventured into diverse genres and artistic reinventions in her career. *Pitchfork* opined in 2021 that Swift changed the music landscape forever with a "singularly perceptive" catalog that accommodates musical and cultural shifts. Harbron stated Swift's genre-spanning career encouraged her peers to experiment with diverse sounds. The BBC and *Time* designated Swift a "music chameleon".

 File:Phoenix-Musical Intrument Museum-Taylo Swift Les Pual guitar.jpg
Swift's fourth album *Red* was the record that intensified the critical debate over Swift's genre categorization, as she was a country artist at that time but *Red* contained heavy pop, electronic and rock elements. Swift commented that she "[leaves] the genre labeling to other people." Critics felt that *Red* signified Swift's inevitable transition to mainstream pop. Randall Roberts of *Los Angeles Times* claimed, irrespective of whether *Red* is a pop or country record, it is "perfectly rendered American popular music". *The New York Times*' Jon Caramanica dubbed Swift "a pop star in a country context". According to Harbron, *Red* proved the industry that avant-garde is not the only experimental approach in music and that Swift "opened a door for every other musician" in 2012 to coalesce multiple genres into an album.

Post-*1989*, Swift released *Folklore* and *Evermore*, which were described as a mix of indie folk, chamber pop, and alternative rock styles. They expanded the perception of Swift's discography, with many critics describing her catalog as a musically heterogeneous collection of songs. Having demonstrated an emo appeal, Swift's songs are often covered by pop-punk and metalcore acts. *Billboard* credited Swift with the power "to pull any sound she wants into mainstream orbit".

### Emphasis on lyricism

"Swift has a capacity for writing songs and lyrics that are very immediate, that tap into universal emotions and experiences, and that also play with her own public image, in a way that creates this self-perpetuating loop of interest and analysis of her music."

Nate Sloan, *The Independent* (2022)

Swift is fundamentally a Nashville-enriched songwriter, "steeped in Music Row's values of craftsmanship and storytelling" as per Rosen. According to Zoya Raza-Sheikh of *The Independent*, Swift is able to balance universal themes with hyper-specificity, possessing "an uncanny talent for reflecting the world's emotional angst through her own lens." In being personal and vulnerable in her lyrics, music journalist Nick Catucci opined Swift helped make space for other singers like Ariana Grande, Halsey, and Billie Eilish to later do the same. Professor Hannah Wing of Wichita State University attributed Swift's popularity to the intimacy in her music, cultivating a "feeling of closeness". According to Scarlet Keys, songwriting professor at Berklee College of Music, Swift "mixes poetry with a very colloquial, current language", and frequently uses poetic devices but also knows to be "practical", such as in "Mean" (2011) or "Shake It Off" (2014).

According to Raza-Sheikh, *Fearless* and *Speak Now* depicted Swift's adolescent innocence that resonated with a large audience, followed by her matured records *Red* and *1989,* which exhibited her confidence in defining her narrative, becoming "unafraid of upsetting the status quo and critics"; she explored "the role of the villain" in *Reputation*. Although Swift had received critical praise for her lyricism, it was not until *Folklore* and *Evermore* her songwriting became a major topic of analyses. Commentators regarded both *Folklore* and *Evermore* as poetic reinventions, contextualizing them as "lockdown projects" or archetypal "quarantine albums". *Uproxx* noted that *Folklore* changed the tone of music in 2020. Critic Tom Hull wrote that Swift "caught the spirit of the times" with *Folklore*. *The New York Times and Vogue* named *Folklore* one of the best moments of the "COVID era".

British scholar Jonathan Bate dubbed Swift a "real poet", favorably comparing her to literary figures such as William Shakespeare, Ernest Hemingway, Robert Frost, and Emily Dickinson, and wrote that she has a "literary sensibility" that other pop stars lack. Stephanie Burt, an English professor at Harvard University, opined that Swift's songwriting skills are rare: "at both the macro level of songwriting—presenting a story or an idea—as well as the micro level of fitting together vowels and consonants." The term "Swiftian" has been used in music journalism to describe works similar to or derivative of Swift's music.

## Commercial influence

### Chart success

{{#vardefine:QuoteboxInstance|**Expression error: Unrecognized punctuation character "{".**}}{{#vardefine:WhichPairParams

```

```

“
{{#var:Quote}}
”

–
{{#var:Source}}
[{{#var:EditButton}}]

Swift's music and concert tours have achieved huge commercial success. Rosen, who began inspecting her success in 2013, felt it was historically unprecedented—disproving the presumed notions of music's commercial success in the 21st century. In the late 2010s, publications considered Swift's million-selling albums an anomaly in the streaming-dominated industry, as the end of the album era marked a sharp decline in album sales. Hence, musicologists Mary Fogarty and Gina Arnold regard her as "the last great rock star". *The Atlantic*'s Spencer Kornhaber opined in 2021, Swift's "reign" defies the convention that the prime of artist's commercial success lasts for a few years only. Academic Paul Théberge called her a "peculiar anomaly". She entered "a new stratosphere of global career success" in the 2020s, as per Music Business Worldwide, which noted that her popularity is "ever-escalating".

#### Domestic

Swift has been a highly successful artist on various *Billboard* charts, pushing the boundaries of commercial success. She ranks eighth on Greatest of All Time Artists, a *Billboard* list ranking music acts based on chart success, as the only 21st-century act in the top 15 positions. She is the longest-reigning act of *Billboard* Artist 100 (75 weeks), the soloist with the most weeks (62) atop the *Billboard* 200, the woman with the most Hot 100 entries (212), top-10 songs (40), weeks atop the Top Country Albums (98), the act with the most Digital Songs number-ones (23), the first artist to have three number-one albums in less than a year, beating the Beatles' 54-year-old record, and the first to monopolize the Hot 100 top 10. Her 2021 song "All Too Well (10 Minute Version)" is the longest song ever to top the Hot 100.

Swift is the only act in Luminate Data history to have five albums—*Speak Now*, *Red*, *1989*, *Reputation,* and *Midnights*—sell over one million copies in one week. To *New York* magazine, her sales figures prove she is "the one bending the music industry to her will". Critics described Swift's commercial power as unrivaled. *Billboard* noted, Swift's success is evenly distributed across streaming, album sales, and track sales. *Financial Times* and *I-D* called Swift "the last pop superstar", given her ability to generate sales figures unseen since the "1990s boy bands" era, which was regarded as the commercial peak for the U.S. music business.

#### Global

The International Federation of the Phonographic Industry (IFPI) ranked her as the Global Recording Artist of the Year in 2014, 2019, and 2022, for being the most consumed artist in those years; she is the only artist to achieve the feat three times. Charlotte Kripps of *The Independent* wrote, Swift led an international resurgence in country music, introducing the genre to a new U.K. audience. Swift also became the first country act to find chart success beyond the Anglosphere. Rosen described her as country music's "first truly global star", cultivating dedicated fandoms in foreign markets such as Ireland, Brazil and Taiwan, where country music was not popular. Jakarta, Quezon City and Singapore are among her biggest cities on streaming platforms.

Swift holds several all-time chart feats unique to her in Australia, Ireland and the U.K. She earned the highest income for an artist on Chinese digital music platforms (Template:Currency). Her Reputation Stadium Tour (2018) became the highest-grossing North American tour ever. She was the world's highest-grossing female touring act of the 2010s. Beginning with *Fearless*, all of her studio albums opened with over one million global units. *Variety* dubbed Swift the "Queen of Stream" after she achieved multiple streaming feats as well. Swift is the most streamed female act on Spotify, and the only artist to have received more than 200 million streams in one day. *Midnights* is the most streamed album in a single day, with 186 million streams, and the first to collect 700 million global streams in one week.

#### Vinyl

Swift vastly contributed to the 21st century's vinyl revival. She is regarded as a champion of independent record shops, and made vinyl variants of her albums available exclusively at small businesses, driving their sales. During the COVID-19 pandemic, Swift shared her LPs to record shops for free. *Evermore* held the record for the biggest sales week for vinyl LPs in the U.S. since Luminate Data's inauguration in 1991, and has since been surpassed by Swift's own *Red (Taylor's Version)* with 112,000 vinyl LP sales, and *Midnights* with 575,000 LPs. *Midnights* is the first 21st-century album to sell over one million vinyl LPs in the U.S. and over 80,000 LPs in a year in the U.K. Due to her support of independent record shops, Record Store Day (RSD) named Swift their first-ever global ambassador. LPs of Swift's third live album, *Folklore: The Long Pond Studio Sessions*, were issued as RSD-exclusive limited editions and became the first RSD-exclusive in history to chart in the top 10 of the *Billboard* 200.

### Business acumen

Swift has established a reputation as a savvy businesswoman. Journalists describe her as an "unparalleled marketing genius" with "high-minded business acumen" and an entrepreneurial role model. According to Steele, Swift's "winding and winning" career presents management lessons beyond the music industry. Economist Paul Krugman argued: "Being a congenital cynic, I'd like to attribute her fame to marketing hype, but the sad truth is that she's a highly talented songwriter and musician with remarkable stage presence." Similarly, philosophy professor Brandon Polite said that "all the business savvy in the world isn't going to get you much of anything" if the music "isn't good enough [...] And so ultimately, what it has to come down to is this: she's a really, really, really good songwriter."

#### Name and brand

 File:TaylorSwift Signature.svg
In attempting to explain her "ceaseless" success and fame, various authors have compared Swift to media franchises, conglomerate companies or a one-woman brand. Per *The Ringer*, Swift is an omnipresent "musical biosphere unto herself", having achieved the kind of success "that turns a person into an institution, into an inevitability." Music publisher Matt Pincus called Swift "an intellectual property franchise" like the DC movies; *Fortune* compared her to the Marvel Cinematic Universe. According to Internet survey company QuestionPro, "if [Swift] was a corporation, her net promoter score would make her the fourth most admired brand."

Per Professor R. Polk Wagner at the University of Pennsylvania Law School, Swift associating her lyrics with a range of goods and services through trademark applications represents her understanding that "she is bigger than the music". He added, "It's more of a branding right, thinking of Taylor Swift as a conglomerate." Additionally, in a practice called "domain squatting", Swift bought the pornographic website domain names "taylorswift.porn" and "taylorswift.adult" to prevent them from being misused; Caroline Reaper of *Marie Claire* said the purchase demonstrates Swift's self-conscious control over her public image. Reaper highlighted Swift's 2014 tweet when a nude photo of Swift was allegedly "leaked" online by hackers: "Any hackers saying they have 'nudes'? Pssh, you'd love that wouldn't you! Have fun photoshopping, 'cause you got nothing."

#### Social media presence

Swift, one of the most followed people on social network services, is a "social media powerhouse", according to *Entrepreneur*. She was the most followed person on Instagram from September 2015 to March 2016, and has consistently been influential on Twitter, placing first in Brandwatch's rankings in 2018, 2019, and 2021. Culture critic Brittany Spanos opined that Swift's social media presence is one of the reasons she's "still relevant" after years: "[Swift is] an artist who kind of has come up through every possible social media platform you can. She grew her fan base on Myspace. She was using Tumblr way past its prime. Twitter. She's now on TikTok, commenting on people's videos. So she uses all these things in a way that allows her fans to feel like they can really, really connect with her." The part of TikTok dedicated to Swift is known as "SwiftTok". Ticketing executive Nathan Hubbard said that Swift was the first musician "to be natively online."

Swift's marketing is a combination of social media engagement and television. Brandwatch and Cision called Swift a "master of product launch", with knowledge of "a strategic and well-balanced communications campaign". According to public relations (PR) academic Sinead Norenius-Raniere, Swift's integrated marketing strategy consists of: timed announcements across marketing channels, harnessing the potential of both traditional and digital media, authentic and "intimate" communications with consumers to build trust, and usage of multimedia to offer "sneak peaks". Her novel promotional efforts, such as *Midnights Mayhem with Me*, were a subject of critical praise for innovation.

#### Concept of "eras"

Swift is known for her traditional album rollouts and cycles, often referred to as "eras", each of which consists of a variety of focused promotional activities. *Rolling Stone* described her eras as an inescapable "multimedia bonanza". She is credited with making the "two-year album cycle" approach of releasing and promoting albums the industry standard. Nevertheless, journalists also praised Swift's fast-succeeding release of *Evermore* less than five months after *Folklore*. *Variety* compared it to similar moves by the Beatles and U2, while *Rolling Stone* termed it a "hot streak" reminiscent of Prince in 1987 and David Bowie in 1977. *Vulture* called it a "major shock" from an artist known for traditional album cycles.

 File:Taylor Swift performing "Look What You Made Me Do" on The Eras Tour (Tampa, FL - Raymond Jaymes Stadium - April 2023).jpg
Easter eggs and cryptic teasers similar to Swift's became a common practice in pop music. Publications describe her discography as a music "universe" subject to analyses by fans, critics and journalists. Swift's outfits, accessories, diction, color coding, and numerology have also been Easter eggs. *El País* critic Iker Seisdodos called her "a master of the art of suspense". According to Lutz, her marketing style is "an ever-changing burlesque act of selectively revealing details while maintaining an aura of mystery and excitement"—a strategy that goes beyond the music and entertainment industries. Chris Willman of *Variety* highlighted the elaborate packaging styles of Swift's albums, including special-edition variants.

Reinventing her image and style throughout her career, each of Swift's eras is characterized by a unique aesthetic, fashion style, and an associated mood or emotion. As a result, Swift has popularized several aesthetic trends, such as Polaroid motifs with *1989*, and cottagecore with *Folklore* and *Evermore*. Lutz opined that the era shifts helped broaden her fan base and critical appeal. André Spicer, professor of organizational behavior at the University of London Bayes Business School, commented in 2020 that being "interesting" is an important asset in the digital economy, which Sehdev asserted Swift has managed to do by constantly reinventing herself "while remaining authentic". To Rosen, Swift portrays herself as "a bleacher warmer, a wallflower, an underdog" through her songs. However, in a counterview, Fairclough claimed that Swift's "shifting aesthetic" indicates her struggle with a lack of identity and authenticity.

#### Corporate sponsorship

 File:Air Asia Taylor Swift logojet.jpg
Swift embraces corporate sponsors. Her marketing incorporates strategic business partnerships, which, according to John McDuling of *Quartz,* was initially regarded as a "taboo" among musicians. Marketing expert Christopher Ming wrote, "Sure, working with brands like Apple Music, Elizabeth Arden, and Diet Coke feel like no-brainers. But it takes a certain amount of marketing ingenuity to make campaigns with NCAA Football, United Postal Service [*sic*], and Papa John's work. Yet they all did." *Paper* reported that the impact of Swift's album releases is "felt across social media", with companies often "capitalizing on her momentum", endorsing her. *Inc.* said the companies leverage Swift's cultural relevance.

## Industry and economy

Economists and industrial critics have studied Swift's influence on businesses worldwide, comparing her economic impact to countries. According to trade publication *Pollstar*, if Swift was a country, she would be the 199th largest economy on earth, analogous to a small Caribbean nation. QuestionPro estimated her 2023 economy at $5 billion, higher than the gross domestic product (GDP) of 50 countries.

 File:Alan Krueger - 2015.jpg  Analyses of Swift's economic influence includes studying the "booming" economy around Swift's concerts, which escalates travel, lodging, cosmetic, fashion, and food businesses, and tourism revenues of cities by millions of dollars. After the COVID-19 pandemic, which caused a global economic recession, the unprecedented ticket sales of the Eras Tour represented a "post-COVID demand shock in the U.S.", as per Bloomberg L.P.'s Augusta Saraiva. *Los Angeles Times* termed it part of "Swiftonomics", whereas *The Wall Street Journal* dubbed it "Taylornomics"—an economic microcosm consisting of skyrocketing demand, limited supply, and price gouging, and customers "willing to pay almost anything".

Noticing the growing trend of Swift-themed dance parties in the world, industry commentators found that Swift's cultural position as a staple in the 21st-century music landscape allowed nightclubs to profit from her. One such party is "Swiftogeddon", which started as an one-off event and grew into a UK-wide club-night tour that sells out every weekend.

### Challenging industry norms

Swift is often considered a flagbearer for artists' rights. Journalists praise her ability to question and change industry practices, noting how her moves reformed policies of streaming platforms, prompted awareness of intellectual property among upcoming musicians, reshaped the concert ticket model, and negotiated better financial compensations from labels for all music artists. *Elle* described the Swift-enabled reforms to streaming services as "a milestone moment in the history of music".

#### Streaming reforms

 File:Cropped image of Daniel Ek.jpg
Swift contested music streaming services to regulate corporate policies for better preservation of artistic integrity. She said digital streaming services have become a dominant form of media consumption since 2013, causing a gradual decline in traditional album sales. In November 2014, Swift announced that *1989*, her then-upcoming album, would not be released on Spotify, which was growing in popularity at the time, in protest of the platform's "minuscule" payment to artists (US$0.006 to 0.0084 per stream). In an op-ed for *The Wall Street Journal*, she believed the value of works of art should be fixed by artists:

> "Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for. It's my opinion that music should not be free, and my prediction is that individual artists and their labels will someday decide what an album's price point is. I hope they don't underestimate themselves or undervalue their art."
>
>

Karim R. Lakhani and Marco Iansiti, business administration professors at Harvard Business School, reviewed the issue and upheld Swift's belief that musicians should set the prices. For academic Jessica Searle, Swift proposed music as a "non public good". Nilay Patel, writing for *Vox*, criticized Swift's beliefs about albums and said she "doesn't understand supply and demand"; Patel stated that the internet has "killed" the album format, claiming most consumers would not shop for a Swift CD anymore. Eventually, Swift withdrew her entire discography from Spotify. Spotify responded, "We hope [Swift will] change her mind and join us in building a new music economy that works for everyone." *1989* was a commercial success upon release, selling millions of CDs; another *Vox* journalist Constance Grady regarded this a "huge blow" for Spotify, which attempted to bring Swift back by releasing playlists dedicated to Swift. Her music stayed off Spotify for nearly three years, until Swift released it back on June 9, 2017, in celebration of Swift's milestone 100 million certified units from the Recording Industry Association of America (RIAA). Spotify CEO Daniel Ek stated on *CBS This Morning* that he convinced Swift to bring her music back on Spotify by meeting her in Nashville, "explaining the model, why streaming mattered", and how her fans want her music back on Spotify.

In June 2015, Swift wrote an open letter to Apple Inc. on Tumblr, addressing the three-month free trial that Apple Music had chosen to offer their users while not paying the artists whose catalogs are streamed by users during the trial period. Swift said she finds it "shocking" that they had opted not to pay "writers, producers, or artists" for the three months. She explained:

> "This is not about me. This is about the new artist or band that has just released their first single and will not be paid for its success. This is about the young songwriter who just got his or her first cut and thought that the royalties from that would get them out of debt. This is about the producer who works tirelessly to innovate and create, just like the innovators and creators at Apple are pioneering in their field…but will not get paid for a quarter of a year's worth of plays on his or her songs. [...] Three months is a long time to go unpaid, and it is unfair to ask anyone to work for nothing. We don't ask you for free iPhones. Please don't ask us to provide you with our music for no compensation."
>
>

Swift asserted *1989* would not be on Apple Music either and urged the company to change the policy before its launch on June 30, 2015. Eddy Cue, an Apple executive, apologized and promised to reverse the policy. Cue told Associated Press, "When I woke up this morning and I saw Taylor's note that she had written, it solidified that we needed to make a change." When Apple Music officially launched, it paid royalties to artists during the three-month trial. Various musicians, music organizations and industry commentators expressed their gratitude to Swift.

Following the expiration of her six-album Big Machine contract in 2018, Swift signed a new global contract with Republic Records, a label owned by Universal Music Group. She revealed that, as part of the contract, any sale of Universal's shares in Spotify would result in non-recoupable equity shares for all Universal artists. Grady called it a huge promise from Universal "far from assured" until Swift interceded. *Financial Times*'s Jamie Powell said, "Swift, on her own, is as powerful as an entire union", and dubbed the equity negotiation "Comrade Swift's special dividend".

#### Intellectual property

 File:Scooter Braun headshot.jpg
Swift's "battle" against exploitative recording contracts for the ownership of her masters has been described as "revolutionary". In June 2019, after Swift moved to Republic Records, Braun acquired Big Machine from Borchetta for $330 million, funded by many private equity firms, making Braun the owner of all of the masters and works copyrighted by Big Machine, including those of Swift's first six studio albums. Swift responded that she attempted to purchase the masters but the label offered unfavorable conditions, and that she did not expect the buyer would be Braun—an "incessant, manipulative [career] bully". Borchetta claimed Swift declined a chance to purchase the masters. Swift alleged that the label blocked her from performing her music at the 2019 American Music Awards, and claimed Borchetta and Braun were "exercising tyrannical control" over her music: "the message being sent to me is very clear. Basically, be a good little girl and shut up. Or you'll be punished." Big Machine then released *Live from Clear Channel Stripped 2008* (2020), an unreleased live album by Swift, without due diligence. The controversy was highly publicized, becoming one of the most widely discussed and covered news topics of 2020 and 2021. *Evening Standard* called it "music's biggest feud". *Billboard* wrote, celebrities "lined up for Team Swift or Team Braun, creating the most public battle about an artists' masters in recent memory". Hashtags "#IStandWithTaylor" and "#WeStandWithTaylor" trended worldwide on Twitter.

Re-recording the albums was the only viable option to gain full ownership of her music, according to Swift. Braun sold the masters in October 2020 to Shamrock Holdings for $405 million under the condition he would continue profiting. Swift disapproved again, rejected a Shamrock offer for equity partnership, and began releasing the re-recordings via Republic Records. The re-recorded albums were met with critical and commercial success, breaking multiple commercial records. When "All Too Well (10 Minute Version)" became the longest song ever to top the Hot 100, Jack Antonoff, the song's producer and a frequent collaborator of Swift, told *Rolling Stone* that a 10-minute-long song topping the Hot 100 teaches artists to "not listen" to what the industry has to say.

 File:Alexandria Ocasio-Cortez Official Portrait (1).jpg
A multitude of music artists, politicians, journalists, and legal experts supported Swift's actions regarding the issue, deeming it trailblazing and inspirational. Numerous singers openly supported Swift. Publications wrote, while the issue of master ownership and conflicts between record labels and artists such as Prince, the Beatles, Janet Jackson, and Def Leppard have been prevalent earlier, Swift was one of the few to make it a public discourse on artists' rights, private equity and industry ethics. Dubbing the dispute one of the 50 "most important moments" of the 2010s decade, *Rolling Stone* journalists noted Swift's role in shifting the public perception of the concept of re-recording or re-mastering. Dominic Rushe of *The Guardian* said Swift's battle marked a change in the digital music era, with artists more aware of their rights without the need to rely on record labels anymore. *Pitchfork* critic Sam Sodomsky recognized the visibility she brought, saying Swift "is also so huge—not just an artist but a brand—that she can enact change by wielding the leverage of the reliability of her success" and that it is "financially lucrative for the industry to listen" when Swift makes a statement.

> Unlike most artists when faced with this kind of injustice, Swift could stand up for herself, and in doing so, invoke meaningful dialogue and inspire change within the notoriously slow-moving music industry [...] Re-recording a back catalog of six full albums and respective secret bonus tracks, then developing a hugely successful campaign to drive loyal fans towards the new versions of their beloved albums—and away from the original master recordings, prompting a dip in streams that will be mimicked in the rights holders' income statement—is something only very, very few artists can do. Taylor Swift is, indeed, amongst that handful.
>
> — Eilish Gilligan, "Taylor Swift's Re-Recordings Expose The Music Industry's Chokehold On Intellectual Property", Refinery29

*The A.V. Club* and MarketWatch interpreted Swift's statements as a criticism of private equity firms, highlighting the Carlyle Group, one of Braun's investors. U.S. Congress members such as Elizabeth Warren and Alexandria Ocasio-Cortez backed Swift and stated that she is "one of many" creative businesses threatened by private equity firms that harm the U.S. economy. *The New York Times* said, despite being a young artist, Swift was capable of turning a contractual dispute into a "cause célèbre", especially in the 2010s where there is public wrath over corporate greed and "gender-based power dynamics". Music attorney James Sammataro observed that "any time Taylor brings attention to an issue, it gets magnified [...] She has a very loud megaphone and she's not afraid to use it. She's had great success in effectuating change." To *Billboard,* the outcomes of her re-recording venture are unprecedented. Kornhaber opined that the re-recordings disproved critics who doubted Swift.

#### Ticket model

 File:Taylor Swift Reputation Tour Minneapolis00 (44398009331).jpg
The concert industry shifted to a "slow ticketing model" after Swift, who is known for her stadium concerts, first implemented it with the Reputation Stadium Tour (2018). It replaced the selling-out of tickets in minutes with a demand-driven ticketing approach that requires consumers to register in advance and allowed them to purchase tickets at any time and price level upon access. This meant higher ticket prices in the beginning and a gradual drop as the concert date approached, replacing "momentum with consumer choice and experience" and bypassing scalpers, according to David Marcus of Ticketmaster. The model was initially criticized by journalists, who thought it was an attempt at camouflaging Swift's dull ticket sales following her unfavorable press in 2016; however, the tour was a sold-out success, surpassing the Beatles to become the highest grossing North American tour of all time, after which critics favored the model.

In November 2022, the pre-sale of the U.S. leg of the Eras Tour was mismanaged by Ticketmaster, attracting widespread public and political criticism. Due to the "astronomical" demand for tickets, with 3.5 million people registering for the on-sale program, the Ticketmaster website crashed within an hour of sale but still sold 2.4 million tickets, breaking the record for the most concert tickets sold by an artist in a single day. Ticketmaster attributed the crash to "historically unprecedented" site traffic. Fans and consumer groups accused Ticketmaster of deceit and monopoly. Several members of United States Congress claimed that Ticketmaster and its parent company Live Nation Entertainment should be separated as their merger led to substandard service and higher ticket prices. The U.S. Department of Justice opened investigations into Live Nation–Ticketmaster, whereas several fans sued the companies for intentional deception, fraud, price fixing, and antitrust law violations. Bipartisan members of the U.S. Senate Judiciary Committee censured the companies at a hearing. Under pressure from the National Economic Council, Ticketmaster and other ticketing companies agreed to terminate junk fees—additional fees revealed at the end of ticket purchases. American legal scholar William Kovacic termed it the "Taylor Swift policy adjustment."

*Pitchfork* asked, "Is there any other artist [other than Swift] who could force urgency into the federal investigation of a music industry monopoly just by going on tour?" *Entertainment Weekly* and *The A.V. Club* listed "Swifties vs. Ticketmaster" as one of the biggest cultural news stories of 2022. The former's Allaire Nuss wrote, "If there was ever an artist with enough pop-culture prowess to bring down the music industry's most hated monopoly, it's Taylor Swift." *The Washington Post* proclaimed Swift has "an unbreakable hold on our increasingly fractured world—and its discourse—in a way that almost no one else can."

## Mass media coverage

Swift is a widely covered person in the mass media. She and her music have been referenced or used in numerous books, films, and television shows. The socioeconomic relationship between Swift and the mainstream media has been described as a celebrity–industrial complex by journalists. Hence*,* she is also a subject of incessant scrutiny in the press. *Clash* described Swift as a lightning rod for both praise and criticism. According to *Entertainment Weekly*'s Maura Johnston, Swift's every move is inspected, "as one of the first pop stars to have fully grown up in the era of social media's endless feedback loop with the celebrity-industrial complex". The phenomenon has affected Swift's art profusely; *Reputation* is a critique of the complex, while *Miss Americana* deconstructs it.

### Negative publicity

 File:Taylor Swift - You Need to Calm Down (music video screenshot of pop queen pageant).png
Swift has been described as a "polarizing figure". Her fame has had detrimental effects on her position in the media; some are genuine critique of her actions, while the rest constitute unverified tabloid gossip that has resulted in various moments of negative press for Swift. Branding expert Jeetendehr Sehdev told *Fortune*, "People love her or hate her". Swift has generally used negative critique as musical inspiration, writing songs such as "Shake It Off" (2014), "Look What You Made Me Do" (2017), and "You Need to Calm Down" (2019).

Swift's dating life has been a subject of tabloid scrutiny and has thus prompted some pop culture news outlets, conservative commentators, and social media users to slut-shame her. Figuring out the celebrity inspiration behind a Swift song is the media's favorite game, in the words of Rosen, who wrote that outlets maligned Swift "as a serial kisser-and-teller, as an entitled rich kid, as a mean girl with a victim complex", attributing it partly to the "shrill" tone of Swift's early songs. However, Rosen also stated that there is "a sexist double standard in the policing of Swift's confessions, especially when you consider the routine misogyny in the songs of rockers, rappers, and woebegone beardy indie balladeers." Some media outlets and journalists are also noted for their bias, frequently vilifying Swift for clickbait or to gain readership, capitalizing on consumer interest in "juicy" details about Swift's life.

### Overexposure and controversy

 File:Taylor Swift Reputation Tour Minneapolis (43490534145) (cropped).jpg
Swift's public disputes and alleged "feuds" have received widespread online attention and media coverage. She began experiencing media "overexposure" in 2012. Some media are noted for igniting "beef" between Swift and other celebrities, especially against other women. Swift has had "feuds" with celebrities like Perry and Nicki Minaj, both of whom publicly engaged Swift. Animosity alleged by media outlets also contest Swift against Cardi B, Adele, Demi Lovato, SZA, and Ariana Grande—despite the fact that Swift engaged none of them and even attempted to quash some of the rumors—and against her former boyfriends Joe Jonas, John Mayer, Calvin Harris, and Jake Gyllenhaal. Kanye West has been a significant source of controversy in Swift's public image.

Knibbs commented that Swift was a "country music princess on the verge of superstardom" in 2009, became a "snake" in 2016, and returned as a "full-blown music juggernaut" after 2019, providing an excellent "case study for the ups and downs of modern pop stardom". Swift has attempted to avoid overexposure since 2017, and has often mocked the media in her music; she sold supplementary magazines inspired by *Reputation* at Target with sarcastic comments about her life mimicking gossip headlines. According to Carter Sherman of *Vice*, after viewing Swift as a "villain" from 2016 to 2018, growing self-awareness in the media helped popular culture undergo a "Great Swift Revival" in 2020, healing her public image.

#### Kanye West feud

 File:Kanye-West-grabs-the-mic-2009-vma.jpg
The decade-spanning feud between Swift and West mutually affected their reputations and cultural perception. In September 2009, at the 2009 MTV Video Music Awards, Swift won the MTV Video Music Award for Best Female Video for her 2009 song "You Belong With Me", becoming the first country singer and one of the youngest artists (age 18) to win a MTV Video Music Award. While Swift was delivering her speech, West climbed the stage, interrupted her, and took her microphone to declare "Yo, Taylor, I'm really happy for you, I'ma let you finish, but Beyoncé had one of the best videos of all time!", referring to "Single Ladies" (2008). Swift was then escorted backstage. Beyoncé later won Video of the Year that evening, and invited Swift to finish her speech. Nevertheless, West's actions were met with widespread criticism; then-U.S. President Barack Obama called West a "jackass" on television. West issued apologies and blamed his "difficult day" but subsequently recanted. Swift joked about the incident in her *Saturday Night Live* monologue in November 2009. Swift and West posed together in photographs from the 57th Annual Grammy Awards in 2015, and she stated that they had become friends with help from Jay-Z, a mutual friend.

The feud was re-ignited when West released his 2016 single "Famous", containing the lyrics "I feel like me and Taylor might still have sex / Why? I made that bitch famous" in reference to the 2009 incident. West claimed that Swift had approved the lyrics beforehand on a phone call, whereas she said she was not made aware of the second line describing her as a "bitch". He also released a music video for "Famous", incorporating a naked wax doll of Swift, which she dubbed "revenge porn" in 2019. After Swift "shaded" West in her speech following her Album of the Year win for *1989* at the 58th Annual Grammy Awards (2016), talking about not letting detractors take credit for her fame, West's then-wife, Kim Kardashian, released trimmed clips of the Swift-West call on Snapchat that appeared to support West's claim. "#TaylorSwiftisOverParty" became the top trend on Twitter, with viral social media posts calling Swift "fake, calculated, manipulative, a snake, a liar and is not what she seems". Various media criticized, trolled and "cancelled" Swift. The backlash caused Swift to step away from spotlight for a year, avoiding being seen by the press until the 2017 release of *Reputation*, which was partially inspired by the controversy. It was not until 2020 that the full, unedited footage of the call leaked, proving Swift had not lied, resulting in "#KanyeWestisOverParty" becoming the top Twitter trend.

The BBC called it the "music's most notorious on-off feud". Jones pinpointed her overexposure during the *Red* and *1989* album cycles as the reason why the media easily "turned against" her in 2016, such as an opinion piece from *Vice*'s Grace Medford that attributed Swift's later success to her "vilifying" West. However, after 2020, media outlets began praising Swift for standing her ground.

### Mental health repercussions

"I've never seen any woman handle herself the way [Swift] does. She makes my eyes water, the way she handles herself. She manages the whole fame trip, what it means to be in the spotlight. So when you think about all the things going wrong the world she is the true great role model."

Oprah Winfrey, *Herald Sun* (2015)

Swift has been vocal about the impact of press coverage on personal health, discussing issues like eating disorders, body dysmorphic disorder, anorexia athletica, self-esteem, and cyberbullying. Jessica Gold, professor of psychiatry at Washington University in St. Louis, stated, "when our political leaders are struggling to build consensus on and convey the gravity of issues" like mental health, Swift is sending a powerful message by opening up about her issues—"one that is likely to save lives in myriad ways". Writer Elana Fishman confessed, "every so often, I'll still catch myself criticizing the way my tummy or legs look in a photo or how a certain pair of pants fits me. From now on, whenever that happens, I'll be repeating a line Swift says in [*Miss Americana*]—We do not do that anymore, because it's better to think you look fat than to look sick".

*The Daily Targum* stated, despite being an expert in handling negative criticism, even Swift "succumbed to insecurities that blossomed into eating problems, which shows how even the strongest among us are susceptible to potential eating disorders due to the toxic environment of social media". Ellen Ricks of *HelloGiggles* called Swift's reveal of her disorder inspirational, noting "how it can potentially impact so many people still fighting", as "there is still so much stigma and misinformation" surrounding it. In the article "Why women say sorry too much" for Australian Broadcasting Corporation, Kate Midena highlighted Swift's struggle to "deprogram the misogyny in [her] own brain" and "it's a conundrum women have been stuck in since the middle ages". Midena said girls are often taught to value empathy over "masculine traits" such as strength and assertiveness, and hence they "feel the need to cushion their actions with an apology". *Miss Americana* prompted several critics of Swift to respond, such as comedian Nikki Glaser, who confessed her comments came from a place of insecurity; journalist Richard S. He stated the intention of his 2016 *Vice* article "Taylor Swift Isn't Like Other Celebrities, She's Worse" was to "deconstruct the pettiness of the celebrity–industrial complex" but regretted it could have been unduly critical of Swift.

## Gender and feminism

 File:Taylor Swift (24115713726).jpg
Identifying as a pro-choice feminist, Swift is dubbed a feminist figure by the media. Her career has been studied to understand its feminist aspects. Swift has criticized the way media depicts women; in an appearance on the show *Tout le monde en parle*, Swift stated she "couldn't stand the way media portrays young women as rivals rather than allies." She has regularly donated to various feminist causes and women's empowerment programs. According to a 2023 survey by Morning Consult, 52% of Swift's U.S. fans are women, while 48% are men.

### Target of misogyny

> People have been singing songs about broken hearts as long as music and broken hearts have existed, and [Swift's] male peers aren't questioned in quite the same way she is. Heartbroken girls are labeled as whiny in our society, while heartbroken guys are endearing and lovable. And it sucks.
>
> — Nicole Pomarico, "Taylor's Pointing Out Sexism in The Music Industry", *Bustle*

Journalists have reported on the intense misogyny and slut-shaming directed at Swift, who has been vocal in condemning all forms of sexism. She highlighted misogynistic language used against her in tabloids and headlines, as well as sexist comments discrediting her achievements. She stated that her "dating life has become a bit of a national pastime" and does not appreciate the "Careful, Bro, She'll Write a Song About You" trope as it "trivializes" her artistry. *Glamour* opined Swift is an easy target for male derision, triggering "fragile male egos". According to Rosen, some media and public censure Swift's "acidic" lyrics about former partners while praising male artists like Bob Dylan, Elvis Costello and Drake for the same, revealing the double standards. Several former detractors of Swift have blamed their unconscious misogyny.

In various media, Swift has been the subject of comments, "jokes", punch lines and memes that have been perceived as sexist or misogynistic. *The New Feminist* highlights, apart from sexist men, several women also channel their internalized misogyny towards Swift. At the 70th Golden Globe Awards (January 2013), hosts Tina Fey and Amy Poehler delivered a joke about Swift, following tabloid news that week that claimed Swift had broken up with Connor Kennedy; Fey said that given Swift's "interest in famous guys", she should stay away from actor Michael J. Fox's son, who was escorting the award winners off the stage that evening. Poehler disagreed and said "Swift should go for it", to which Fey retorted. The joke was the subject of viral news coverage. Fey also had a history of joking about Swift's dating life. Two months later, when *Vanity Fair* asked about Fey and Poehler, Swift quoted Madeleine Albright: "there's a special place in hell for women who don't help other women." She subsequently elaborated:

> "For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated—a woman writing about her feelings in a confessional way—that's taking it and turning it and twisting it into something that is frankly a little sexist."
>
>

In June 2013, American retail company Abercrombie & Fitch sold shirts saying "more boyfriends than t.s." After backlash from Swift's fans, the retailer withdrew them. Westboro Baptist Church leader Ben Phelps called Swift the "poster child for the young whores of doomed America", accusing her of "fornication and sin-coddling songs", and announced plans to protest at her concert. In October 2014, on Australian radio show *Jules, Merrick & Sophie*, Swift stated she is "unfairly criticized" for her lyrics compared to her male peers:

> "You're going to have people who are going to say, 'Oh, you know, like, she just writes songs about her ex-boyfriends.' And I think frankly that's a very sexist angle to take. No one says that about Ed Sheeran. No one says that about Bruno Mars. They're all writing songs about their exes, their current girlfriends, their love life, and no one raises the red flag there."
>
>

In a 2016 interview, when asked what advice she would give her 19-year-old self, Swift replied, "Hey, you're going to date just like a normal twenty-something should be allowed to, but you're going to be a national lightning rod for slut-shaming." In a 2019 interview with New Zealand DJ Zane Lowe on Apple Music 1, Swift stated that the slut-shaming "happened to [her] at a very young age, so that was a bit hard. That was one of the first times [she] was like—Wow, this is not fair."

Template:Tweet

On March 1, 2021, Swift criticized the writers of Netflix series *Ginny & Georgia* for using a "lazy, deeply sexist joke" slut-shaming her. Beth Ashley of *Grazia* wrote sexism is why male celebrities like Pete Davidson are celebrated for his dating history, while Swift is "shamed and shunned".

### Sexual assault discourse

In August 2017, a sexual assault trial was held in the United States District Court for the District of Colorado, involving former DJ David Mueller, a KYGO-FM radio employee, who filed for defamation against Swift. He claimed she had him wrongfully terminated following an incident at a 2013 meet-and-greet, in which Swift posed for a photo with Mueller. Swift alleged Mueller reached under her skirt and grabbed her buttocks in the photo. Mueller was escorted out of the concert once Swift reported it to her mother and team. The incident was reported to KYGO, and Mueller was fired shortly after. He sued Swift for defamation in September 2015, claiming he never touched Swift under her skirt and that he lost his job and reputation due to her false claims. Swift counter-sued Mueller for battery and sexual assault, seeking $1 in damages. The jury ruled in Swift's favor.

The trial was a subject of wide media attention due to Swift's status as a high-profile celebrity. In a post-trial statement, Swift revealed she counter-sued Mueller to empower other victims of sexual assault. The BBC stated that the trial was culturally significant as it highlighted the underreporting of sexual assaults, Swift's refusal to back down even though the defense lawyers attempted to discredit her, and the symbolic $1 damages. Brand strategists said, Swift "has been not only trying to empower ordinary women that she doesn't know but also music industry colleagues" with the case. Public relations expert Marvet Britto stated that Swift "is aware that her defiance in fighting against these allegations—not only made toward her but other artists and colleagues—will achieve global visibility around sexual assault issues that, in many cases, go unreported and ignored and are marginalized." In December 2017, Swift was named a "Silence Breaker" in *Time* magazine's Person of the Year issue. *Elle* described the trial as a landmark case "aiming to not bankrupt the perpetrator, but to set a precedent for other artists and women around the world to speak up and hold predators accountable for the irreparable damage they cause." Additionally, Swift donated $250,000 to American singer Kesha in 2016 to assist her with the legal fees for her sexual assault case, and further donation to the Joyful Heart Foundation for survivors of sexual assault in 2017.

### Perspectives

Marren Morris in 2019.Kacey Musgraves in 2019.
Critics have noted Swift's musical style resonating in albums released by female country singers like Kacey Musgraves, Maren Morris and Kelsea Ballerini. Swift's onstage guitar performances contributed to "the Taylor Swift effect"—a phenomenon to which upsurge in guitar sales to women, a previously ignored demographic, is attributed. Todd Cassetty, president of Cassetty Entertainment, opined "everybody was trying to mimic [Swift]" and that "a lot of young women are trying to find their voice now, but a lot of them were inspired to pick up a guitar because of [Swift]." Journalist Shah Ezayadi attributed Swift's commercial success with "the way she makes her listeners feel understood, particularly her young female audience." Raza-Sheikh said Swift is a cultural litmus test: "can we begin to respect art created by famous women, particularly when it explores love stories and womanhood?"

Feminism is a core aspect of Swift's discography, particularly since 2014. According to Rosen, Swift existed on the modest, "Victorian" end of the feminist spectrum, compared to pop stars like Beyoncé, Lady Gaga, Rihanna, and Miley Cyrus, who "represent aggressively sexualized feminist pop, harnessing big beats and skimpy outfits to work through questions of power and self-determination"; however, Swift's songs "aren't totally chaste: Sex is there in the rush and flush of the music, and it peeks through, discreetly, in the lyrics." Many of her songs address feminist themes; examples include "I Did Something Bad" (2017), "The Man" (2019), "The Last Great American Dynasty" (2020), "Mad Woman" (2020), "Vigilante Shit" (2022), and "Would've, Could've, Should've" (2022).

 File:Tyler Swift manspreading.jpeg
Swift's 2014 single "Blank Space" is a satirical feminist critique of her portrayal in media. *The Guardian* columnist Jessica Valenti called its music video a "dystopian feminist fairytale", playing into the "annoying, boy-crazy" tropes media projected on Swift. In the music video of "The Man", Swift's portrays a male alter-ego named Tyler Swift, presenting several prevalent examples of sexist double standards, including objectification, sexualization, toxic masculinity, and patriarchy. iHeartRadio's Paris Close said it demonstrates "how the hubris of male privilege plays out in the real world".

The artistic reinventions of her career were also examined feministically. Swift said, "The female artists I know of have to remake themselves 20 times more than the male artists, or else you're out of a job" in regards to the music industry "discarding" female pop stars as soon as they reach their mid-30s. The 2020 *Prospect* article "It's time to face the facts—our male pop stars need to try a bit harder" pointed out the requirement for female pop stars to be "highly visual, and to change that visual often". Vanessa Friedman, chief fashion critic of *The New York Times*, considered Swift's "hamster wheel of constant reinvention" a meta-commentary on the expectation that female pop stars "unveil new versions of themselves for our viewing pleasure, one-upping their old image with new wardrobes ad infinitum", while male pop stars do not change much.

In a contradictory perspective, even though Swift described herself as a feminist, her 2014–2015 public appearances and social media posts with female singers and fashion models whom the media called her "squad" gave some the impression that she did so to keep her name afloat in media. A number of critics claimed Swift's feminism lacks intersectionality, causing her to come off as a white feminist whose "clique was really just an exclusive group of mostly white actresses and supermodels."

## Political role

Template:Tweet

Political journalists and authors note Swift as a powerful personality in American politics—the most influential musician politically. She has used her fame to incite political action. Lawmakers outside the U.S. have also shown admiration for Swift, such as Liz Truss, former Prime Minister of the U.K.; Leni Robredo, former Vice President of the Philippines; Gabriel Boric, President of Chile; Mexican Supreme Court justice Arturo Zaldivar; and Pita Limjaroenrat, member of the House of Representatives of Thailand.

### Alignment and demographics

Swift is socially liberal, having criticized white supremacy, racism, and police brutality in the U.S. She is pro-choice and an advocate of gender equality and LGBT rights. However, Swift has also been censured by some liberal and conservative commentators; the former criticize her for what they consider as performative activism, while the latter detest her for being an outspoken, "woke" liberal. She endorsed Democratic candidates Phil Bredesen and Jim Cooper for the 2018 U.S. midterm elections in her home state Tennessee, and Joe Biden and Kamala Harris for the 2020 U.S. presidential election, and criticized Republican politicians Donald Trump and Marsha Blackburn.

 File:Joe Biden and Donald Trump.jpg
Facebook data from 2014 revealed that Swift is one of the artists who formed the "happy median" of musical listening habits of its Democratic and Republican users. According to 2023 surveys reported by *The Times*, 53% adult Americans consider themselves "fans" of Swift, ratings that journalist Ellie Austin said Biden and Trump "can only dream of". Austin explained, though Swift is left-aligned, some rightists still "covet" her, making her a "uniting" demographic fulcrum that can bridge America's political divide. This was evident in the bipartisan criticism of Ticketmaster in 2022 and 2023. CNN journalist Allison Morrow wrote in an article titled "One Nation, Under Swift" that Swift's fans united the parties in a way "the Founding Fathers failed to anticipate". Brooke Schultz of the Associated Press noticed how the issue turned into a political movement and considered Swift's fans an influential voter demographic: "the sheer power and size of Swift's fandom has spurred conversations about economic inequality, merely symbolized by Ticketmaster". As per Morning Consult, 55% of Swift's U.S. fans are Democratic, 23% are Republican, and 23% are independent.

### Evolution

#### Apolitical stance

Swift was apolitical as a country artist, avoiding discussing political topics in her early career—noted by critics in retrospect as her time under Big Machine. When asked by *Time* in 2012 regarding the 2012 U.S. presidential election, Swift said, "I try to keep myself as educated and informed as possible. But I don't talk about politics because it might influence other people. And I don't think that I know enough yet in life to be telling people who to vote for." Journalists criticized Swift's lack of political activism despite her status as a celebrated figure, claiming her philanthropy is inadequate. Motivated by Swift's apoliticism, Trump called her a "terrific" role model; conservative lawmakers invited her to visit the U.S. Capitol.

She remained apolitical for the 2016 U.S. presidential election, not supporting Democrat Hillary Clinton or speaking against Trump as some had expected. Critics questioned who Swift had voted for in the election as she posted a picture of her in a polling station queue. An *USA Today* headline said, "Who did Taylor Swift vote for? Here's why her sweater [in the Instagram post] suggests Hillary". *Entertainment Weekly* analyzed Instagram's "most popular Election Day content", reporting that some of the most-liked posts were those from Rihanna, Lovato, Kourtney Kardashian, and Grande, all of whom had explicitly endorsed Clinton, but it was Swift's "innocuous" non-partisan post that earned the most likes  (2.1 million). This showed Swift was a pop culture anomaly, according to *The Ringer* critic Alyssa Bereznak. BBC journalist Nick Levine found her political silence "increasingly conspicuous".

#### Sociopolitical scrutiny and race

According to Bereznak, apoliticism might have been "an advantageous business strategy" for pop stars before, but for cultural figures like Swift, their "actions, communication, and work" will be analyzed by the media in a political lens. In 2017, Swift supported the 2017 Women's March via Instagram, which was met with criticism from both fans and critics, who felt it was pointless as Swift refused to channel her feminist activism into politics. *The Cut* suggested, even though Clinton had the open support of Perry, Beyoncé, Jay-Z, and Springsteen, Swift's public endorsement "could have" helped her become President. Medford opined Swift cannot subsist in a political vacuum as it becomes "deafeningly noticeable". Criticizing her use of social media only for music announcements and not politics, Medford wrote: "To have such a large, wide-reaching platform and use it only for the advancement of your own ambition reflects poorly, regardless of how progressive your politics may be."

Some critics attributed Swift's political silence to a significant portion of her fandom in 2014 being conservative country fans. The most intense sociopolitical criticisms alleged that Swift is a crypto-fascist. Exploiting her persisting political silence in 2016 and 2017, some white supremacists in the U.S. considered Swift one of them—a neo-nazi. Some alt-right websites proclaimed her their "Aryan Goddess", waiting for Trump's win to announce her "Aryan Agenda" to the world. Liberal media outlets demanded Swift to clarify her political stance. When a blog post by *PopFront*, a left-wing website, alleged that "Look What You Made Me Do" was a "subtle" alt-right nod, Swift's PR/legal team called the post defamatory and demanded that *PopFront* "issue a retraction, remove the story from all media sources, and cease and desist," or face legal consequences. The American Civil Liberties Union (ACLU) criticized Swift for attempting to "suppress constitutionally protected speech".

However, NPR journalist Leah Donella asserted that there is no reason to think Swift is a white supremacist, stating "she has no affiliation with any white supremacist groups. She has never publicly made any white supremacist remarks, nor has she ever been accused of making them in private". Donella noted claims that Swift is a white supremacist rest solely on the fact that she is white, "looks white, and hangs out with mostly white people", justifying the latter with 2014 studies demonstrating that a white person has only one person of color as a friend for every 91 white friends: "This isn't a Taylor Swift thing. It's a housing segregation/workplace diversity/general American history thing."

#### Disillusionment and endorsements

 File:Senator Harris official senate portrait.jpg
Swift voiced her political view for the first time in the 2018 midterm elections, "breaking her political silence" according to the media. She endorsed Democrats Bredesen and Cooper via social media posts on October 18, 2018; it was a subject of widespread media coverage and sparked much praise from fans, journalists, celebrities, and Democrats. For instance, *This Is Spinal Tap* director Rob Reiner tweeted, "A big shout out to Taylor Swift for speaking out. You can single-handedly change this country. Impress your fans with how critical and powerful their voices are. If you get them to the polls on Nov 6, everything you care about will be protected." Swift also censured Republican candidate Blackburn for her "appalling" policies:

> "In the past I've been reluctant to publicly voice my political opinions. I feel very differently about that now. I always have and always will cast my vote based on which candidate will protect and fight for the human rights I believe we all deserve in [the United States]. I believe in the fight for LGBTQ rights, and that any form of discrimination based on sexual orientation or gender is WRONG. I believe that the systemic racism we still see in this country towards people of color is terrifying, sickening, and prevalent."
>
>

Swift received "fierce backlash" from Republicans, Trumpists, and right-wing supporters, who felt "betrayed" by Swift, criticized, slut-shamed, and berated her online; they stated she "ended" her career, should have "shut up" and "stick to music". The National Republican Senatorial Committee opined, "If you haven't heard, multimillionaire pop star Taylor Swift came down from her ivory tower to tell hardworking Tennesseans to vote for [Bredesen]." Charlie Kirk, president of conservative group Turning Point USA, tweeted: "You just endorsed a Democrat in the Tennessee Senate race with a ridiculous statement saying Marsha Blackburn, a woman, is against women. You have absolutely no idea what you are talking about." Trump told reporters: "I'm sure Taylor Swift doesn't know anything about [Blackburn]. Let's say that I like Taylor's music about 25% less now, OK?".

Over 169,000 people registered to vote in the 2018 elections within two days of her post, as per Vote.org, whereas only 59,000 people registered to vote in the 30 preceding days. Publications dubbed it "the Taylor Swift effect". As per a statistical research by academics Gwendelyn Nisbett and Stephanie Dunn, Swift's narrative and message in the post influenced her followers, beyond their parasocial attachment with her. Behavioral scientist Simone Driessen wrote, some media consider Swift's political "coming-out" as a strategy to further her career, whereas others consider it mandatory for pop stars in political climate "to express where they stand".

In 2019, Swift stated that when she began her country music career, Big Machine and other label executives advised her to not discuss politics, making an example of the Dixie Chicks controversy. She described Trump's presidency as an autocracy, and regretted not endorsing Clinton in 2016, but said her negative press at the time made her feel "useless" and "like a hindrance". Swift added, Hillary was being called a "manipulative" liar by Trumpists on the internet—the same type of harsh comments Swift had received in 2016 following her West-Kardashian feud, and wondered whether she would be a liability to Hillary: "Look, snakes of a feather flock together. Look, the two lying women*.* The two nasty women"; as "millions of people wanted [her] to disappear", Swift decided to step away from spotlight. Emily Strayer, member of the Chicks, opined that "the power [Swift] has right now to change things is way beyond any power [the Chicks] ever had."

Swift described Blackburn as "Trump in a wig" who won in 2018 by "being a female applying to the kind of female males want us to be in a horrendous 1950s world." Blackburn responded in July 2021, claiming liberals want a Marxist socialist society which prohibits women to perform, or create the type of music Swift does, denying private intellectual property rights, and that Swift "is going to be the first ones who will be cut off because the state would have to approve your music." In the 2020 election, Swift endorsed Biden and Harris and lent her protest song "Only the Young" (2020) to their campaign. *Forbes* staff Seth Cohen wrote, Swift's increased political engagement in the past year "has been notable for its high-profile approach and big hit commentary." Trump eventually lost his re-election; Biden was elected as the next U.S. president. Swift was found to be the second most influential celebrity in Biden's win, after LeBron James.

### Advocacy

*Nota bene: This section is non-exhaustive and includes illustrative examples only.*
 File:Taylor Swift (35428396431).jpg
* *The New York Times* noted the positive impact Swift had on the LGBT community as a country artist by releasing the 2011 music video for "Mean".
* *Time* described "Welcome to New York" (2014) as an "equality anthem".
* On March 23, 2018, Swift called for gun control, donating to victims and to March For Our Lives.
* On June 1, 2019, she created a Change.org petition urging senators to vote for the House-passed Equality Act. As of April 2020, the petition had over 704,000 signatures, including those from Democratic senators like Warren, Amy Klobuchar, Ed Markey, Kirsten Gillibrand, Tim Kaine, and Cory Booker. Swift wrote a letter to Republican Tennessee senator Lamar Alexander, asking him his support: "For American citizens to be denied jobs or housing based on who they love or how they identify is un-American and cruel".
* Swift performed at Stonewall Inn during the WorldPride NYC 2019.
* The release of "You Need to Calm Down" led to a spike in donations to GLAAD, an LGBT non-governmental organization, as the lyrics namecheck the organization. Anthony Ramos, GLAAD executive, stated Swift "is one of the world's biggest pop stars; the fact that she continues to use her platform and music to support the LGBTQ community and the Equality Act is a true sign of being an ally." CEO Sarah Kate said, Swift "continues to use her platform to speak out against discrimination and create a world where everyone can live the life they love. [...] In today's divisive political and cultural climate, we need more allies like Taylor."
* On August 26, 2019, at the 2019 MTV Video Music Awards, after winning Video of the Year for the "You Need to Calm Down", Swift urged the audience in her speech to sign the petition and said the White House has not responded despite having "five times the amount of signatures that it would need to warrant a response". The next day, then-White House deputy press secretary Judd Deere issued a statement criticizing the Equality Act. "You Need to Calm Down" became a gay anthem.
* On May 29, 2020, Swift criticized Trump's "provocative" tweets regarding the George Floyd protests in Minneapolis–Saint Paul, and after the wide George Floyd protests, she donated to the NAACP Legal Defense and Educational Fund and Black Lives Matter movement, voiced for removing the Confederate monuments in Tennessee, and called for Juneteenth to become a national holiday. Swift's tweet criticizing Trump became her most-liked tweet, garnering over two million likes. In the *Forbes* article "Taylor Swift And The Tweet That Could Help Take Down A President", Cohen said Swift's political voice "could have enormous political consequences" as surveys indicate white women and young first-time voters—Trump's weakest demographics—both forming significant portions of Swift's U.S. fanbase, and "will therefore be key to the outcome of the 2020 election."

### Inspiring law and legislation

* In March 2015, impelled by Swift's Rhode Island estate High Watch, then-Rhode Island governor Gina Raimondo proposed a luxury tax on second homes worth over $1 million in the state, referred to as the "Taylor Swift tax". It was withdrawn after wide criticism.
* On May 19, 2023, members of the Massachusetts General Court introduced the bipartisan "Taylor Swift Bill" to require ticketing companies disclose full ticket costs upfront and outlaw dynamic pricing. Similar bills were introduced in the state legislatures of Minnesota and California.
* On May 22, Texas governor Greg Abbott signed the "Save Our Swifties" bill into law, banning the use of bots to bulk-purchase tickets. Similar bills were launched in New York and Washington.
* U.S. Congressmen Bill Pascrell and Frank Pallone drafted the BOSS and SWIFT Act (Better Oversight of Stub Sales and Strengthening Well Informed and Fair Transactions for Audiences of Concert Ticketing) in the House, mandating an overhaul of ticket sale and resale platforms.
* In June 2023, an anti-scalping "Taylor Swift Bill" was proposed to the National Congress of Brazil.

## Fashion and aesthetic

 File:Taylor Swift GMA 2012.jpg
Swift's style and dressing are widely covered by fashion journalists. Her street style has received acclaim from critics. She has reinvented her image and aesthetic throughout her career, matching them with respective album cycles and influencing fashion trends in the process.

Her "style evolution", both within and outside her music, has been the subject of widespread analyses by media outlets. *Consequence* opined, Swift's looks evolved from "girl-next-door country act to pop star to woodsy poet over a decade". Her debut was characterized by country boots, "girly" gowns, and sundresses; *Fearless* was inspired by fairy tale princesses and the regency era, incorporating corsets; with *Speak Now*, she began adapting matured, glamorous looks; she wore black hats and bangs for the *Red* era, which drew from generally red-themed retro and hipster clothes; *1989* departed from "ultra-femininity" to urban styles, jumpsuits, "clean lines and sleek fabrics"; *Reputation* was characterized by dark colors, edgier styles, leotards, and snake-inspired motifs; *Lover* incorporated "candy-colored" fashion, pastels, and blazers; rooted in cottagecore, *Folklore* was rustic, featuring simplistic dresses, shirts, pants and sweaters, while *Evermore* included flannel and overcoats; *Midnights* explored romper suits, embellishments, and "popstar glamor".

In 2011, *Vogue* asked American fashion designers about the "new icons of American style"; Tommy Hilfiger named Swift, owing to her "charismatic" summer outfits. *People* named Swift the Best-Dressed woman of 2014, calling her a "street style queen". In 2015, Swift won the *Elle* Woman of the Year award for cementing herself as "a style icon" capable of "seamlessly switching between chic street style and glamorous couture gowns on the red carpet", and topped the 2015 *Maxim* Hot 100 list. In a 2018 *Vogue* article, critic Francesca Wallace wrote that Swift has become known for her "easygoing, feminine" and "dainty" take on fashion, incorporating bows, prints and carryall bags, creating a street style "worth copying".

Swift co-chaired the 2016 Met Gala. To Kelsey Glein of *InStyle*, Swift is an expert in "off-duty" fashion, often synchronizing outfits, blending classic, retro and "cool" elements, floral prints, Mary Jane or Oxford shoes, Jimmy Choo boots, and other accessories from Aldo, Prada, Christian Louboutin, Elie Saab and Dolce & Gabbana. *Vogue Australia* regards Swift as an influential figure in sustainable fashion. She released a sustainable clothing line with Stella McCartney in 2019.

### Fashion trends

 File:“Cardigan” and Evermore outfits.jpg  Swift's music, visuals, general attire, and concerts have influenced fashion trends and led to sales surges. She boosted the popularity of red lipsticks—considered one of her signature fashion motifs, especially since *Red,* which prominently featured red lips in its cover. Swift helped popularize sleeveless formal wear and waistcoats in women's fashion.

"The scarf" mentioned in autobiographical lyrics of "All Too Well" has also become a signature object associated with Swift. *NME* critic Rhian Daly said the scarf is "an unlikely pop culture icon in an inanimate object". Kate Leaver of *The Sydney Morning Herald* wrote only Swift "could make a decade-old item of clothing a universal symbol for heartbreak." Following the 2021 release of her self-directed *All Too Well: The Short Film*, the Google searches for "Taylor Swift red scarf meaning" spiked by 1,400 percent. The scarf is seen in the film and also in the music video for "I Bet You Think About Me" as a red-colored one.

Cottagecore experienced a resurgence on the internet after Swift used the aesthetic, leading to an increase in sales of hand-knitted Aran jumpers in Ireland and the U.S. RTÉ thanked Swift for putting cardigans "back on the map" with *Folklore*. Upon *Evermore*'s release, replicas of the flannel coat Swift wore on the cover artwork sold out on Farfetch instantaneously. The Eras Tour increased the demand for metallic boots, cowboy hats, and sequin dresses. CNN reported that fashion retailers marketed their products to target attendees of the tour, with various clothing brands creating a range of items inspired by Swift and her eras" and scoring their biggest sales year yet.

## Fandom dynamics

Swift maintains a close relationship with her fans, "Swifties", to whom many journalists attribute her impact. Her connection with fans is considered unique for artists of her stature; she has interacted with them on social media, sent gifts, hand-selected them to attend intimate concerts or meet-and-greets, made surprise visits, participated in some of their functions, and gifted free tickets to disadvantaged fans. She hosted the "Secret Sessions", a series of pre-release album-listening parties for fans at her houses.

Swift giving away her autographs to fans in 2012Swift taking pictures with fans in 2022
She has donated to fans to cover their academic loans, medical bills, rent or other expenses, and once bought a house for a pregnant, homeless fan. Her excess donation to a fan with leukemia on GoFundMe in 2015 caused the crowdfunding platform to expand its policy. Swift has written songs for her fans, such as "Long Live" (2010) or "Ronan" (2012); the latter is a charity record about a fan's four-year-old son who died of neuroblastoma.

To *The Washington Post*, Swift and Swifties "[are] all part of one big friend group". Many fans feel connected to Swift as they "have grown up with her and her music." Their positive reception of *Reputation,* which was released after the 2016 controversy, demonstrated their commitment to Swift, irrespective of a tonal shift in her artistry and public perception. *Billboard* cited the unprecedented success of Swift's re-recorded albums as further evidence of their loyalty. Willman wrote, the re-records' success inspired other artists to "weaponize fans in their business disputes". Author Amanda Petrusich described Swifties' allegiance as both "mighty and frightening".

The consumerist phenomenon of purchasing anything related to Swift has been termed "the Taylor Swift effect" by *The Guardian*. To business scientists Brendan Canavan and Claire McCamley, the relationship between Swift and Swifties represents post-postmodern consumerism. Sociologist Brian Donovan opined, "it is easy to dismiss the frenzy surrounding Swift as mindless hero worship. Yet, the Swifties have shown the power of fandom to create social bonds that transcend consumerism." The frenzy, generally termed "Swiftmania", has been considered the 21st-century equivalent to Beatlemania by journalists such as Jon Bream of *Star Tribune*, who said "Swift has achieved a once unthinkable monoculture, a zeitgeistian redux of Beatlemania".

Swifties have been the subject of journalistic and academic interest for their "prolific content creation, digital savvy, organizing capacity, and sometimes vicious online behaviors", as per internet culture researchers Cristina López and Avneesh Chandra. Donovan distinguished "Taylor Swift fans" from Swifties, opining that the latter are a subculture characterized by collective effervescence, unlike other fanbases. Some linguists termed the Swifties' fan-coded, lyrics-based language a "fanilect".

### Mythology and subculture

"Her use of symbols and imagery has only grown over time, to the point that if you look deep enough into Swift World, her fans seem as if they are practically speaking another language with abbreviations, coded catchphrases and references that only they understand."

Emily Yahr, *The Washington Post* (2022)

Propagated by her prolific use of easter eggs and "unusually close connection with her fans", Swift is a source of myth in popular culture. Journalists describe her works, celebrity, and the fanfare surrounding them a world on its own. *Glamour* and *The Washington Post* termed it the Taylor Swift Cinematic Universe. *Entertainment Weekly* called it Taylor Swift Musical Universe—"a pop star known for prodigious hint-dropping, whose fans turn every piece of info into an online archaeological dig." In *The Guardian*, Adrian Horton said "Swiftverse" is a subculture of mass media, cultivated by "years of worldbuilding and Swiftian mythology", while Alim Kheraj wrote Swift turned pop music into a "multiplayer puzzle" involving fanbase commitment, which other artists have attempted to reproduce.

Andrew Unterberger of *Spin* wrote that symbolisms are "inextricable elements of the Taylor Swift experience" and key to understanding her work. To Caroline Mimbs Nyce of *The Atlantic*, Swift's fandom is nearly a metaverse: "a huge virtual community unmoored from a single platform, based on a world around Taylor Swift, missing only the 3D virtual space to hang out in." According to Yahr, Swift enjoys embedding "clues, hints and puzzles" in her works, social media posts and interviews, constructing a self-mythology that fans believe could have a hidden meaning and attempt to decode, such as a release date, song or album title or an artistic element. The critical analysis is referred to as "Swiftology" in the media. Such theorizing, for example, led fans to correctly predict the date of the announcement of *1989 (Taylor's Version)* in 2023.

"The scarf" mentioned in "All Too Well" has been a topic of mythology. Brad Nelson wrote in *The Atlantic* that the missing scarf quickly became a "fantastic pop culture mystery" of much internet attention. The scarf's existence or its lyrical use as simply a metaphor has been a topic of debate among fans and cultural commentators, who "agree it's more than a simple piece of outerwear." According to Rob Sheffield, the scarf is so significant to Swift's discography that it "should be in the Rock and Roll Hall of Fame." Kaitlyn Tiffany of *The Verge* described the scarf as "the green dock light of our time." Ahlgrim called it a "fabled accessory" and "a source of cultural curiosity".

Though Swift described herself as an ally to the LGBT community, a small faction of fans called "Gaylors" believe she is secretly gay and hints her queerness through music. A 2023 network map published by López and Chandra divided Swifties into six factions based on online behavior; a subset of Gaylors specifically ship Swift with Karlie Kloss, Dianna Agron, or both, claiming Swift dated them in the past, and accuse Swift of queerbaiting if she is not actually gay. Most fans criticize Gaylor as far-fetched, malicious, and disrespectful to Swift; journalists likewise dismiss it as an invasive, baseless conspiracy theory, and have criticized the parasocial interactions that some fans have with Swift's private life.

## Generational appeal

Critical commentary has used Swift's career to mark a paradigm shift in popular culture, regarding her as a millennial cultural figure. According to Rosen, Swift is a "generational bard", merging "the pleasures of old-fashioned songcraft with millennial social-media oversharing." Psychiatrist Suzanne Garfinkle-Crowell opined, Swift is the generational poet laureate who always has a song to describe the precise emotion a listener is feeling. American author Neil Howe, who coined the term "millennial", named Swift as the classic example of millennial spirit.

In 2010, *The Christian Science Monitor* commentators Morley Winograd and Michael D. Hais opined that Swift's rise to fame signals the "musical coming-of-age" of the millennial generation and that "it's only a matter of time before Swift and her generation make over America's music as triumphantly as they did its politics with the election of President Obama." Awarding Swift for her humanitarian endeavors in 2012, former First Lady of the U.S., Michelle Obama, described Swift as an artist who "has rocketed to the top of the music industry but still keeps her feet on the ground, someone who has shattered every expectation of what a 22-year-old can accomplish".

Bruce Springsteen performing with a guitarBob Dylan with a guitar
In 2014, *Quartz*'s John McDuling wrote, Swift was "quickly becoming the most influential artist of her generation", spurred by critical praise and "blockbuster" sales, and pondered if she is the millennial equivalent to Dylan, Springsteen, or Kurt Cobain. *National Post* opined that *1989*—an album created by a millennial for millennials—"lays claim to an entire generation", as average millennials "are constantly exposed to criticism and heavy dialog" like Swift, and coerced to become both sensitive and hardened emotionally, all of which is embodied by Swift's music; the newspaper considered "New Romantics" (2016) as an millennial ode.

According to a 2019 YPulse survey, Swift is the musician who best-represents millennials (ages 19–37). She also represents "millennial anxiety" according to *The Walrus*'s Joelle Kidd, who wrote that millennials have a tendency of "obsessive self-analysis" and self-awareness which "the hypercompetent Swift" has grown to embody, sharing her anxieties with an entire generation. *Today* senior editor Elena Nicolaou noted how Swift culturally transformed millennial weddings as many couples choose to incorporate her music and aesthetics into the ceremonies.

Discussing Swift's Generation Z appeal in the 2020s, Spanos stated that despite Gen Z forming a significant portion of Swift's newer fans, they do not "really understand the cultural history, the sociopolitical and cultural elements that have molded Taylor as a millennial woman because they grew up after that". As a result, some Gen Z may view some older Swift songs and lyrics as "cringe". *Vox* and *New Yorker* called Swift the "millennial Bruce Springsteen", drawing numerous artistic and sociopolitical parallels between Swift and Springsteen's careers. Similarly, *The Times* named Swift "the Bob Dylan of our age" and "the confessional queen of Noughties pop". Paul Slanksy of *Air Mail* wrote in 2023, Swift is "a hit with the boomers too", observing rising numbers of "senior Swifties".

As per Morning Consult, 45% of Swift's U.S. fans are millennial, 23% baby boomers, 21% Gen X, and 11% Gen Z. YouGov surveys ranked her as the world's most admired female musician from 2019 to 2021. Beyond music and business, Swift has also been cited as a role model by many millennial sportspersons, such as Simone Biles, Kobe Bryant, Jimmy Butler, Rob Gronkowski, Bryce Harper, Clayton Kershaw, Jessica Korda, Mikaela Shiffrin, Iga Swiatek, Russell Westbrook, Emma Weyant, and Serena Williams.

## Creative inspiration

Niall Horan in 2023Olivia Rodrigo in 2021Rina Sawayama in 2022Halsey in 2019Billie Eilish in 2022Sabrina Carpenter in 2020Conan Gray in 2019Shawn Mendes
Swift has influenced numerous music artists across genres since her debut. Critics began noticing her influence on popular music in 2013, and credit her albums with inspiring an entire generation of singer-songwriters. Paul McCartney was inspired by Swift's artistry and fans to write the 2018 song "Who Cares". Other acts who cited Swift as an influence include:

* 5 Seconds of Summer
* Gracie Abrams
* Adele
* Baby Queen
* Bahjat
* Kelsea Ballerini
* Priscilla Block
* Phoebe Bridgers
* Bailey Bryan
* Camila Cabello
* Sabrina Carpenter
* Sofia Carson
* The Chainsmokers
* Clairo
* Gus Dapperton
* Daya
* Billie Eilish
* Ellis
* Fletcher
* Gayle
* Girl in Red
* Selena Gomez
* Ellie Goulding
* Conan Gray
* Loren Gray
* Griff
* Halsey
* Maya Hawke
* Niall Horan
* Huh Yun-jin
* Lilas Ikuta
* Jax
* Ruston Kelly
* Kim Chae-won
* Little Mix
* Atsuko Maeda
* Catherine McGrath
* Tate McRae
* Shawn Mendes
* Maren Morris
* The National
* Nina Nesbitt
* Niki
* Finneas O'Connell
* Christina Perri
* Maisie Peters
* The Regrettes
* Renforshort
* Freya Ridings
* Vijay
* Olivia Rodrigo
* Maggie Rogers
* Ruann
* Ruth B.
* Rina Sawayama
* Shamir
* Troye Sivan
* Slayyyter
* Soccer Mommy
* Hailee Steinfeld
* Tegan and Sara
* Tzuyu
* The Vamps
* Hana Vu
* Wild Pink
* Hayley Williams

Various musicians have been inspired by other aspects of Swift's career, such as her work ethic and strategy, especially regarding artists' rights, including Rodrigo, Joe Jonas, Bryan Adams, the Departed, Snoop Dogg, Ashanti, Niki, Paris Hilton, SZA, Rita Ora, and Offset. SZA said, "Taylor letting that whole situation go with her masters, then selling all of those fucking records. That's the biggest 'fuck you' to the establishment I've ever seen in my life, and I deeply applaud that shit." Ashanti commented, "Taylor is amazing for what she's done and to be able to be a female in this very male-dominated industry, to accomplish that is amazing. Owning your property and getting a chance to have ownership of your creativity is so so important. Male, female, singer, rapper, whatever, I hope this is a lesson for artists to get in there and own."

Swift has also helped artists achieve mainstream fame by having them on her tours as opening acts; examples include Bieber, Ed Sheeran, Mendes, Cabello, and Charli XCX. Filipino-British singer Beabadoobee, one of the openers at the Eras Tour, stated that touring with Swift was one of her dreams growing up. American musicians Jack Antonoff and Aaron Dessner acknowledged Swift's role in expanding their careers as record producers. Antonoff stated, "Taylor's the first person who let me produce a song. Before Taylor, everyone said: 'You're not a producer'. It took Taylor Swift to say: 'I like the way this sounds'."

Outside the music industry, Swift has inspired book authors, film directors, and screenwriters, including Jenny Han (*The Summer I Turned Pretty*), Abby McDonald (*Bridgerton*), and Jennifer Kaytin Robinson (*Someone Great* and *Do Revenge)*. Swift has inspired impersonators such as Ashley Leechin, Jade Jolie, and Taylor Sheesh.

## Scholarly research

 File:Love Story - Taylor Swift - London.jpg
Swift is a subject of academic research. Her artistry and fame are popular topics of scholarly media studies. According to literature professor Elizabeth Scala, who dubbed Swift a bridge between contemporary and historical fiction, Swift's creativity is "contagious" and of particular interest to academics. In the *New York Times* article "Taylor Swift is Singing Us Back to Nature", conservation scientist Jeff Opperman opined that Swift's songs are "filled with the language and images of the natural world", revitalizing themes of nature in popular culture after a reported decline in nature-themed words. Songs like "Love Story" are studied by evolutionary psychologists to understand the relationship between popular music and human mating strategies. Her fanbase is studied for their social capital, consumerist characteristics and interpersonal relationships.

### Academic programs

Various higher educational institutions offer undergraduate and elective courses focusing on Swift since 2022. Indiana University Bloomington hosted a three-day academic conference on Swift's impact.

## References

1. ↑ 1.0 1.1 Template:Cite magazine
2. ↑ 2.0 2.1 2.2 Template:Cite magazine
3. ↑ 3.0 3.1 Template:Cite magazine
4. ↑ Taylor Swift Albums and Discography. AllMusic.
5. ↑ 5.0 5.1 Template:Cite magazine
6. ↑ 6.0 6.1 6.2 6.3 6.4 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Seisdedos, Iker (December 27, 2022). "Pop music in the era of Taylor Swift: Behind the success of today's biggest star". *El País*. Retrieved December 28, 2022.
7. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Asmelash, Leah; Andrew, Scottie (December 31, 2019). "The 10 artists who transformed music this decade". CNN. Retrieved May 11, 2023.
8. ↑ 8.00 8.01 8.02 8.03 8.04 8.05 8.06 8.07 8.08 8.09 8.10 8.11 8.12 8.13 8.14 8.15 8.16 Template:Cite magazine
9. ↑ 9.0 9.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Ben, Sisario (August 5, 2023). "How Taylor Swift's Eras Tour Conquered the World". *The New York Times*. Retrieved August 5, 2023.
10. ↑ 10.0 10.1 Template:Cite magazine
11. ↑ 11.0 11.1 11.2 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>McMarlin, Shirley (June 13, 2023). "How popular is Taylor Swift? It's the 2023 version of Beatlemania". *Pittsburgh Tribune-Review*. Retrieved June 17, 2023.
12. ↑ Jericho, Greg (October 28, 2022). Taylor Swift's incredible success in graphs – who can blame me for being a Swiftie as a 50-year-old man?.
13. ↑ Template:Cite magazine
14. ↑ 14.00 14.01 14.02 14.03 14.04 14.05 14.06 14.07 14.08 14.09 14.10 14.11 14.12 Khan, Fawzia (June 18, 2021). The Might Of Taylor Swift.
15. ↑ Template:Cite magazine
16. ↑ 16.0 16.1 16.2 16.3 Franssen 2022, p. 90-92.
17. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift: 'My Confidence Is Easy To Shake'". NPR. November 2, 2012. Retrieved May 20, 2021.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Thanki, Juli (September 24, 2015). "Taylor Swift: Teen idol to 'biggest pop artist in the world'". *The Tennessean*. Retrieved May 13, 2021.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (June 16, 2016). "Taylor Swift's first song came out 10 years ago. Here's what she was like as a teen songwriter". Arts and Entertainment. *The Washington Post*. Archived from the original on May 13, 2021. Retrieved May 13, 2021.
18. ↑ 18.0 18.1 18.2 18.3 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (December 26, 2022). "2022: The year in review (Taylor's version)". *The Washington Post*. Archived from the original on December 26, 2022. Retrieved December 26, 2022.
19. ↑ 19.0 19.1 19.2 19.3 19.4 Levine, Nick (August 21, 2019). Taylor Swift's *Lover*: The struggle to maintain superstardom.
20. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>El Mosselli, Sabrina (December 24, 2022). "How Taylor Swift rose from 'Miss Americana' to global megastar". *Le Monde*. Retrieved December 28, 2022.
21. ↑ 21.0 21.1 Levine, Nick (August 21, 2019). Taylor Swift's *Lover*: The struggle to maintain superstardom.
22. ↑ 22.0 22.1 22.2 22.3 22.4 Knibbs, Kate (August 21, 2019). Ten Years of Taylor Swift: How the Pop Star Went From Sweetheart to Snake (and Back Again?).
23. ↑ 23.0 23.1 23.2 23.3 23.4 23.5 23.6 23.7 23.8 Template:Cite magazine
24. ↑ Template:Cite magazineTemplate:Cite magazine<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Jensen, Erin (April 17, 2019). "Dwayne Johnson, Taylor Swift, Gayle King, more cover Time's 100 most influential people issue". *USA Today*. Archived from the original on April 17, 2019. Retrieved April 17, 2019.
25. ↑ Taylor Swift.
26. ↑ Template:Cite magazine
27. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Brown, Dalvin. "International Women's Day: Google celebrates with a Doodle and animated video". *USA Today*. Retrieved May 11, 2023.
28. ↑ Spinelli, Adrian (December 6, 2022). A New Study Has Taylor Swift Atop The 10 Most Googled Artists Of 2022.
29. ↑ Template:Cite magazine
30. ↑ 30.0 30.1 Template:Cite magazine
31. ↑ Weatherhead, Shaina (April 20, 2023). Taylor Swift's 'Miss Americana' Is Required Viewing Right Now.
32. ↑ 32.0 32.1 32.2 Jones, Nate (July 21, 2016). When Did the Media Turn Against Taylor Swift?.
33. ↑ 33.0 33.1 VanDerWerff, Emily (July 31, 2020). Taylor Swift is the millennial Bruce Springsteen.
34. ↑ Template:Cite magazine
35. ↑ Template:Cite magazine
36. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift: The Rise Fall and Re-Invention of America's Sweetheart". *The Daily Telegraph*. November 3, 2017. Archived from the original on January 11, 2022. Retrieved November 9, 2017.
37. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift: America's Sweetheart". *The Times*. February 7, 2010. Retrieved November 9, 2017.
38. ↑ Template:Cite magazine
39. ↑ Taylor Swift Makes her Move Back to Country. Triple M (April 16, 2018).
40. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift Tak Peduli Ocehan Orang Lain" [Taylor Swift Doesn't Care About Other People's Rattles] (in Indonesian). CNN. October 13, 2015. Retrieved November 23, 2020.
41. ↑ Template:Cite magazine
42. ↑ Taylor Swift thanks fans as she releases re-recorded Red album. STV News (November 12, 2021).
43. ↑ Template:Cite magazine
44. ↑ 44.0 44.1 Nguyen, Stacey (July 12, 2021). Here's a Breakdown of Taylor Swift's "All Too Well" Before We Get the 10-Minute Version. PopSugar.
45. ↑ 45.0 45.1 Template:Cite magazine
46. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Queen of Easter eggs Taylor Swift was hinting at 'evermore' all along". ABC News Radio. Archived from the original on May 7, 2021. Retrieved May 6, 2021.
47. ↑ Queen of Easter eggs Taylor Swift was hinting at 'evermore' all along (December 10, 2020).
48. ↑ Gibson, Kelsie (April 8, 2021). Taylor Swift Is the Queen of Easter Eggs — See How Her Clue-Dropping Has Evolved Over Time.
49. ↑ Martinez, Angelica (December 10, 2020). These Are The "Evermore" Easter Eggs We've Missed So Far, Because Taylor Swift Is An Actual Genius.
50. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Leonard, Devin (November 14, 2014). "Taylor Swift Is the Music Industry". *Bloomberg*. Bloomberg News.
51. ↑ Wallway, Alexandria (September 20, 2017). Why Taylor Swift is the Face of the Music Industry. Odyssey.
52. ↑ Template:Cite magazine
53. ↑ Sutherland, Jamie (March 28, 2018). Full Transcript: Taylor Swift interviewed by Barbara Walters • Sonix.
54. ↑ Template:Cite magazine
55. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Elizabeth, De (November 24, 2019). "Taylor Swift Is Named Artist of the Decade at AMAs 2019". *Teen Vogue*. Retrieved December 31, 2019.
56. ↑ Taylor Swift to receive Global Icon Award! (May 9, 2021).
57. ↑ Dailey, Hannah (December 22, 2022). Here Are All of Taylor Swift's Biggest Accomplishments in 2022.
58. ↑ Talley, Brittni (August 15, 2022). TAYLOR SWIFT AND ASHLEY GORLEY TO BE HONORED WITH NSAI DECADE ACHIEVEMENTS AT 5TH ANNUAL NASHVILLE SONGWRITER AWARDS PRESENTED BY CITY NATIONAL BANK.
59. ↑ Taylor Swift Says It's OK To Fail While Accepting iHeartRadio Innovator Award.
60. ↑ Taylor Swift Education Center.
61. ↑ Coleman, Miriam (October 13, 2013). Taylor Swift Opens Education Center at Country Music Hall of Fame.
62. ↑ Taylor Swift Accepts Honorary Doctorate from NYU: 'I'm 90% Sure That the Reason I'm Here is Because I Have a Song Called 22' (May 18, 2022).
63. ↑ Template:Cite magazine
64. ↑ Wong et al. 2023.
65. ↑ mnreiss (April 10, 2023). Taylor Swift Becomes a Phenotype Monitoring Machine.
66. ↑ 66.0 66.1 66.2 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Crummy, Colin (March 13, 2014). "Detwanging country music: how Nashville took the UK". *The Guardian*. Retrieved September 23, 2021.
67. ↑ Lee, Min (February 22, 2011). Taylor Swift relishes Asian success.
68. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Tannembaum, Rob (September 12, 2014). "4 Ways Billboard Woman of the Year Taylor Swift Changed Country Music". *Billboard*. Retrieved December 31, 2019.
69. ↑ Template:Cite magazine
70. ↑ Template:Cite magazine
71. ↑ Template:Cite magazine
72. ↑ Template:Cite magazine
73. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Sisario, Ben (April 6, 2014). "Young, Rich and Ruling Radio, Country Walks a Broader Line". *The New York Times*. ISSN 0362-4331. Retrieved June 7, 2023.
74. ↑ Template:Cite magazine
75. ↑ McNutt 2020, p. 79.
76. ↑ Hertweck, Nate (January 18, 2018). Taylor Swift, *1989*: For The Record. The Recording Academy.
77. ↑ Template:Cite magazine
78. ↑ Cullen 2016, p. 37.
79. ↑ Willis, Jay (October 25, 2019). Taylor Swift's 1989 Perfected the Pop Crossover Album.
80. ↑ 80.0 80.1 Geffen, Sasha (November 10, 2017). Revisiting Taylor Swift's *1989* Album.
81. ↑ Mylrea, Hannah (July 24, 2020). Taylor Swift: every single album ranked and rated. *NME*.
82. ↑ Gormely, Ian (December 3, 2014). Taylor Swift leads poptimism's rebirth.
83. ↑ 83.0 83.1 83.2 Harbron, Lucy (November 12, 2021). Why Taylor Swift's 'Red' Is Her Turning Point.
84. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Smith, Neil (June 22, 2015). "Five ways Taylor Swift is changing the world". *BBC News*. Archived from the original on November 23, 2019. Retrieved September 3, 2020.
85. ↑ Sanders, Sam (October 20, 2022). Taylor Swift Is the Greatest Self-Portraitist of Our Time.
86. ↑ 86.0 86.1 Template:Cite magazine
87. ↑ 87.0 87.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Savage, Mark (October 19, 2022). "Midnights: What we know about Taylor Swift's songwriting". BBC News. Retrieved October 20, 2022.
88. ↑ The 200 Most Important Artists of Pitchfork's First 25 Years (October 4, 2021).
89. ↑ McNutt 2020, p. 78.
90. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Roberts, Randall (October 22, 2012). "Album review: Taylor Swift's '*Red*' brims with confidence". *Los Angeles Times*. Archived from the original on November 12, 2012. Retrieved July 2, 2023.
91. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Caramanica, Jon (October 24, 2012). "No More Kid Stuff for Taylor Swift". *The New York Times*. Archived from the original on April 23, 2020. Retrieved June 29, 2016.
92. ↑ 92.0 92.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Hyden, Steven (March 10, 2021). "Taylor Swift, Indie-rock star? Long, Long ago, this might have felt strange". *The New York Times*. Archived from the original on April 13, 2021. Retrieved April 13, 2021.
93. ↑ Taylor Swift's powerful evermore returns to folklore's rich universe (December 14, 2020).
94. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Wood, Mikael (December 10, 2020). "Review: Taylor Swift's surprise LP 'Evermore' is more — and less — 'Folklore'". *Los Angeles Times*. Archived from the original on December 11, 2020. Retrieved December 11, 2020.
95. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Caramanica, Jon (July 26, 2020). "Taylor Swift, A Pop Star Done with Pop". *The New York Times*. Retrieved August 14, 2022.
96. ↑ Template:Cite magazine
97. ↑ Template:Cite magazine
98. ↑ 98.0 98.1 Template:Cite magazine
99. ↑ Template:Cite magazine
100. ↑ 100.0 100.1 100.2 100.3 100.4 100.5 100.6 100.7 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Raza-Sheikh, Zoya (October 18, 2022). "How Taylor Swift mastered the singer-songwriter blueprint". *The Independent*. Retrieved October 18, 2022.
101. ↑ Template:Cite magazine
102. ↑ 102.0 102.1 102.2 Gambles, Sarah (July 23, 2023). The ubiquitous power of Taylor Swift.
103. ↑ Fagen, Lucas (September 19, 2020). Taylor Swift's Quarantine Folktales.
104. ↑ Hyden, Steven (December 14, 2020). How Taylor Swift Reinvented Herself With *Folklore* And Now *Evermore*.
105. ↑ White, Caitlin (December 8, 2020). Taylor Swift's *Folklore* Changed The Tone Of Pop in 2020.
106. ↑ Hull, Tom (July 27, 2020). Music Week.
107. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Opinion | 17 Pop Culture Moments That Define The Covid Era". *The New York Times*. April 8, 2023. ISSN 0362-4331. Retrieved April 8, 2023.
108. ↑ Template:Cite magazine
109. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Bate, Jonathan (April 10, 2023). "Why Taylor Swift is a literary giant — by a Shakespeare professor". *The Times*. ISSN 0140-0460. Retrieved April 10, 2023.
110. ↑ 110.0 110.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Pazzanese, Christina (August 2, 2023). "So what exactly makes Taylor Swift so great?". *Harvard Gazette*. Retrieved August 7, 2023.
111. ↑ Conroy 2016, p. 156.
112. ↑ Perone 2017, p. 51.
113. ↑ Template:Cite magazine
114. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Leonard, Devin (November 12, 2014). "Taylor Swift Is the Music Industry". *Bloomberg News*. Archived from the original on March 13, 2016. Retrieved August 11, 2020.
115. ↑ 115.0 115.1 Zoladz, Lindsay (December 30, 2019). What Were the 2010s?. *New York*.
116. ↑ Fogarty & Arnold 2021, p. 7.
117. ↑ 117.0 117.1 Template:Cite magazine
118. ↑ Théberge 2021, p. 41.
119. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Ingham, Tim (June 14, 2023). "Reliving the Taylor Swift catalog sale saga (and following the money...)". Music Business Worldwide. Retrieved June 15, 2023.
120. ↑ Template:Cite magazine
121. ↑ Template:Cite magazine
122. ↑ Template:Cite magazine
123. ↑ 123.0 123.1 Template:Cite magazine
124. ↑ 124.0 124.1 Template:Cite magazine
125. ↑ Berkowitz, Brittany. Shania Twain praises Taylor Swift for breaking one of her chart records. *Good Morning America*.
126. ↑ Template:Cite magazine
127. ↑ Template:Cite magazine
128. ↑ Taylor Swift's 10-minute 'All Too Well' is longest song to reach No.1 (November 26, 2021).
129. ↑ Template:Cite magazine
130. ↑ 130.0 130.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Nicolaou, Anna (October 27, 2022). "Is Taylor Swift the last pop superstar?". *Financial Times*. Archived from the original on October 30, 2022. Retrieved October 27, 2022.
131. ↑ Cragg, Michael (November 28, 2022). Is Taylor Swift our last remaining real popstar?.
132. ↑ Template:Cite magazine
133. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Cripps, Charlotte (June 21, 2013). "Country music star Taylor Swift the new country music is all about". *The Independent*. Retrieved June 9, 2023.
134. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift: What Asian fans did for her concert tickets". BBC News. July 7, 2023. Retrieved July 8, 2023.

	1. White, Jack (July 31, 2020). Taylor Swift's Folklore debuts at UK Albums Number 1. Official Charts Company.
	2. Female artists with the most Irish Number 1 albums since 2000. Official Charts Company (April 23, 2020).
	3. Taylor sweeps the record. Australian Recording Industry Association (July 7, 2023).
136. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Wang, Dennis (April 16, 2021). "Taylor Swift's Fearless hits the right note in China, again". *People's Daily*. Retrieved June 26, 2021.
137. ↑ Template:Cite magazine
138. ↑ Template:Cite magazine
139. ↑ Willman, Chris (December 21, 2020). Taylor Swift's 'Evermore' Sells a Million Worldwide in First Week.
140. ↑ Template:Cite magazine
141. ↑ Young, Alex (October 31, 2022). Taylor Swift broke 73 records with release of new album Midnights.
142. ↑ Taylor Swift Breaks Two Records With 'Midnights', Becoming the Most-Streamed Artist on Spotify (October 22, 2022).
143. ↑ Template:Cite magazine
144. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Jericho, Greg (October 28, 2022). "Taylor Swift's incredible success in graphs – who can blame me for being a Swiftie as a 50-year-old man?". *The Guardian*. Archived from the original on October 28, 2022. Retrieved October 29, 2022.
145. ↑ Template:Cite magazine
146. ↑ Young, Alex (January 20, 2022). Taylor Swift, the indisputable Queen of Vinyl, named 2022 Record Store Day Ambassador.
147. ↑ 147.0 147.1 Template:Cite magazine
148. ↑ Golsen, Tyler (January 20, 2022). Why Taylor Swift is the perfect ambassador for Record Store Day.
149. ↑ Template:Cite magazine
150. ↑ Template:Cite magazine
151. ↑ Template:Cite magazine
152. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Sweeney, Mark (December 27, 2022). "Taylor Swift propels UK vinyl sales past CDs for the first time in 35 years". *The Guardian*. Archived from the original on December 27, 2022. Retrieved December 27, 2022.
153. ↑ Template:Cite magazine
154. ↑ 154.0 154.1 154.2 154.3 154.4 154.5 154.6 154.7 154.8 Template:Cite magazine
155. ↑ 155.0 155.1 Taylor, Kate (April 1, 2015). 9 Reasons Taylor Swift Is a Savvy Business Leader (Infographic).
156. ↑ Template:Cite magazine
157. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Steele, Anne (July 1, 2023). "How to Succeed in Business Like Taylor Swift". *The Wall Street Journal*. Retrieved July 2, 2023.
158. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Krugman, Paul (June 20, 2023). "Is Taylor Swift Underpaid?". *The New York Times*. Retrieved June 23, 2023.
159. ↑ 159.0 159.1 159.2 Sodomsky, Sam (July 1, 2019). Taylor Swift's Music Ownership Controversy With Scooter Braun: What It Means and Why It Matters. *Pitchfork*.
160. ↑ 160.0 160.1 Template:Cite press release
161. ↑ Lalwani, Sonal (February 27, 2021). Taylor Swift and Her "Love Story" With IPR.
162. ↑ Template:Cite magazine
163. ↑ Template:Cite magazine
164. ↑ Template:Cite magazine
165. ↑ Template:Cite magazine
166. ↑ The Most Influential Men and Women on Twitter 2018.
167. ↑ Brandwatch's 50 Most Influential People on Twitter 2019.
168. ↑ Brandwatch's 50 Most Influential People on Twitter 2021.
169. ↑ 169.0 169.1 Taylor Swift is peak millennial vibes. NPR (October 21, 2022).
170. ↑ 170.0 170.1 170.2 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Brian, Donovan (June 27, 2023). "How Taylor Swift's Eras Tour transcended pop music". MSNBC. Retrieved July 2, 2023.
171. ↑ Communication Lessons from Taylor Swift: Master of the Product Launch.
172. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (October 20, 2022). "How the search for clues in Taylor Swift's music became all-consuming". *The Washington Post*. Archived from the original on October 20, 2022. Retrieved October 20, 2022.
173. ↑ Curto, Justin (December 22, 2020). Did 2020 Kill the Long, Fancy Pop-Album Rollout for Good?.
174. ↑ Gambles, Sarah (July 23, 2023). The ubiquitous power of Taylor Swift.
175. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Friedman, Vanessa (April 24, 2023). "Taylor Swift and the Sparkling Trap of Constant Reinvention". *The New York Times*. Retrieved June 20, 2023.
176. ↑ Template:Cite magazine
177. ↑ Template:Cite magazine
178. ↑ Curto, Justin (December 22, 2020). Did 2020 Kill the Long, Fancy Pop-Album Rollout for Good?.
179. ↑ Kheraj, Alim (November 9, 2022). The curate's Easter egg: how Taylor Swift turned pop into a multiplayer puzzle.
180. ↑ 180.0 180.1 Template:Cite magazine
181. ↑ 181.0 181.1 Template:Cite magazine
182. ↑ 182.0 182.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Horton, Adrian (May 29, 2023). "How Taylor Swift's Eras tour took over America". *The Guardian*. Retrieved May 29, 2023.
183. ↑ Willman, Chris (2022-09-01). Taylor Swift Unveils Three More Album Covers for ‘Midnights’ (en-US).
184. ↑ 184.0 184.1 Template:Cite magazine
185. ↑ 185.0 185.1 Lakritz, Talia. Taylor Swift embarks on her Eras Tour this spring. Here's a guide to every era of her groundbreaking career..
186. ↑ Willman, Chris (2023-08-11). Why Taylor Swift’s Eras Road Trip Feels Like the Career-Capping Beatles Tour That Never Happened.
187. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift album cover boosts vintage Polaroid sales". *The New Zealand Herald*. August 9, 2015. Archived from the original on July 6, 2020. Retrieved October 5, 2020.
188. ↑ Template:Cite magazine
189. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Spicer, André (February 10, 2020). "Taylor Swift's documentary shows why we should stop trying to be 'interesting'". *The Guardian*. ISSN 0261-3077. Retrieved May 9, 2023.
190. ↑ 190.0 190.1 McDuling, John (November 3, 2014). Why Taylor Swift is the most important artist of the millennial era. *Quartz*.
191. ↑ Docter-Loeb, Hannah (November 24, 2021). The Day Brands Became Swifties on Twitter.
192. ↑ Haden, Jeff (November 18, 2021). Taylor Swift Just Proved Her Marketing Genius Once Again—and Brands From Starbucks to Sour Patch Kids Want Her Stardust.
193. ↑ Template:Cite magazine
194. ↑ 194.0 194.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Savaira, Augusta (November 23, 2022). "Welcome to 'Swiftonomics': What Taylor Swift reveals about the U.S. economy". *Los Angeles Times*. Retrieved November 23, 2022.
195. ↑ Pandey, Erica (May 12, 2023). Inside the booming Taylor Swift economy.
196. ↑ Kaplan, Juliana. Welcome to Swift City: When Taylor Swift comes to town, businesses build new bars, prepare thousands of cookies, and welcome over 150,000 Swifties.
197. ↑ Template:Cite magazine
198. ↑ Jeffrey, Jeff (May 3, 2023). How Taylor Swift's Eras Tour boosted Houston's hotels.
199. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Saraiva, Augusta (April 29, 2023). "Video: Taylor Swift's 'Eras' tour ticket prices indicate key things about the US economy, reporter say". CNN. Archived from the original on April 30, 2023. Retrieved April 30, 2023.
200. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Pisani, Joseph (July 23, 2023). "It's Taylor Swift's Economy, and We're All Living in It". *The Wall Street Journal*. Retrieved July 23, 2023.
201. ↑ Jennings, Rebecca (June 1, 2022). Staring down 30 at the Taylor Swift dance party.
202. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Bensadoun, Emerald (November 26, 2022). "Taylor Swift dance parties are the benevolent alternative to clubbing you never knew you needed". *The Globe and Mail*. Retrieved November 28, 2022.
203. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Mahdawi, Arwa (July 26, 2023). "Taylor Swift rules the airwaves! But that's bad news for music". *The Guardian*. Retrieved July 26, 2023.
204. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Solomon, Kate (August 9, 2023). "'I love being part of a collective female experience': inside the all-Taylor Swift club night sweeping the UK". *The Guardian*. ISSN 0261-3077. Retrieved August 13, 2023.
205. ↑ Template:Cite magazine<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Sisario, Ben (November 6, 2014). "Sales of Taylor Swift's '1989' Intensify Streaming Debate". *The New York Times*. Retrieved August 11, 2020.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Rosseinsky, Katie (October 29, 2021). "How Taylor Swift is changing the music industry a re-record at a time". *Evening Standard*. Archived from the original on April 9, 2021. Retrieved April 23, 2021.
206. ↑ 206.0 206.1 206.2 Template:Cite magazine
207. ↑ 207.0 207.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Sisario, Ben (June 21, 2015). "Taylor Swift Criticism Spurs Apple to Change Royalties Policy". *The New York Times*. ISSN 0362-4331. Retrieved May 6, 2023.
208. ↑ 208.0 208.1 208.2 Template:Cite magazine
209. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yassin, Diana (December 5, 2019). "A brief history of streaming services". *The Michigan Daily*. Retrieved May 6, 2023.
210. ↑ Template:Cite magazine
211. ↑ Template:Cite magazine
212. ↑ Patel, Nilay (July 7, 2014). Taylor Swift doesn't understand supply and demand.
213. ↑ Grady, Constance (June 9, 2017). Taylor Swift puts all her music back on streaming, continues to be a PR genius.
214. ↑ Template:Cite magazine
215. ↑ 215.0 215.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Dredge, Stuart (June 21, 2015). "Taylor Swift criticises 'shocking, disappointing' Apple Music". *The Guardian*. ISSN 0261-3077. Retrieved May 6, 2023.
216. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift just took on Apple and won". *The Washington Post*. ISSN 0190-8286. Retrieved May 6, 2023.
217. ↑ 217.0 217.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Apple Music changes policy after Taylor Swift stand". BBC News. June 22, 2015. Retrieved May 6, 2023.
218. ↑ Template:Cite magazine
219. ↑ Template:Cite magazine
220. ↑ Grady, Constance (November 19, 2018). What Taylor Swift's new record deal means for the music industry — and her image.
221. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Comrade Swift's special dividend". *Financial Times*. November 22, 2018. Retrieved May 15, 2023.
222. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Finnis, Alex (November 17, 2020). "Taylor Swift masters: The controversy around Scooter Braun selling the rights to her old music explained". *i*. Archived from the original on February 12, 2021. Retrieved February 13, 2021.
223. ↑ Template:Cite magazine
224. ↑ 224.0 224.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Mitra, Riya Bhattacharjee,Elly Cosgrove,Mallika (November 15, 2019). "Taylor Swift accuses Scott Borchetta and Scooter Braun of 'tyrannical control,' blocking her from performing her old music at AMA". CNBC. Archived from the original on December 10, 2021. Retrieved December 10, 2021.
225. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Henderson, Cydney (April 23, 2020). "Taylor Swift Slams Big Machine's New Unauthorized Live Album as 'Shameless Greed'". *USA Today*. Archived from the original on April 24, 2020. Retrieved April 23, 2020.
226. ↑ Sources on the dispute's media attention

	1. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"2021 was another difficult year. These 100 things made USA TODAY's entertainment team happy". *USA Today*. Archived from the original on December 27, 2021. Retrieved December 28, 2021.
	2. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Niemietz, Brian. "Top newsmakers of 2021 included leaders, losers, killers, entertainers, and a GOAT". *New York Daily News*. Archived from the original on December 28, 2021. Retrieved December 28, 2021.
	3. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Andrew, Scottie; Asmelash, Leah (December 29, 2021). "The pop culture moments of 2021 we couldn't forget if we tried". CNN. Archived from the original on December 29, 2021. Retrieved December 30, 2021.
	4. Template:Cite magazine
	5. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Ruggieri, Melissa (December 29, 2021). "Ye's 'Donda' rollout, Adele's triumphant return and more of 2021's biggest music moments". *USA Today*. Archived from the original on December 29, 2021. Retrieved December 30, 2021.
	6. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"How Taylor Swift reclaimed 2012 to win 2021". *Los Angeles Times*. December 17, 2021. Archived from the original on December 30, 2021. Retrieved December 30, 2021.
227. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Rosseinsky, Katie (November 15, 2021). "How Taylor Swift is changing the music industry a re-record at a time". *Evening Standard*. Archived from the original on April 9, 2021. Retrieved April 19, 2022.
228. ↑ Template:Cite magazine
229. ↑ 229.0 229.1 Seemayer, Zach (November 14, 2019). #IStandWithTaylor: Twitter and Celebs React to Taylor Swift's Music Battle With Scooter Braun. *Entertainment Tonight*.
230. ↑ Template:Cite magazine
231. ↑ Template:Cite magazine
232. ↑ 232.0 232.1 Template:Cite magazine
233. ↑ Template:Cite magazine
234. ↑ Grady, Constance (July 1, 2019). The Taylor Swift/Scooter Braun controversy, explained. *Vox*.
235. ↑ Dionne Warwick Doubles Down on Paying Postage for Taylor Swift's Scarf (December 2021).
236. ↑ Template:Cite magazine
237. ↑ 237.0 237.1 237.2 Template:Cite magazine
238. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Woodward, Ellie. "Here Are All The Celebs Who've Spoken Out in Support Of Taylor Swift After She Exposed Scott Borchetta And Scooter Braun Again". BuzzFeed. Archived from the original on December 6, 2021. Retrieved December 6, 2021.
239. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Peppin, Hayley. "Stars including Selena Gomez and Gigi Hadid have come out in support of Taylor Swift after she accused Scooter Braun and Scott Borchetta of blocking her from performing old songs". Insider Inc. Archived from the original on March 19, 2022. Retrieved December 6, 2021.
240. ↑ Template:Cite magazine
241. ↑ Template:Cite magazine
242. ↑ Sky Ferreira Expresses Support for Taylor Swift Amid Scooter Braun's Acquisition of Swift's Masters (July 1, 2019).
243. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>White, Adam (April 10, 2021). "Taylor Swift fans bombard Kelly Clarkson with praise over unearthed 're-record albums' tweet". *The Independent*. Archived from the original on March 11, 2022. Retrieved March 11, 2022.
244. ↑ Glynn, Paul (July 1, 2019). Taylor Swift v Scooter Braun: Is it personal or strictly business. BBC.
245. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Sisario, Ben; Coscarelli, Joe (July 1, 2019). "Taylor Swift's Feud With Scooter Braun Spotlights Musicians' Struggles to Own Their Work". *The New York Times*. Archived from the original on February 13, 2021. Retrieved February 13, 2021.
246. ↑ 246.0 246.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Rushe, Dominic (November 23, 2019). "Why Taylor Swift and Scooter Braun's bad blood may reshape the industry". *The Guardian*. Archived from the original on February 12, 2021. Retrieved February 13, 2021.
247. ↑ Template:Cite magazine
248. ↑ Template:Cite magazine
249. ↑ Gilligan, Eilish. Taylor Swift's Re-Recordings Expose The Music Industry's Chokehold On Intellectual Property.
250. ↑ Taylor Swift sics fans on Scooter Braun, The Carlyle Group (November 15, 2019).
251. ↑ Nyren, Erin (November 16, 2019). Elizabeth Warren Backs Taylor Swift in Big Machine Battle, Slams Private Equity Firms.
252. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Frias, Lauren. "AOC defends singer Taylor Swift and condemns private equity firms". Business Insider. Archived from the original on February 4, 2022. Retrieved February 4, 2022.
253. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Kelly, Kate; Coscarelli, Joe; Sisario, Ben (November 24, 2019). "How Taylor Swift Dragged Private Equity into Her Fight Over Music Rights". *The New York Times*. ISSN 0362-4331. Archived from the original on December 10, 2021. Retrieved December 10, 2021.
254. ↑ Cullins, Ashley (July 2, 2019). "She Has No Legal Recourse": Why Taylor Swift Won't Sue Scooter Braun to Get Her Masters.
255. ↑ Template:Cite magazine
256. ↑ 256.0 256.1 256.2 Template:Cite magazine
257. ↑ Template:Cite magazine
258. ↑ Template:Cite magazine
259. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (October 12, 2018). "As Taylor Swift's 'Reputation' era starts to wind down, what is she really trying to say?". *The Washington Post*. Retrieved May 13, 2023.
260. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Pallotta, Frank (November 16, 2022). "Taylor Swift tickets listed for thousands on StubHub after millions flood Ticketmaster". CNN Business. Archived from the original on November 16, 2022. Retrieved November 16, 2022.
261. ↑ Template:Cite magazine
262. ↑ Template:Cite magazine
263. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Timsit, Annabelle (December 14, 2022). "Ticketmaster to sell some fans more Taylor Swift tickets after presale fiasco". *The Washington Post*. Archived from the original on December 16, 2022. Retrieved December 15, 2022.
264. ↑ DeVille, Chris (November 16, 2022). Taylor Swift Ticket Debacle: Lawmakers Demand Breakup Of Ticketmaster "Monopoly".
265. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>McCabe, David; Sisario, Ben (November 18, 2022). "Justice Department Said to Investigate Ticketmaster's Parent Company". *The New York Times*. Archived from the original on December 9, 2022. Retrieved November 18, 2022.
266. ↑ Template:Cite magazine
267. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Elbeshbishi, Sarah. "'Industrial-scale ticket scalping.' Senators grill Ticketmaster over Taylor Swift concert fiasco". *USA Today*. Archived from the original on January 24, 2023. Retrieved January 25, 2023.
268. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Tucker-Smith, Owen (June 15, 2023). "How Biden and Taylor Swift beat Ticketmaster". *Los Angeles Times*. Retrieved June 16, 2023.
269. ↑ The 100 Best Songs of 2022 (December 5, 2022).
270. ↑ Template:Cite magazine
271. ↑ 2022's biggest pop culture news stories (December 29, 2022).
272. ↑ Books that Mention Taylor Swift (30 books).
273. ↑ Khan, Fawzia (October 19, 2021). 13 Taylor Swift Songs Most Played In Movies & TV.
274. ↑ Taylor Swift: Her 15 Best Songs (January 2, 2022).
275. ↑ Template:Cite magazine
276. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Wood, Michael (June 2, 2019). "Taylor Swift celebrates Pride Month (and her catalog of hits) at Wango Tango". *Los Angeles Times*. Retrieved May 12, 2023.
277. ↑ Template:Cite magazine
278. ↑ Pompliano, Polina (March 31, 2021). The Profile Dossier: Taylor Swift, America's polarizing pop titan.
279. ↑ Donella, Leah (September 16, 2018). Taylor Swift Is The 21st Century's Most Disorienting Pop Star. NPR.
280. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"The stark warning Taylor Swift would give her 19-year-old self". *The Independent*. April 19, 2016. Retrieved May 8, 2023.
281. ↑ 281.0 281.1 Davis, Allison P. (June 28, 2018). The Taylor Swift Slut-Shaming Continues.
282. ↑ Marwick & Boyd 2011, p. 154.
283. ↑ Skelley, Jemima (November 2, 2022). Every Celeb Taylor Swift Has Beefed With — And Where Those Relationships Stand Now.
284. ↑ 284.0 284.1 Shamsian, Jacob. The full history behind all of Taylor Swift's biggest celebrity feuds.
285. ↑ Cain, Spencer (August 24, 2012). Taylor Swift: Has America's Sweetheart Become Overexposed?.
286. ↑ Template:Cite magazine
287. ↑ James, Emily St (July 21, 2015). The Taylor Swift and Nicki Minaj Twitter feud, explained.
288. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Kelly, Emma (September 26, 2017). "Cardi B throws shade at Taylor Swift after knocking her off number one". *Metro*. Retrieved May 8, 2023.
289. ↑ Adele Is Jealous Of Taylor Swift, Announces This Out Loud To All Her Fans & Says "I'm F\*cking Jealous Of Her..." (March 27, 2023).
290. ↑ Vincent, Brittany (August 28, 2019). Are Demi Lovato and Taylor Swift Feuding? Here's What We Know.
291. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"SZA Sets the Record Straight on Feud Rumors With Taylor Swift". E!. January 6, 2023. Retrieved May 8, 2023.
292. ↑ Bleznak, Becca (March 6, 2020). Taylor Swift Dispels Rumors of a Feud With Ariana Grande Ahead of International Women's Day 2020.
293. ↑ It Sure Looks Like Jake Gyllenhaal Just Trolled Taylor Swift's 'Red' Album.
294. ↑ 294.0 294.1 Template:Cite magazine
295. ↑ Template:Cite magazine
296. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (November 15, 2017). "Taylor Swift avoided and mocked the media with 'Reputation' — and it worked". *Chicago Tribune*. Retrieved May 16, 2023.
297. ↑ Sherman, Carter (December 21, 2021). Taylor Swift Was a Pop Culture Villain. The Pandemic Made Her a Hero..
298. ↑ 298.0 298.1 298.2 Template:Cite magazine
299. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift v Kanye West: A history of their on-off feud". BBC News. October 10, 2018. Retrieved May 8, 2023.
300. ↑ Medford, Grace (July 20, 2016). Criticizing Taylor Swift Isn't About Negativity Towards Successful Women, It's About Vindication.
301. ↑ Voght, Kara (December 22, 2022). The Year Everyone Realized They Were Wrong About Taylor Swift vs. Kanye West.
302. ↑ Grady, Constance (March 21, 2020). Newly leaked footage shows Taylor Swift and Kanye West talking "Famous".
303. ↑ Template:Cite magazine
304. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Gold, Jessica (March 17, 2020). "Taylor Swift, the leader we need now". *The Washington Post*. Retrieved March 18, 2020.
305. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Fishman, Elana (February 5, 2020). "How Taylor Swift's eating disorder reveal helped me come to terms with my own". *New York Post*. Retrieved February 17, 2020.
306. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Esposito, Laura (February 11, 2020). "Taylor Swift's 'Miss Americana' shows that eating disorders can manifest silently". *The Daily Targum*. Retrieved February 17, 2020.
307. ↑ Ricks, Ellen (February 1, 2020). Taylor Swift's eating disorder reveal in Miss Americana has given me hope in my own recovery.
308. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Midena, Kate (February 21, 2020). "Why women say sorry too much and what to say instead". ABC News. Retrieved September 11, 2021.
309. ↑ Gariano, Francesca (February 3, 2020). Nikki Glaser apologizes to Taylor Swift for resurfaced body shaming comments.
310. ↑ Coe, Michael (February 3, 2020). Everyone Is Apologizing To Taylor Swift Now Thanks To 'Miss Americana'.
311. ↑ 311.0 311.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Snapes, Laura (August 24, 2019). "Taylor Swift: 'Pop music can feel like it's The Hunger Games, and like we're gladiators'". *The Guardian*. Archived from the original on August 24, 2019. Retrieved August 24, 2019.
312. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"The Original 300+ Time's Up Signatories". Time's Up. October 21, 2019. Retrieved May 20, 2020.
313. ↑ 313.0 313.1 313.2 Banker, Elizabeth (May 12, 2014). 9 Times Taylor Swift Was Right About Feminism in 2014.
314. ↑ 314.0 314.1 The Taylor Swift Fandom Is White, Suburban and Leans Democratic (March 14, 2023).
315. ↑ Pomanico, Nicole (November 14, 2014). Taylor's Pointing Out Sexism in The Music Industry.
316. ↑ Template:Cite magazine
317. ↑ Template:Cite magazine
318. ↑ Lantos, Eva (September 2, 2021). How internal misogyny has altered everyone's perception of Taylor Swift.
319. ↑ Emily, Yahr (April 11, 2023). Taylor Swift’s breakups defined her early stardom. Not anymore..
320. ↑ 320.0 320.1 March, Ebony (January 31, 2020). Taylor Swift & Amy Poehler's Feud, Explained.
321. ↑ 321.0 321.1 Template:Cite magazine
322. ↑ Did Abercrombie & Fitch Slut Shame Taylor Swift? (June 20, 2013).
323. ↑ Template:Cite magazine
324. ↑ 324.0 324.1 Template:Cite magazine
325. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Ward, Mary (April 20, 2016). "Taylor Swift describes herself as a 'lightning rod for slut-shaming' in Vogue's 73 questions". *The Sydney Morning Herald*. Retrieved May 8, 2023.
326. ↑ 326.0 326.1 Template:Cite magazine
327. ↑ Template:Cite magazine
328. ↑ 328.0 328.1 328.2 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Finkelstein, Sabrina (August 7, 2017). "A Timeline of Events Leading Up to Taylor Swift Groping Trial". *Billboard*. Archived from the original on March 18, 2023. Retrieved May 8, 2019.
329. ↑ 329.0 329.1 Taylor Swift won her day in court. Here's what you need to know. (August 15, 2017).
330. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (August 7, 2017). "Why could Taylor Swift show up in court this week? Here's what to know about her trial". *The Washington Post*. Retrieved February 23, 2022.
331. ↑ 331.0 331.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift wins assault case against DJ". BBC. August 15, 2017. Archived from the original on April 14, 2023. Retrieved May 6, 2019.
332. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift sexual assault case: Why is it significant?". BBC News. August 15, 2017. Archived from the original on March 18, 2023. Retrieved May 9, 2019.
333. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Miller, Julie (August 14, 2017). "Taylor Swift Wins Sexual-Assault Trial, Vows to Help Other Victims". *Vanity Fair*. Retrieved May 7, 2019.
334. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift sexual assault case: Why is it significant?". BBC News. August 15, 2017. Retrieved May 6, 2023.
335. ↑ Template:Cite magazine
336. ↑ Sources on the impact on later country singers

**·** Template:Cite magazine**·** <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Hodgkinson, Will (March 30, 2018). "Pop review: Kacey Musgraves: Golden Hour". *The Times*. Archived from the original on October 31, 2020. Retrieved August 24, 2021.**·** St. Asaph, Katherine (March 9, 2019). Maren Morris: Girl.**·** Template:Cite magazine**·** Template:Cite magazine**·** <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Zoladz, Lindsay (September 11, 2020). "Kelsea Ballerini, Both Sides Now". *The New York Times*. Archived from the original on September 14, 2020. Retrieved August 24, 2021.
337. ↑ What is the Taylor Swift effect and what does it have to do with Fender guitars? (November 5, 2019).
338. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>O'Connor, Roisin (October 18, 2018). "Half of all new guitar players are women, finds study". *The Independent*. Archived from the original on May 26, 2022. Retrieved October 20, 2020.
339. ↑ Template:Cite magazine
340. ↑ 'Midnights' Delivered So Many Badass New Lyrics About Feminism (October 24, 2022).
341. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Valenti, Jessica (November 11, 2014). "Taylor Swift in the Blank Space video is the woman we've been waiting for". *The Guardian*. ISSN 0261-3077. Retrieved May 8, 2023.
342. ↑ Template:Cite magazine
343. ↑ Close, Paris (February 28, 2020). Taylor Swift Introduces Male Alter Ego Tyler Swift In 'The Man' Music Video.
344. ↑ Template:Cite magazine
345. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Friedman, Vanessa (April 24, 2023). "Taylor Swift and the Sparkling Trap of Constant Reinvention". *The New York Times*. Retrieved June 20, 2023.
346. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Hoby, Hermione (August 23, 2014). "Taylor Swift: 'Sexy? Not on my radar'". *The Guardian*. Archived from the original on June 10, 2015. Retrieved November 14, 2020.
347. ↑ 347.0 347.1 347.2 Template:Cite magazine
348. ↑ 348.0 348.1 Template:Cite magazine
349. ↑ Peppin, Hayley (March 9, 2020). A British politician quoted Taylor Swift's 'The Man' during an International Women's Day debate in Parliament.
350. ↑ Template:Cite magazine
351. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Miranda, Natalia A. Ramos (January 25, 2022). "Chile's President-elect Boric sends Taylor Swift 'hugs' over songwriting tiff, goes viral". *Reuters*. Retrieved May 10, 2023.
352. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Navarro, Andrea (June 21, 2023). "Mexico Top Court Justice Explains Why He's a Hard-Core Swiftie". Bloomberg News. Retrieved June 21, 2023.
353. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Pita invites Taylor Swift to Thailand". *Bangkok Post*. July 6, 2023. Retrieved July 6, 2023.
354. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Russell, Nicole (April 3, 2023). "Taylor Swift is a big social liberal, but she clearly loves capitalism, too | Opinion". *Fort Worth Star-Telegram*. Retrieved June 11, 2023.
355. ↑ Template:Cite magazine
356. ↑ Template:Cite magazine
357. ↑ Template:Cite magazine
358. ↑ 358.0 358.1 358.2 358.3 358.4 Bereznak, Alyssa (November 8, 2017). Hearing Both Sides of Taylor Swift.
359. ↑ Template:Cite magazine
360. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Trump once thought Taylor Swift was 'fantastic,' but conservatives have cooled on her". *USA Today*. Retrieved June 11, 2023.
361. ↑ 361.0 361.1 361.2 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Snapes, Laura (August 24, 2019). "Taylor Swift: 'I was literally about to break'". *The Guardian*. Retrieved December 20, 2021.
362. ↑ 362.0 362.1 362.2 362.3 362.4 362.5 362.6 Template:Cite magazine
363. ↑ 363.0 363.1 Turner, Ashley (July 9, 2021). Sen. Marsha Blackburn Steps Up Feud With Taylor Swift: 'First Victim' of Marxist Government.
364. ↑ Rife, Katie (October 29, 2014). All that unites America is Taylor Swift and SportsCenter, Facebook study reveals.
365. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Austin, Ellie (April 18, 2023). "Taylor Swift: the superstar who bridges America's political divide". *The Times*. ISSN 0140-0460. Retrieved May 7, 2023.
366. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Morrow, Allison (January 25, 2023). "One nation, under Swift". CNN. Archived from the original on January 27, 2023. Retrieved January 27, 2023.
367. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Schultz, Brooke (November 22, 2022). "Taylor Swift ticket trouble could drive political engagement". *Associated Press News*. Archived from the original on December 9, 2022. Retrieved November 23, 2022.
368. ↑ The Taylor Swift Fandom Is White, Suburban and Leans Democratic (March 14, 2023).
369. ↑ Template:Cite magazine
370. ↑ 370.0 370.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Hawgood, Alex (November 5, 2010). "For Gays, New Songs of Survival". *The New York Times*. Retrieved July 1, 2022.
371. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>McDermott, Maeve. "Trump once thought Taylor Swift was 'fantastic,' but conservatives have cooled on her". *USA Today*. Retrieved May 7, 2023.
372. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>McDermott, Maeve. "Who did Taylor Swift vote for? Here's why her sweater suggests Hillary". *USA Today*. Retrieved May 7, 2023.
373. ↑ Template:Cite magazine
374. ↑ Jones, Allie (October 17, 2016). Taylor Swift Won't Save Us From Donald Trump.
375. ↑ Template:Cite magazine
376. ↑ Prins 2020, p. 144.
377. ↑ Kircher, Madison Malone (January 31, 2020). Here's the Exact Moment Taylor Swift Decided to Get Political.
378. ↑ Wong, Kathleen (May 24, 2016). Taylor Swift Is an "Aryan Princess" With a Racist Agenda, Say Internet Neo-Nazis.
379. ↑ Template:Cite magazine
380. ↑ 380.0 380.1 Donella, Leah (May 27, 2016). Taylor Swift, Aryan Goddess?. NPR.
381. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Schaefer, Brian (May 26, 2016). "Neo-Nazis Find Appeal in Taylor Swift as 'Aryan Goddess'". *Haaretz*. Retrieved May 7, 2023.
382. ↑ Template:Cite magazine
383. ↑ Strauss, Matthew (November 6, 2017). Taylor Swift Criticized by ACLU After Sending Cease and Desist Letter to Blogger.
384. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Stelloh, Tim (October 8, 2018). "Taylor Swift breaks silence, endorses two Democrats in Tennessee". NBC News. Retrieved May 7, 2023.
385. ↑ 385.0 385.1 385.2 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Durkin, Erin (October 8, 2018). "'She just ended her career: Taylor Swift's political post sparks praise and fury". *The Guardian*. ISSN 0261-3077. Retrieved May 7, 2023.
386. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Gabbatt, Adam (October 12, 2018). "The Taylor Swift effect: Nashville sounds off on singer's political endorsements". *The Guardian*. ISSN 0261-3077. Retrieved May 7, 2023.
387. ↑ Collins, Katie (October 9, 2018). Taylor Swift's Instagram post spurs spike in US voter registration.
388. ↑ Ruiz, Michelle (October 17, 2018). Taylor Swift Has a New Political Message for Her 112 Million Instagram Followers.
389. ↑ Nisbett & Schartel Dunn 2021, p. 26.
390. ↑ Driessen 2022, p. 1060.
391. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Snapes, Laura (August 23, 2019). "Taylor Swift: Trump thinks his presidency is an autocracy". *The Guardian*. ISSN 0261-3077. Retrieved May 7, 2023.
392. ↑ Template:Cite magazine
393. ↑ Marcus, Josh (July 10, 2021). Senator dubbed 'Trump in a wig' by Taylor Swift says 'Marxists' are coming to cancel singer.
394. ↑ Shoaib, Alia (July 10, 2021). Sen. Marsha Blackburn escalates feud with Taylor Swift, says singer would be the 'first victim' of socialism.
395. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Presidential Election Results: Biden Wins". *The New York Times*. November 3, 2020. ISSN 0362-4331. Retrieved May 7, 2023.
396. ↑ Template:Cite magazine
397. ↑ Template:Cite magazine
398. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Díaz, Alexa (August 27, 2019). "Taylor Swift called out the White House at the VMAs. Here's her Equality Act petition, explained". *Los Angeles Times*. Archived from the original on April 12, 2020. Retrieved April 12, 2020.
399. ↑ 399.0 399.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Mitra, Mallika (June 25, 2019). "Taylor Swift's new song 'You need to calm down' drives donations to LGBTQ advocacy group, but not without critics". CNBC. Archived from the original on May 5, 2020. Retrieved April 12, 2020.
400. ↑ Template:Cite magazine
401. ↑ Template:Cite magazine
402. ↑ 402.0 402.1 Harvey, Spencer (June 14, 2019). Fans Celebrate on Twitter After Taylor Swift Shouts Out GLAAD and LGBTQ People in New Pride-Themed Anthem 'You Need to Calm Down'.
403. ↑ Welsh, Caitlin (August 27, 2019). Taylor Swift called out Trump for ignoring her Equality Act petition at the VMAs.
404. ↑ Template:Cite magazine
405. ↑ Henderson, Taylor (September 18, 2019). The 50 Best Gay Anthems of the 2010s.
406. ↑ Template:Cite magazine
407. ↑ Template:Cite magazine
408. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>France, Lisa Respers (June 19, 2020). "Taylor Swift got educated on Juneteenth and wants you to be, too". CNN. Retrieved July 27, 2020.
409. ↑ Template:Cite magazine
410. ↑ Template:Cite magazine
411. ↑ Tremaine, Julie (July 28, 2020). A Brief History of Taylor Swift's Rhode Island Feud.
412. ↑ Template:Cite magazine
413. ↑ Rumpf-Whitten, Sarah (May 19, 2023). Massachusetts lawmakers introduce 'Taylor Swift Bill' to require transparent ticket pricing following debacle.
414. ↑ 414.0 414.1 Template:Cite magazine
415. ↑ 415.0 415.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Salcedo, Andrea; Mark, Julian (June 12, 2023). "Angry Taylor Swift fans push lawmakers to take on Ticketmaster". *The Washington Post*. ISSN 0190-8286. Retrieved June 17, 2023.
416. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Garcia, Ariana (May 23, 2023). "Greg Abbott signs 'Save our Swifties' law to ban ticket-sale bots". *Houston Chronicle*. Retrieved May 23, 2023.
417. ↑ Carver, Jayme Lozano (May 23, 2023). Texas lawmakers ban bots that buy concert tickets after Taylor Swift Eras tour glitch.
418. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Kennedy, Roseann; Côrtes, Gustavo (June 20, 2023). "Deputada propõe 'Lei Taylor Swift' em resposta à ação de cambistas" [Congresswoman proposes 'Taylor Swift Bill' in response to scalper action]. *O Estado de S. Paulo* (in Portuguese). Retrieved June 20, 2023.
419. ↑ Template:Cite magazine
420. ↑ Siroky, Mary (November 9, 2021). Every Taylor Swift Album Ranked from Worst to Best.
421. ↑ Sources on her fashion evolution:

	1. Template:Cite magazine
	2. Template:Cite magazine
	3. Template:Cite magazine
	4. Singh, Olivia. 45 photos that show how Taylor Swift's style has evolved through the years.
	5. Template:Cite magazine
422. ↑ Holt, Emily (July 1, 2011). American Idols: Icons of Stateside Style – Vogue Daily.
423. ↑ Template:Cite magazine
424. ↑ Powell, Hannah Lyons (February 24, 2015). Taylor Swift wins Woman of the Year award – ELLE Style Awards 2015.
425. ↑ Wallace, Francesca (July 19, 2018). All the times Taylor Swift's street style look was worth copying.
426. ↑ Template:Cite magazine
427. ↑ Template:Cite magazine
428. ↑ Template:Cite magazine
429. ↑ Template:Cite magazine
430. ↑ Template:Cite magazine
431. ↑ Template:Cite magazine
432. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Mac Donnell, Chloe (May 19, 2023). "From Gareth Southgate to Taylor Swift: the continuing rise of the waistcoat". *The Guardian*. Retrieved May 20, 2023.
433. ↑ 433.0 433.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Khomami, Nadia (November 15, 2021). "Where's Taylor Swift's scarf – is it in Jake Gyllenhaal's drawer?". *The Guardian*. Archived from the original on March 6, 2022. Retrieved March 6, 2022.
434. ↑ 434.0 434.1 Mercado, Mia (November 16, 2021). Where the Hell Is Taylor Swift's Scarf?.
435. ↑ 435.0 435.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (November 12, 2021). "The story behind Taylor Swift's 10-minute version of 'All Too Well', the song making fans lose their minds". *The Washington Post*. Retrieved March 2, 2023.
436. ↑ Daly, Rhian (November 13, 2021). Taylor Swift's 'All Too Well' short film highlights the emotional power of her storytelling.
437. ↑ Why is Taylor Swift's scarf all the rage right now?.
438. ↑ Flanagan, Hanna (November 23, 2021). Taylor Swift's Red (Taylor's Version) Causes Google Searches for Red Lipstick and Red Scarves to Spike.
439. ↑ The Hat! The Ring! Taylor Swift's 'I Bet You Think About Me' Easter Eggs (November 15, 2021).
440. ↑ Dellatto, Marisa. Taylor Swift's Scarf Explained: Why Everyone Wants To Know Where It Is—And If Jake Gyllenhaal Has It.
441. ↑ Template:Cite magazine
442. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Corr, Julieanne (January 17, 2021). "Taylor photo sparks Swift sales jump for Aran sweaters". *The Times*. Retrieved January 17, 2021.
443. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"A brief history of the cardigan, from Coco Chanel to Taylor Swift". RTÉ. July 27, 2020. Retrieved November 13, 2020.
444. ↑ Taylor Swift's Rs 2 lakh coat from latest album cover sells out (December 15, 2020).
445. ↑ Sales of metallic boots and sequin dresses are soaring as fans dress up for Taylor Swift's Eras tour.
446. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Kavilanz, Parija (May 27, 2023). "Taylor Swift sets summer's hottest dress code: Sequins, boots, cowboy hats". CNN Business. Retrieved May 30, 2023.
447. ↑ Collins, Katie (June 8, 2018). How Taylor Swift flipped online fandom on its head for the better.
448. ↑ How Taylor Swift flipped online fandom on its head for the better.
449. ↑ 449.0 449.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Tilchen, Jordyn (August 21, 2019). "Taylor Swift's Fans Have Known Her For 13 Years — This Is How She's Kept Growing With Them". MTV News. Retrieved May 14, 2023.
450. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift defends fan, gets them tickets after incident at Philadelphia show". CBS News. May 16, 2023. Retrieved May 17, 2023.
451. ↑ Kawa, Katie; Cartlidge, Cherese (December 15, 2016). *Taylor Swift: Superstar Singer*. Greenhaven Publishing LLC. ISBN 978-1-5345-6026-0. https://books.google.com/books?id=tCxmDwAAQBAJ.
452. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (November 15, 2017). "Taylor Swift Avoided and Mocked the Media with 'Reputation.' And It Worked". *The Washington Post*. Archived from the original on October 19, 2020. Retrieved December 25, 2020.
453. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Kaplan, Ilana (January 3, 2018). "Taylor Swift buys homeless pregnant woman a house". *The Independent*. Retrieved May 14, 2023.
454. ↑ Template:Cite magazine
455. ↑ Template:Cite magazine
456. ↑ Sodomsky, Sam (August 19, 2019). Taylor Swift: *Speak Now*.
457. ↑ 457.0 457.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (May 15, 2023). "The bonding experience of watching a Taylor Swift concert from a parking lot". *The Washington Post*. Retrieved May 17, 2023.
458. ↑ Template:Cite journal
459. ↑ Byelousouva 2020, p. 56-57.
460. ↑ Template:Cite magazine
461. ↑ Template:Cite magazine
462. ↑ Template:Cite magazine
463. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Cain, Sian (May 10, 2023). "The Taylor Swift effect: why a mystery book is rocketing up US charts – despite no one knowing anything about it". *The Guardian*. ISSN 0261-3077. Retrieved May 10, 2023.
464. ↑ 464.0 464.1 Canavan & McCamley 2020, p. 222–230.

	1. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Zokovitch, Grace (May 16, 2023). "'A legend's coming:' Taylor Swift mania descends on Boston ahead of weekend concerts". *Boston Herald*. Retrieved May 29, 2023.
	2. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift mania explained". CBS News. May 26, 2023. Retrieved May 29, 2023.
	3. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>O'Reagan, Ellen (July 14, 2023). "Swiftflation: star's pulling power likely to push up prices". *The Irish Times*. Retrieved July 15, 2023.
466. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Bream, Jon (June 24, 2023). "Taylor Swift delivers the most fan-fulfilling concert of all time in Minneapolis". *Star Tribune*. Retrieved June 24, 2023.
467. ↑ 467.0 467.1 Now We Got Bad Blood. Graphika (April 12, 2023).
468. ↑ 468.0 468.1 468.2 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Guiterrez, Lisa (May 24, 2023). "Taylor Swift and her fans are such a phenomenon, this KU professor is studying them". *The Kansas City Star*. Retrieved June 5, 2023.
469. ↑ 469.0 469.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Yahr, Emily (October 20, 2022). "How the search for clues in Taylor Swift's music became all-consuming". *The Washington Post*. Retrieved May 29, 2023.
470. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Kheraj, Alim (November 9, 2022). "The curate's Easter egg: how Taylor Swift turned pop into a multiplayer puzzle". *The Guardian*. ISSN 0261-3077. Retrieved May 5, 2023.
471. ↑ 471.0 471.1 Unterberger, Andrew (October 22, 2014). The Complete Taylor Swiftology: A Glossary Of Symbols.
472. ↑ Template:Cite magazine
473. ↑ Attributed to many sources:

**·** Template:Cite magazine
**·** <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Nicholson, Rebecca (February 5, 2022). "Richard Moore: even spies don't want to see our Wordle solutions". *The Guardian*. Retrieved October 19, 2022.
**·** Crucchiola, Jordan (August 16, 2019). Let's Speculate Wildly About the Meaning of Taylor Swift's Lover Song Titles.
474. ↑ Gomez, Dessi (2023-08-10). Taylor Swift Reveals ‘1989 (Taylor’s Version)’ Release Date (en-US).
475. ↑ Tiffany, Kaitlyn (October 17, 2021). With fall comes the return of a fantastic pop culture mystery.
476. ↑ 476.0 476.1 Ahlgrim, Callie. How Taylor Swift's scarf went from an innocent accessory to Jake Gyllenhaal's worst nightmare.
477. ↑ Template:Cite magazine
478. ↑ Tiffany, Kaitlyn (October 17, 2017). With fall comes the return of a fantastic pop culture mystery.
479. ↑ Sources on Gaylor:

	* <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Smith, Rebecca (October 28, 2022). "The 'Gaylors' are showing us the toxic sides of celebrity culture". *The Michigan Daily*. Retrieved May 29, 2023.
	* <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Picker, Liora. "Taylor Swift 'Gaylor' theories might entice or entertain, but they also invade". *The Daily Targum*. Retrieved May 29, 2023.
	* Template:Cite magazine
	* Grady, Constance (October 19, 2022). Let's go down the rabbit hole of Taylor Swift conspiracy theories.
480. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Matty Healy exposed the dark side of the Taylor Swift parasocial fantasy". MSNBC. June 6, 2023. Retrieved June 7, 2023.
481. ↑ Rascoe, Ayesha (April 17, 2023). Taylor Swift fans are upset over reports of her breakup. A psychologist explains why. NPR.
482. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Garfinkle-Crowell, Suzanne (June 17, 2023). "Taylor Swift Has Rocked My Psychiatric Practice". *The New York Times*. Retrieved June 17, 2023.
483. ↑ Template:Cite magazine
484. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Winograd, Morley; D. Hais, Michael (January 29, 2010). "Move over Kanye West, Taylor Swift, and the Millennial generation are taking over music". *The Christian Science Monitor*. Retrieved October 30, 2021.
485. ↑ Template:Cite magazine
486. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"What Taylor Swift tells us about millennials". *National Post*. October 6, 2015. Retrieved October 30, 2021.
487. ↑ The 17 Musicians Gen Z & Millennials Say Represent Their Generations (October 8, 2019).
488. ↑ Kidd, Joel (March 2, 2020). Taylor Swift Is the Surprising Face of Millennial Anxiety.
489. ↑ Nicolau, Elena (November 29, 2022). How Taylor Swift is transforming millennial weddings.
490. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Ditum, Sarah (October 8, 2022). "Taylor Swift: the Bob Dylan of our age". *The Times*. Archived from the original on December 24, 2022. Retrieved October 9, 2022.
491. ↑ Slanksy, Paul (June 10, 2023). The Rise of the Senior Swiftie.
492. ↑ These Are 2019's Most Admired Women in the World. Global Citizen (July 19, 2019).Smith, Matthew (September 25, 2020). Barack and Michelle Obama are the World's Most Admired.World's most admired 2021 (December 14, 2021).
493. ↑ Attributed to several sources: Corrigan, Drew. Kobe Bryant Surprises Taylor Swift with Banner at Staples Center.Template:Cite magazineThe top 10 athlete superfans of Taylor Swift (November 8, 2017).Kane, David (November 4, 2022). Sorry, Midnights stans: Iga "Swiftie" Swiatek prefers Folklore and Evermore.Reid, Whitelaw (July 26, 2021). How Pop Star Taylor Swift Helped Incoming UVA Swimmer Win an Olympic Silver Medal.Olympian Mikaela Shiffrin on Taylor Swift, the importance of music. WCNC Charlotte (January 31, 2022).
494. ↑ Ahlgrim, Callie (March 18, 2022). How Taylor Swift inspired a new generation of singer-songwriters, in their own words.
495. ↑ Kemp, Sam (January 27, 2022). The surprising Paul McCartney song inspired by Taylor Swift.
496. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>M, Anagha (June 3, 2022). "Pop rock outfit 5 Seconds of Summer have shed their boy band image and are ready to wow fans with a new album". *The New Indian Express*. Retrieved June 3, 2022.
497. ↑ 497.00 497.01 497.02 497.03 497.04 497.05 497.06 497.07 497.08 497.09 497.10 Template:Cite magazine
498. ↑ 498.0 498.1 Manfred, Tony. Adele's new single is her most pop-y song ever, and it's all because she heard a Taylor Swift song on the radio and got obsessed.
499. ↑ Rashed, Mohamed (July 22, 2020). #WaraElMazzika: Rising Libyan Pop Star Bahjat on His Yom Wara Yom Collab With Deezer, Future Plans and More.
500. ↑ Thompson, Gayle (February 10, 2020). Kelsea Ballerini Credits Taylor Swift With Inspiring Her to Move to Nashville. PopCulture.com.
501. ↑ Stefano, Angela (April 30, 2021). Interview: Priscilla Block Loves Hard, Breaks Harder on Debut EP.
502. ↑ Stark, Phyllis (May 26, 2017). Chartbreaker: Bailey Bryan on Taylor Swift's Influence and How Spinal Surgery Inspired Her Breakout Single.
503. ↑ Template:Cite magazine
504. ↑ Template:Cite tweet
505. ↑ Template:Cite magazine
506. ↑ The Chainsmokers On Rising Hit "Roses". *Idolator* (November 23, 2015).
507. ↑ Scott, Jason (March 29, 2016). Daya Discusses Her New Single 'Sit Still, Look Pretty,' Teases Debut Full-Length. *PopDust*.
508. ↑ Billie Eilish Hilariously Reacts to Britney Spears Playing Her Music. *Entertainment Tonight* (July 20, 2020).
509. ↑ 509.0 509.1 509.2 509.3 509.4 Still 'Fearless': Re-Recording The Past On Taylor's Version. NPR (April 12, 2021).
510. ↑ Template:Cite magazine
511. ↑ Ruth, Wolfgang (April 30, 2021). 7 Influences on girl in red's Debut, From (Yes) Taylor Swift to a Serious Lack of Serotonin.
512. ↑ Selena Gomez Inspired By Taylor Swift On Her New "Grown-Up" Album 'Stars Dance'. Capital FM (July 25, 2013).
513. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Taylor Swift is an inspiration to me: Ellie Goulding". *The Indian Express*. December 16, 2013. Archived from the original on April 17, 2016. Retrieved March 29, 2016.
514. ↑ Loren Gray on Taking Her Image Back and Being a Taylor Swift Superfan (April 21, 2023).
515. ↑ Template:Cite magazine
516. ↑ Krueger, Jonah (July 20, 2022). Maya Hawke on Being Inspired by Taylor Swift's Folklore, Finding Confidence, and Stranger Things. Yahoo! Lifestyle.
517. ↑ Niall Horan: 'Taylor Swift is one of the greatest songwriters of her generation' (April 9, 2020).
518. ↑ LE SSERAFIM Sings 'Antifragile', Taylor Swift, and Seventeen in a Game of Song Association (January 4, 2023).
519. ↑ Shiba, Nasuke (February 3, 2021). YOASOBI Ayaseとikuraが語る音楽を駆ける「無二の夢」 (Japanese). Retrieved on June 22, 2023.
520. ↑ Template:Cite tweet
521. ↑ Template:Cite magazine
522. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Exclusive: Little Mix Are HUGE Fans Of Taylor Swift: "She's Lovely To Be Around"". Capital FM. September 27, 2015. Retrieved April 2, 2021. She's just very inspiring, just being with her, being on stage with her, we learned a lot. She's incredible.
523. ↑ 前田敦子、テイラー・スウィフトと対談で歓喜のハグ (Japanese) (November 22, 2022). Retrieved on June 22, 2023.
524. ↑ Tate McRae Talks Taylor Swift's Inspiration & The Songs That Made Her (March 27, 2021).
525. ↑ Shawn Mendes Honours Taylor Swift With Heartfelt Letter On How She's Inspired Him (April 17, 2019).
526. ↑ Template:Cite magazine
527. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Kornhaber, Spencer (April 14, 2023). "How Taylor Swift Infiltrated Dude Rock". *The Atlantic*. Retrieved April 14, 2023.
528. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Schiller, Rebecca (September 3, 2018). "Get to Know 'Somebody Special' Singer-Songwriter Nina Nesbitt: Watch". *Billboard*. Retrieved January 1, 2020.
529. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Indonesian singer Niki opened for Taylor Swift when she was 15". *Toronto Star*. July 17, 2019. Retrieved October 20, 2020.
530. ↑ Cerio, Michael (February 11, 2020). Exclusive: Finneas on His Secret Sibling Language With Billie Eilish and Those Taylor Swift Rumors.
531. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Ragusa, Paolo (March 25, 2022). "Christina Perri on New Single "Evergone" and the Influence of Taylor Swift's folklore and evermore". *Consequence*. Retrieved March 25, 2022.
532. ↑ Template:Cite magazine
533. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Seaman, Duncan (August 1, 2019). "Freya Ridings on her meteoric rise to fame and her debut album". *The Yorkshire Post*. Retrieved April 2, 2021.
534. ↑ Anwar, Raaita (December 23, 2022). Taylor Swift’s Influence on Rising Pop Artists all over the globe including Vijay and others.
535. ↑ Template:Cite magazine
536. ↑ BIOGRAPHY (Japanese). Ruann.jp. Retrieved on August 2, 2019.
537. ↑ Wass, Mike (November 25, 2015). Popping Up: Ruth B.
538. ↑ Richards, Will (May 31, 2022). Rina Sawayama says her new album is inspired by the "fake stories" on Taylor Swift's Folklore.
539. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Slayyyter Is 2018 Pop, Inspired By 2007 Britney, Lindsay, and Paris". *Paper*. October 15, 2018. Retrieved July 6, 2021.
540. ↑ Template:Cite magazine
541. ↑ Paul, Larisha (October 5, 2022). We've Got A File On You: Hailee Steinfeld.
542. ↑ Template:Cite magazine
543. ↑ Template:Cite magazine
544. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Akingbade, Tobi (March 2, 2019). "The Vamps reveal they really want to work with Taylor Swift again". *Metro*. Retrieved May 11, 2023.
545. ↑ Template:Cite magazine
546. ↑ Ahlgrim, Callie (May 8, 2021). Olivia Rodrigo has full control of her masters because she paid attention to Taylor Swift's battle over her music.
547. ↑ Garner, Glenn (June 5, 2021). Joe Jonas Wants to Re-Record the Jonas Brothers' Debut Album: 'Like What Taylor Swift Did'.
548. ↑ Brodksy, Rachel (March 11, 2022). We've Got A File On You: Bryan Adams.
549. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Dearmore, Kelly (March 9, 2022). "Cody Canada Takes Ownership of His Art and Musical Past Thanks to Taylor Swift". *Dallas Observer*. Archived from the original on March 13, 2022. Retrieved March 12, 2022.
550. ↑ Template:Cite magazine
551. ↑ 551.0 551.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Ashanti says Taylor Swift helped her feel 'empowered' in her decision to re-record debut album". ABC News. Archived from the original on May 12, 2022. Retrieved May 13, 2022.
552. ↑ Template:Cite tweet
553. ↑ Template:Cite magazine
554. ↑ 554.0 554.1 Template:Cite magazine
555. ↑ Rita Ora inspired by Prince to take control.
556. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Offset is the Taylor Swift of rap". Yahoo! News. Retrieved April 5, 2023.
557. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"The Taylor Swift Effect: How She Helped Opening Acts, Camila Cabello, Shawn Mendes, and Ed Sheeran Become Superstars". E!. May 8, 2018. Retrieved May 8, 2023.
558. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Goldsbrough, Susie (July 1, 2023). "Beabadoobee: I dreamt of being Taylor's support act. Now we're on tour". *The Daily Telegraph*. Retrieved July 1, 2023.
559. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Rosen, Jody (March 12, 2020). "Jack Antonoff Is Only Making Music With Friends". *The New York Times*. ISSN 0362-4331. Retrieved May 9, 2023.
560. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Pareles, Jon (August 19, 2021). "How Aaron Dessner Found His Voice (With an Assist From Taylor Swift)". *The New York Times*. ISSN 0362-4331. Retrieved May 9, 2023.
561. ↑ Template:Cite magazine
562. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"Jenny Han, author behind "The Summer I Turned Pretty" series, on how Taylor Swift's music played a role in her writing". CBS news. June 27, 2022. Retrieved August 12, 2022.
563. ↑ Template:Cite magazine
564. ↑ Template:Cite magazine
565. ↑ Dominick, Nora (September 19, 2022). Jennifer Kaytin Robinson Talks "Do Revenge" Music, Working With Camila Mendes and Maya Hawke, And More. BuzzFeed.
566. ↑ Template:Cite magazine
567. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Hills, Megan C. (August 27, 2019). "John Travolta mistakes a drag queen for Taylor Swift at VMAs". *Evening Standard*. Retrieved July 22, 2023.
568. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Tan, Rebecca (July 21, 2023). "A Taylor Swift drag queen rises in the Philippines". *The Washington Post*. Archived from the original on July 22, 2023. Retrieved July 22, 2023.
569. ↑ 569.0 569.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Smith, Rachel (July 11, 2023). "Indiana University to host 'Taylor Swift: The Conference Era' in November". *The Herald-Times*. Retrieved July 12, 2023.
570. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Opperman, Jeff (March 12, 2021). "Taylor Swift Is Singing Us Back to Nature". *The New York Times*. Retrieved August 23, 2022.
571. ↑ Hobbs & Gallup 2011.
572. ↑ Template:Cite magazine
573. ↑ Template:Cite magazine
574. ↑ Template:Cite magazine
575. ↑ Cultural Studies: Theory into Practice | Department of English.
576. ↑ 'Life is just a classroom': STU students receive credit for studying Taylor Swift (October 20, 2022).
577. ↑ UT English Course Takes a Swift Turn.
578. ↑ 34 Cool Classes at Binghamton University – Blog – Binghamton University (November 11, 2022).
579. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Armanini, Kate (April 12, 2023). "Berklee College of Music to offer Taylor Swift songwriting course next semester". *The Boston Globe*. Retrieved May 6, 2023.
580. ↑ Template:Cite magazine
581. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Vaziri, Aidin (June 21, 2023). "Stanford gives Taylor Swift fans another course on singer's songwriting skills". *San Francisco Chronicle*. Retrieved June 21, 2023.
582. ↑ Taylor Swift and Literature – Queen Mary Summer School.
583. ↑ COLL 167 001.
584. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Kassam, Ashifa (August 13, 2023). "Belgian university launches Taylor Swift-inspired literature course". *The Guardian*. Retrieved August 13, 2023.
585. ↑ Aniftos, Rania (August 15, 2023). Taylor Swift Is the Subject of a New University Course on Social Psychology.

### Cited literature

* Template:Cite journal
* Byelousouva, Anastasia (May 13, 2020). Staying Fearless: A Text Analysis of Vulnerability & Connection Through Taylor Swift's Artistry.
* Template:Cite journal
* Conroy, Tyler (October 11, 2016). *Taylor Swift: This Is Our Song*. Simon and Schuster. p. 156. ISBN 978-1-5011-4346-5. https://books.google.com/books?id=5qgxDQAAQBAJ&dq=9781501143465&pg=PA263.
* Template:Cite journal
* Template:Cite journal
* Template:Cite journal
* Template:Cite journal
* Template:Cite journal
* Template:Cite journal
* Template:Cite journal
* Template:Cite journal
* Perone, James E. (2017). *The Words and Music of Taylor Swift*. The Praeger Singer-Songwriter Collection. ABC-Clio. p. 51. ISBN 978-1440852947.
* Template:Cite journal
* Template:Cite journal
* Template:Cite journal

Cite error: `<ref>` tags exist for a group named "note", but no corresponding `<references group="note"/>` tag was found