Tracy ❤️‍🔥

This man spoke highly of Taylor before he even met her. Now that they're together, he literally gushes over her. That's it. No one else matters.

This is exactly what Pope Leo XIV is fighting against.

Pope Leo XIV on AI: “Artificial intelligence needs to be disarmed. The word [disarmed] is strong I know, but deliberately chosen because this moment needs words capable of attracting attention, awakening consciences, and indicating paths forward for humanity.”

-who's your most streamed artist? me:

Presenting our 2026 opponents as sourdough... a bread thread if you will 🥖 Starting saucy with KC BBQ 🧵

@KJM_withaview I got it too!

I just got a bizarre DM from a "hacked" account from a moot many of us follow. Very bizarre, deleted right away. Have you seen it? I'm relecutant to put the accounts name, maybe I should? But if you did get a weird DM you'd know what I'm talking about.

To infinity and the garage

taylor swift isn’t greedy enough because why isn’t this version available on spotify?

Part 2. Taylor Swift was 15 when she signed the contract that handed over the rights to every song she would record for 13 years. She was 28 when she signed the next one. Same person, two very different deals. The reason the second deal looks the way it does is because she lived through the first. In 2005, Swift signed with Big Machine Records, a brand-new Nashville label. Six albums over 13 years. Her father picked up a 3% stake in the label as part of the agreement. Big Machine owned every recording she made. Her debut album, then Fearless, Speak Now, Red, 1989, and Reputation. All of it owned by someone else. When that contract ended in November 2018, Big Machine was already up for sale. Swift tried to buy back her old recordings. According to her, the only deal on offer required her to record one new album for every old one she wanted back. She refused. That same month, with her old recordings about to go to the highest bidder, she signed with Universal Music's Republic Records. She insisted on three things. She would own the recordings of every album going forward. Her share of every sale roughly tripled, from a reported 10-15% to over 50%. And the Spotify clause: any money Universal made from selling Spotify shares had to be paid to every Universal artist, in cash, even artists who owed money back to the label. The first two clauses were for her. The third one, she could have kept just for herself. She didn't. Seven months later, music manager Scooter Braun bought Big Machine for around $300 million. Swift's old recordings made up roughly 80% of the label's revenue. She had no say. A year and a half after that, Braun sold her recordings to an investment firm called Shamrock Capital for around $405 million. She had no say in that sale either. So she did the only thing she could. She started re-recording her old albums. Fearless (Taylor's Version) came out in April 2021, then Red, then Speak Now, then 1989. The Eras Tour, built around the re-recordings, grossed roughly $2.2 billion. In May 2025, Shamrock Capital finally sold the original recordings back to her for $360 million. It had taken 20 years. This week, the clause she fought for in 2018 finally pays out. Hundreds of millions of dollars are landing in Universal artists' bank accounts. Most of those artists never had to take on a label the way Swift did. She did it for them eight years ago, while her own catalog was being sold out from under her.

Universal Music is selling $1.4 billion in Spotify shares. It paid nothing for them. Spotify handed the shares over in 2008 just for letting Spotify play music, and the deal was set up so almost none of that money would ever reach the artists who made the music. Taylor Swift's 2018 contract changed that. Back in 2008, Spotify was a small Swedish startup that needed songs to play. The big record labels had the songs. They had no reason to hand them over cheap, so the two sides cut a deal. Spotify gave them shares. The labels gave Spotify the right to play their music. Universal walked away with 5%. That stake later grew to 7% when Universal bought EMI and rolled EMI's 2% into its own. Then it drifted back to 3% as Spotify took on more investors and shrank everyone's slice. At today's prices, 3% of Spotify is worth about $2.7 billion. Universal sat on those shares for 18 years and never sold a single one. Until yesterday. Most artists never see royalty money. When a label signs you, it pays you an advance to live on while you make the album. It also covers your studio time, your music videos, your marketing, your tour. All of those costs go on a tab. The label keeps every dollar your music earns until you clear that tab. Berklee, the music school in Boston, says as many as 96% of major-label artists never earn enough to clear it. They stay in the red their entire careers. Sony moved first in 2018. It sold half its Spotify shares for $768 million and paid $250 million directly to its artists in cash, no matter how much each one still owed. Warner followed a few months later. It sold all of its Spotify shares for $504 million and said $126 million would go to its artists too. Warner played it differently. Most of that money went to pay down what those artists already owed, instead of putting fresh cash in their pockets. Taylor Swift was negotiating her own deal with Universal that same year. She refused to sign unless Universal put the Sony version of the rule in her contract. Cash to artists, no matter what they owed. She wrote at the time that the clause "meant more to me than any other deal point." Universal had said publicly in March 2018 it would share Spotify money with artists. But it had not put the cash-not-credit rule in writing. Swift's contract, signed eight months later, did. Universal is finally selling. Hundreds of millions of dollars in cash are about to land in artists' bank accounts, including artists who have spent years or decades in the red and would otherwise get nothing from a sale like this. Most of those artists have never met Taylor Swift. All of them benefit from a single line she insisted on eight years ago.

taylor's family and friends telling her she's never been more herself than she is rn and the way her confidence her charm,charisma and wittiness oozes through her in every interview she's done this past year is absolutely beautiful and a sight to behold.

“THEY MEANT WELL” PLSSS WE’VE BEEN SAYING

Talking about songwriting > Talking about anything else. Thank you @joecoscarelli and @nytmag. I had the (NY) Time of my life 😎 📷: Stefan Ruiz 🎥: Joshua Charow  nytimes.com/taylorswift

🚨| Taylor Swift talking about her songwriting for The New York Times

@chiefsanddawgs Happy Easter ✝️

He is Risen! happy Easter everyone!

Lemme get a "hell yeah"

It ain’t new. 😎

@chiefsanddawgs Showing his true colors.

this is what you don't do. you take your loss like a man. geez geno retire you POS.

the real world

A big F U to everyone who said shit about this album when it came out, saying it was too bright, too happy, too corny and that you missed the miserable side of her. F*CK U!

"it is clear that the only person taylor will ever be competing with, is herself" LET THEM BITCHES KNOW WHATS UP RAYE