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New York Post
2 days ago
- Entertainment
- New York Post
Kamala Harris campaign staffers warned not to reach out to Taylor Swift: ‘Doug Emhoff was handling it'
Doug Emhoff was tasked with getting Taylor Swift to stump for his wife, Kamala Harris, on her ill-fated 2024 presidential campaign — but failed to seal the deal, according to a new book. Rumors swirled on Election Day eve that the chart-topping pop star would perform, or at least make an appearance, at the then-vice president's final rally in Philadelphia, near Swift's hometown of West Redding, Pa. The 'Love Story' singer, however, had apparently already rebuffed the former second gentleman's efforts to get her to do anything more than endorse the failed Democratic presidential nominee, journalists Josh Dawsey, Tyler Pager and Isaac Arnsdorf explain in their forthcoming book, '2024: How Trump Retook the White House and the Democrats Lost America.' Advertisement 3 Swift endorsed Harris after her only debate with Trump last September, but never appeared on the campaign trail for the Democratic presidential TAS Rights Management 'Swift proved to be a special challenge,' the authors of the new book, due out Tuesday, explained. 'Staffers who worked on celebrity appearances were instructed not to make any outreach to her universe; Doug Emhoff was handling it.' Emhoff, a former Los Angeles entertainment lawyer, had a prior relationship with Swift's attorney, Doug Baldridge, and had reached out to him 'to convey that the campaign would appreciate any efforts the pop star could make to help Harris' before Swift's surprise post-debate endorsement, the book claimed. Advertisement Baldridge's devastating response to the Harris camp was: 'Swift would do what Swift thought was best.' 'Nothing more than the endorsement ever materialized,' the authors noted. Philadelphia rally-goers were instead treated to speeches and performances by Fat Joe, Lady Gaga, Ricky Martin, The Roots, and Oprah Winfrey. The Harris campaign put on several star-studded concerts in the days leading up to the former vice president's Election Day defeat. Advertisement Katy Perry, Christina Aguilera, Megan Thee Stallion, Bruce Springsteen, Jon Bon Jovi, 2 Chainz and Mumford & Sons were among other artists and musical acts that lent their talents to the Harris campaign in an apparent effort to get low-propensity voters out to the polls. Grammy Award-winning artists Beyonce, Cardi B and Jennifer Lopez also appeared on the stump for Harris, but didn't perform — upsetting some Harris supporters. 3 The Harris campaign reportedly spent tens of millions of dollars on concerts in the run up to Election Day. Tamara Beckwith/NY Post 3 Harris campaign staffers working on celebrity outreach were instructed not to make overtures to Swift's camp because Emhoff was working on roping her in, according to a new book. Bruce Glikas/WireImage Advertisement The series of election eve concerts alone reportedly set the campaign back $20 million. The performances were held in swing states that all went for President Trump the following day. 'Privately, some campaign staff raised concerns that the major rallies may not be worth the millions of dollars they cost to stage or the staff investment,' the authors stated, noting that 'There was scant evidence that the rallies were persuading voters or necessarily boosting turnout.'
Grazia USA
27-06-2025
- Entertainment
- Grazia USA
Travis Kelce Gushes Over His Favourite Taylor Swift Song
Travis Kelce and Taylor Swift on stage, during 'Taylor Swift | The Eras Tour' at Wembley Stadium on June 23, 2024, in London, England. (Photo by Gareth Cattermole/TAS24/Getty Images for TAS Rights Management ) While many may have their own favourite Taylor Swift song, not everyone can say theirs is (reportedly) written about them like Travis Kelce can. After this weekend's Tight End University events, which Swift attended with Kelce, the NFL podcast 'Bussin' with the Boys' dropped a video of the attending players being asked to reveal their favourite song by the Grammy-winning singer. This included her very own boyfriend, the Kansas City Chiefs' tight end. Kelce shared that his favourite track is 'So High School' off her latest album, The Tortured Poets Department. The song's lyrics are thought to be a nod to Kelce and Swift's relationship, with lines like 'You know how to ball, I know Aristotle,' referencing his football career. Travis Kelce, left, and Taylor Swift react as the Edmonton Oilers and the Florida Panthers play during the first period in Game Four of the 2025 Stanley Cup Final at Amerant Bank Arena on June 12, 2025, in Sunrise, Florida. (Photo by) This isn't the first time the player has given this answer, as over a year ago, he said something similar to People . 'I might be a little biased to 'So High School'. When he was asked to sing a little of the song this time around, he chuckled, stating he was 'too nervous.' In the clip, several other players were also asked their opinions, with the rest not being afraid to show off their karaoke skills. Some of the listed favourites included 'Shake it Off', 'Love Story', and '22'. Taylor Swift and Travis Kelce have dinner at Waverly Inn on October 15, 2023, in New York City. (Photo by Gotham/GC Images) Co-founded in 2021 by Kelce, Tight End University is an annual three-day event dedicated to players in the tight end position. The experience is designed to allow players to bond, learn, and collaborate with one another. It is then followed by a 'Tight Ends & Friends' concert for all attending and a 'Ladies Luncheon' for partners of the players. Swift was seen attending some of these events with Kelce this year, including the concert, where she took the stage with Kane Brown to sing 'Shake It Off' in a surprise performance. topics: Travis Kelce, Taylor Swift, NFL, taylor and travis, The Tortured Poets Department, celebrity, celebrity news, celebrity couples, music, Music News, entertainment
Forbes
22-06-2025
- Entertainment
- Forbes
Sabrina Carpenter Reaches A New Career Peak With Her Latest Bestseller
Sabrina Carpenter's 'Manchild' debuts at No. 1 on the Hot 100 and Streaming Songs charts, while she ... More hits a career-high No. 3 on the Digital Song Sales list. MEXICO CITY, MEXICO - AUGUST 24: EDITORIAL USE ONLY. NO BOOK COVERS. Sabrina Carpenter performs onstage during the "Taylor Swift | The Eras Tour" at Foro Sol on August 24, 2023 in Mexico City, Mexico. (Photo by Hector Vivas/TAS23/Getty Images for TAS Rights Management) 'Manchild' by Sabrina Carpenter is already one of the biggest hits of 2025, and it earns that distinction as it enjoys a high-profile entrance on numerous Billboard charts. The tune, which introduces the singer's upcoming album Man's Best Friend, debuts inside the top five on most of the tallies it appears on, and the cut even starts at No. 1 on several charts. The new release even brings Carpenter to a new career high on one particularly competitive list. Sabrina Carpenter's New Single Opens at No. 3 Carpenter's latest single opens at No. 3 on the Digital Song Sales chart. Luminate reports that in its first full tracking frame, 'Manchild' sold just under 5,600 copies — a fairly healthy sum in today's streaming-focused music industry. Sabrina Carpenter's New Career High That No. 3 placement now stands as Carpenter's career-best showing on the Digital Song Sales tally. Until this week, she had only appeared inside the top five with one track. 'Taste,' a single from her most recent full-length Short n' Sweet, debuted in that region in September 2024, stalling at No. 5. In addition to 'Manchild' and 'Taste,' Carpenter has also cracked the top 10 on the Digital Song Sales chart with two other tracks, 'Espresso' and 'Please Please Please.' Those singles from Short n' Sweet also spent time inside the competitive region, as 'Espresso' peaked at No. 6 in June 2024, while 'Please Please Please' climbed as high as No. 7 during the same frame. Sabrina Carpenter Follows Only Oliver Anthony Music Carpenter earns the second-highest debut this week on the Digital Song Sales tally, and she is edged out only by 'Scornful Woman,' the latest release from Oliver Anthony Music. That track opens in the runner-up spot, beating Carpenter's latest by roughly 200 copies. The list is once again led by 'Ordinary' by Alex Warren, which remains one of the breakout smashes of 2025. 'Manchild' Launches at No. 1 A healthy sales figure helps 'Manchild' debut at No. 1 on the Hot 100. It earns Carpenter her second champion and fourth top 10 on the tally of the most consumed songs in the U.S., which also factors in streaming activity. Plays on Spotify, iHeartRadio, Apple Music, Tidal and other sites also played a major role in the tune's immediate success, as the track launches at No. 1 on the all-genre Streaming Songs chart. Radio support contributes to a song's placement on the Hot 100 as well, and while 'Manchild' earns notable debuts on both the Pop Airplay and Adult Pop Airplay rankings, it misses the Radio Songs chart for now.
Forbes
16-06-2025
- Entertainment
- Forbes
Taylor Swift Matches Her Career-Best Showing As Her Albums Surge
Taylor Swift charts 11 albums on the Billboard 200 this week, matching her all-time career best ... More showing as fans revisit her catalog. GLENDALE, ARIZONA - MARCH 17: Editorial use only and no commercial use at any time. No use on publication covers is permitted after August 9, 2023. Taylor Swift performs onstage for the opening night of "Taylor Swift | The Eras Tour" at State Farm Stadium on March 17, 2023 in Swift City, ERAzona (Glendale, Arizona). The city of Glendale, Arizona was ceremonially renamed to Swift City for March 17-18 in honor of The Eras Tour. (Photo byfor TAS Rights Management) Taylor Swift is once again the queen of the Billboard 200, as several of her full-lengths return to the ranking of the most consumed albums in America. Her entire catalog is surging following the announcement that she has acquired the rights to all the music she's ever made, as that exciting news prompted her legion of followers to rush to stream and buy many of her older efforts—ones that had largely been overlooked for years. This week, she occupies double-digit spaces on the Billboard 200 — an almost unheard-of feat for nearly any other artist, but one she's managed numerous times before. The singer-songwriter claims 11 spots on the Billboard 200 this frame, matching her best showing ever on the list in terms of total number of spots she's filled at one time. According to Billboard, Swift has now appeared in exactly 11 spaces on the tally 31 times during her career. Four of Swift's titles return to the Billboard 200 this week. Leading the group is her self-titled debut, which rockets back onto the list at No. 64. It's closely followed by 1989, which reenters at No. 73. These two efforts are the only ones from her early discography that have not yet been re-released as Taylor's Versions, so they are now enjoying the greatest boost in streams and sales as fans feel more comfortable supporting them again. Both Speak Now and Speak Now (Taylor's Version) also return to the Billboard 200. The original comes in at No. 170, while the re-recorded take breaks back in at No. 185. Almost all of Swift's albums that were already present on the Billboard 200 last week rise in terms of their position. The roundup includes Reputation, The Tortured Poets Department, Lover, Midnights, and Folklore. Red (Taylor's Version), which also climbs, sits just below several comebacks, as it is sandwiched between 1989 and Speak Now at No. 147. Four additional full-lengths by Swift appear on at least one Billboard ranking apiece, though they don't manage to land on the Billboard 200. That collection includes Fearless and Fearless (Taylor's Version), as well as the original Red and Evermore. Many of these projects bounce back onto at least one tally, as both sales and overall consumption increase.
Irish Examiner
31-05-2025
- Entertainment
- Irish Examiner
‘Feels bigger than herself': the importance of Taylor Swift's latest victory
It goes without saying, but Taylor Swift has scored a lot of victories in the past few years. There was, first and foremost, the blockbuster Eras Tour, which became the bestselling concert tour of all time and a certifiable cultural era in itself. She released the bestselling concert film of all time, with a distribution model that upended the theatrical market. There was yet another album of the year Grammy. She turned the Super Bowl into the ultimate rom-com. Even with mediocre critical reviews, her most recent album, The Tortured Poets Department, set more streaming records than I can count. Read More Taylor Swift announces she has acquired the rights to all of her music All of these were beyond impressive, if at times threatening overexposure and annoyingly at odds with her self-styled narrative as an underdog – the emotionally astute lyricist battling against a sliding scale of villains, from careless boys, bitchy girls and heartbreak to gossip, criticism and misogynistic double standards. Often, the targets are petty; I never want to hear a Kim Kardashian reference again. But on Friday, with the announcement that she purchased the master recordings of her first six albums, Swift notched arguably the most significant victory of her career, over the one remaining foe worthy of her stature: the artist-devaluing practices of the music industry. For those who do not follow what has become canon in Swift's massive fandom, ownership of her masters has been the animating force behind the last six years of Swift's career, ever since Scooter Braun, most famous as the music manager behind Justin Bieber, purchased them from Swift's former label Big Machine Records for $300m in 2019. Like virtually all young artists, Swift had signed a deal that did not entitle her to ownership of her recordings, just royalties from their sales. The deal 'stripped me of my life's work', Swift wrote at the time, and left her catalog 'in the hands of someone who tried to dismantle it'. (Braun used to manage longtime Swift antagonizer Kanye West.) Taylor Swift performs during her Eras Tour. Picture: Charles McQuillan/TAS24/Getty Images for TAS Rights Management For the following six years, even after Braun sold the catalog to private equity group Shamrock Capital for $360m, Swift re-recorded each album under the moniker 'Taylor's Version', a business masterstroke that at once devalued the originals, ginned up nostalgia and set the stage for the Eras Tour. The ownership of her master recordings, as well as her all her music videos, concert films, album art, photography and unreleased songs, is, in Swift's own words, deeply meaningful on a personal level. 'To say this is my greatest dream come true is actually being pretty reserved about it,' she said in a handwritten letter posted on her website to announce the acquisition. 'All I've ever wanted was the opportunity to work hard enough to be able to one day purchase my music outright with no strings attached, no partnership, with full autonomy.' (Swift, the daughter of a Merrill Lynch stockbroker and forever a savvy dealmaker, also thanked Shamrock Capital for being 'the first people to ever offer this to me' and praised the private equity firm for being 'honest, fair, and respectful'.) But it is also a victory that, for once in this era, feels bigger than Swift herself. Swift owning her masters is a small step toward transparency and artistic integrity in the music industry, and one made possible by her immense wealth and power. The fact that we're even talking about ownership of master recordings, that millions of music listeners now question the business standard of recording industry contracts, is a testament to the power Swift can wield when she chooses a worthy target, even if that target often takes direct form in the figure of Braun (who, for what it's worth, said he's 'happy for her'.) 'I'm extremely heartened by the conversations this saga has reignited within my industry among artists and fans,' Swift wrote. 'Every time a new artist tells me they negotiated to own their master recordings in their record contract because of this fight, I'm reminded of how important it was for all of this to happen.' This is Swift in her best crusader mode – grounded in the work, clear-eyed on the stakes, speaking as a songwriter in perhaps the one arena where she remains an underdog with something to fight for. Though often overshadowed by gossip and her personal life, in ways both self-inflected and expected by a culture that loves to see women fail, her flexing of her exceptional clout over the music industry for artists rights is one of her most enduring fights. It dates back at least to an open letter to Apple Music withholding her album 1989 from the company's streaming service because it would not pay royalties to artists during the service's first three months. (Apple quickly caved.) Or her Billboard's Woman of the Year speech in 2014 in which she called for fairer compensation of writers, musicians and producers – a point she cited five years later when accepting Woman of the Decade in 2019, in a speech that is worth revisiting for the contrast between which fights resonate, and which rankle. Taylor Swift arrives on to the Aviva stage for the first of her three sold-out Dublin gigs as part of her Eras tour. Picture: Chani Anderson The part about adjusting her sound and image to appease critics? Flop, mild applause, one of many instances where Swift evinces a sensitivity to criticism and bone-deep desire for popularity that is so incongruous with her stature as arguably the most famous woman on the planet that I find it endearing, the most human element of her incomprehensible celebrity. The part where she bluntly calls out 'the unregulated world of private equity coming in and buying up our music as if it is real estate, as if it's an app or a shoe line'? It's the most strident and fair she's ever sounded, and it holds up. Even if the purchase of her masters feels a bit like settling out of court before the full trial – the re-record project remains unfinished – this is the win that could have the most salient downstream effect for both artists and people who appreciate music. Similar to how her criticism of Ticketmaster, and fan frustration over the experience of buying tickets for the Eras Tour, led to efforts to reform ticket transparency and break up the Live Nation monopoly, this is power appropriately applied upward. 'Thank you for being curious about something that used to be thought of as too industry-centric for broad discussion,' she wrote to her fans. 'You'll never know how much it means to me that you cared. Every single bit of it counted and ended us up here.' Swiftie or no, this is a Swift victory worth cheering for. - The Guardian Read More Aviva stadium company enjoys Taylor Swift and Pink dividend as operating profits increase to €7m
