Music: DAMN!!! Kim Kardashian tapes Phone Call of Taylor Swift Approving Kanye West Lyrics

[playahaitian]

Kim Kardashian Snapchats Phone Call of Taylor Swift Allegedly Approving Kanye West's 'Famous' Lyrics

Kim Kardashian West gave a bombshell interview last month claiming Taylor Swift approved ofKanye West's "Famous" lyrics about her, and the reality star took to Snapchat Sunday night to provide the proof.

After Sunday night's episode ofKeeping Up with the Kardashians(in which Swift's feud with Kardashian West and West took center stage) aired, Kardashian West shared a series of videos on her Snapchat account of a phone call between West and Swift discussing the rapper's lyrics about the singer.

"It's like a compliment," Swift is heard saying in the video after West reads the lyrics – "For all my Southside n----- that know me best / I feel like me and Taylor might still have sex" – to her.

"What I give a f--- is you as a person, and as a friend, I want things that make you feel good," says West, who also thanks Swift "for being like, so cool about it" after she tells him she appreciates the "heads up" on the lyrics.

"I never would've expected you to like tell me about a line in your song," says the singer. "I mean, I don't think anybody would listen to that and be like, 'Oh, that's a real diss.' You gotta tell the story that way that it happened to you and the way you experienced it."

After the song was released in February, Swift's rep told PEOPLE the singer "declined and cautioned him about releasing a song with such a strong misogynistic message. Taylor was never made aware of the actual lyrics, 'I made that bitch famous.'"

In her GQ cover interview last month, Kardashian West claimed video of Swift and West's phone call existed in which the singer had told her husband she would "laugh" and tell media she was "in on it the whole time."

"If people ask me about it, look, I think it would be great for me to be like, 'He called me and told me before it came out . . . Joke's on you, guys. We're fine,'" Swift is heard saying in the footage Kardashian West posted on Snapchat.

After Kardashian West released the phone call on Snapchat, Swift took to Instagram to defend herself.

"Where is the video of Kanye telling me he was going to call me 'that bitch' in his song? It doesn't exist because it never happened. You don't get to control someone's emotional response to being called 'that bitch' in front of the entire world," the singer wrote on her social media account. "He promised to play the song for me, but he never did. While I wanted to be supportive of Kanye on the phone call, you cannot 'approve' a song you haven't heard. Being falsely painted as a liar when I was never given the full story or played any part of the song is character assassination."

Swift's rep was quoted in the GQ article as saying that "much of what Kim is saying is incorrect. Taylor has never denied that conversation took place. It was on that phone call that Kanye West also asked her to release the song on her Twitter account, which she declined to do. Kanye West never told Taylor he was going to use the term 'that b----' in referring her. A song cannot be approved if it was never heard. Kanye West never played the song for Taylor Swift. Taylor heard it for the first time when everyone else did and was humiliated. Kim Kardashian's claim that Taylor and her team were aware of being recorded is not true, and Taylor cannot understand why Kanye West, and now Kim Kardashian, will not just leave her alone."

Swift and West have had a complicated relationship since 2009, when the rapper interrupted the singer's Best Female Video acceptance speech at the MTV VMAs. Last year, the duo appeared to have patched up their differences and were seen buddying up at the Grammy Awards before Swift presented an award to West at the MTV VMAs in September.



Music: Taylor Swift Claims Kanye Is Controlling Kim Kardashian Thoughts, more

 

[playahaitian]

http://nymag.com/thecut/2016/06/heres-why-taylor-swift-kissed-tom-hiddleston.html

In it, Kardashian discusses the drama surrounding the release of her husband Kanye West’s recent album, which contains the following line about Swift: “I feel like me and Taylor might still have sex/ Why? I made that bitch famous.” When he released the album in February, West claimed he called Swift to discuss the line with her, and she approved it. Swift's publicist then released a statement denying his claim: “Kanye did not call for approval, but to ask Taylor to release his single ‘Famous’ on her Twitter account. She declined and cautioned him about releasing a song with such a strong misogynistic message." The next day, in a Grammy acceptance speech, Swift made a dig at West, stating, "I want to say to all the young women out there, there are going to be people along the way who will try to undercut your success or take credit for your accomplishments, or your fame..."

Kardashian is calling bullshit on Swift's claims. From GQ:

Kim says Taylor's deep emotional wound is nonsense — okay, she says it's a lie — and that there's video proof, because a videographer was actually filming their phone call. Why? Because Kim's husband commissions videographers to film everything when he's recording an album, for posterity (and possibly, one day, a documentary). And this is where it gets sticky.

“She totally approved that,” Kim says, shaking her head in annoyance. “She totally knew that that was coming out. She wanted to all of a sudden act like she didn't. I swear, my husband gets so much shit for things [when] he really was doing proper protocol and even called to get it approved.”

... Swift, Kim insists, “totally gave the okay. Rick Rubin was there. So many respected people in the music business heard that [conversation] and knew. I mean, he's called me a bitch in his songs. That's just, like, what they say. I never once think,[gasping] ‘What a derogatory word! How dare he?’ Not in a million years. I don't know why she just, you know, flipped all of a sudden.… It was funny because [on the call with Kanye, Taylor] said, ‘When I get on the Grammy red carpet, all the media is going to think that I'm so against this, and I'll just laugh and say, ‘The joke's on you, guys. I was in on it the whole time.’ And I'm like, wait, but [in] your Grammy speech, you completely dissed my husband just to play the victim again.”​

Damn! And Kardashian claims that when Swift found out she was being recorded on the call with West, Swift sent an attorney's letter to him that read something like, "Don't ever let that footage come out of me saying that. Destroy it."

Swift's publicist sent a lengthy statement to GQ in response to Kim's claims:

“Taylor does not hold anything against Kim Kardashian as she recognizes the pressure Kim must be under and that she is only repeating what she has been told by Kanye West. However, that does not change the fact that much of what Kim is saying is incorrect. Kanye West and Taylor only spoke once on the phone while she was on vacation with her family in January of 2016 and they have never spoken since. Taylor has never denied that conversation took place. It was on that phone call that Kanye West also asked her to release the song on her Twitter account, which she declined to do. Kanye West never told Taylor he was going to use the term ‘that bitch’ in referencing her. A song cannot be approved if it was never heard. Kanye West never played the song for Taylor Swift. Taylor heard it for the first time when everyone else did and was humiliated. Kim Kardashian's claim that Taylor and her team were aware of being recorded is not true, and Taylor cannot understand why Kanye West, and now Kim Kardashian, will not just leave her alone.”

So here's a theory: Taylor Swift knew this story about her maybe lying was coming out this week. So she went to Rhode Island with her friend or boyfriend or actor she knows Tom Hiddleston. And then, the night before the story broke, roughly 4.6 billion photos of her kissing this person showed up on the internet. And now that's the story. Congrats to the new couple!

 

[playahaitian]

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[THREAD_CRITIC]

Ride or Die

Of course Swift will get a pass

 

[playahaitian]

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[playahaitian]

 

[Maxxam]

 

[playahaitian]

 

[playahaitian]

 

[playahaitian]

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[playahaitian]

 

[playahaitian]

 

[playahaitian]

 

[playahaitian]

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[playahaitian]

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[largebillsonlyplease]

Saw this
Cause she knew Taylor was going to be fake as fuck.

I think she's batshit and that's why successful dudes leave her....cause they don't have to deal with her shit
Then their team says "intimidated by her success" as some woman power projection
The dudes be like dun even curr I'm away from that crazy broad say what ya want

 

[largebillsonlyplease]

​

Lying again and again victim role playing lol
She is most def a white girl

 

[Esther]

2 white whores fighting over whose a liar. Good grief.

 

[Esther]

Smh at Kanye being all giddy to be talking to Taylor.

 

[Maxxam]

Smh at Kanye being all giddy to be talking to white people.

Fixed

 

[Dr. Truth]

Lmaoooooo

 

[Esther]

Fixed

I stand corrected.

 

[jasonblacc]

Man people still falling for this shit? Just keep making these folks richer

 

[therealjondoe]

Fuck all 3 of them attention whores

 

[TEN]

fuck a snapchat.....fight already, bitches!.

 

[kidmegaii]

Ride or die. God bless her

 

[playahaitian]

all her haters coming out...

 

[playahaitian]

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[N*E*R*D]

I think the shit is hilarious!

That skinny tall pale bitch got caught lying! Trying to drag Ye through the mud. Fuck her!

 

[TimRock]

Social media beef amongst white people..... Gtfoh. Who cares about this shit.

 

[Maxxam]

 

[ECUQDOGG93]

 

[doug777]

Social media beef amongst white people..... Gtfoh. Who cares about this shit.

Judging by the attention it's getting, I'd say quite a few people.

 

[playahaitian]

Now That Taylor Swift Is Definitely Less Innocent Than She Pretends to Be, What’s Next?

Both innocence and fame are classically American obsessions, but they can make for strange, even contradictory bedfellows. Desiring to be famous is a clear sign of ambition; but ambition is opposed to humility, and humility is intrinsic to innocence. Becoming famous requires reflection, strategic insight, some measure of shrewdness regarding the more shadowy sectors of the human spirit; yet innocence, radiant with goodness and goodwill, casts no shadows and gives rise to no reflections. Innocence, then, is nothing more or less than the price of fame — not all of us can admit this, but at some level we all understand it. Not all Americans become famous. As with much else in this country, you can pay the price but never get the goods. But seeing as all Americans desire fame, then it's fairly certain, in any case, that none of us are innocent.

Nonetheless, it's somehow tempting to believe that one can be at once innocent and famous. It would be un-American to believe that you can't have it all, especially when you really happen to be very famous and even more especially when you happen to have gotten very famous by presenting yourself as an innocent. Taylor Swift wasn't the only one to do this, of course: There's been no shortage of female pop stars who have been initially offered up to the mass audience as a wholesome and untainted figure. But what's separated Swift from contemporaries such as Miley Cyrus or Ariana Grande has been Swift's tenacity in maintaining her innocence.

While her other white peers, after coming of age, represented themselves as less naïve and more sexual, Swift has persisted in playing her original part, that of the wide-eyed underdog ingénue fighting against the indignities visited upon her by dishonest men. And in an era where rap and R&B had merged into mainstream pop, Swift, beginning her career as a precocious country artist before seamlessly transitioning to the polished pop mechanics mastered by Max Martin, was the great outlier. Her pop seems to emerge from an alternate universe where black American music and culture fail to resonate. Listening to her albums, it's clear that the main impression left by her work is that of an extremely high technical proficiency which, more and more, substitutes for felt emotion instead of amplifying it: machine-perfect music heightening the sense of pristine quality emerging from chaste lyrics framing a clean persona. Whatever the realities of her actual existence, in her art and publicity she remains the same romantic, asexual, self-evidently virtuous figure that she had put forward in her first, self-titled album in 2006 (an album which, it should be said, is very good).

Swift's song remains, essentially, the same, but her circumstances have greatly changed in the intervening decade, and changed precisely because of her gift for melody and tone. She's no longer the high-school freshman protesting, with uncommon intelligence and eloquence, the caddish behavior of a senior boyfriend. She's an adult celebrity who commands a gigantic audience, holds tremendous clout within the music industry, and, almost as an afterthought, is unfathomably wealthy. She's not just a celebrity, but an empire. Socially speaking, Swift will never be an underdog again; professionally and personally, she's now at a permanent advantage. None of this just happened to her, either. She wanted to be famous, extremely famous, and, together with her family and handlers, she was shrewd enough to realize her desire. No one can become so famous and still retain any genuine innocence, least of all regarding fame. A certain degree of hypocrisy is inevitable for Swift, as it would be for any celebrity. Yet her insistence on her own faultlessness remains so sustained as to verge on the neurotic. For all of her canniness, she seems unable to progress beyond an idealized image of herself as someone who is ever the target of malice and never its source.

If Swift has made herself rich and famous in large part by projecting a vision of innocence wronged, Kanye West has made himself rich and famous by transmitting a message of complicity confirmed. Kanye's lyrics have always been animated by his keen sense that the price of elevation to mainstream fame for a black artist involves embracing, if only in part, collaboration with racist power structures — involves being, in effect, a "rich slave in the fabric store picking cotton." And if Swift's vision of innocence precludes any display or acknowledgment of sexuality, it's certain that whatever the ultimate meaning of Kim Kardashian West ends up being, that meaning will be sexually charged. Proving Kanye was guilty of a tasteless and gratuitous reference to one day having sex with Taylor Swift in a song (and then music video) called "Famous" is beside the point. Whatever Kanye's faults, not admitting to his faults has never been one of them: His life and art are structured around the assumption, confession, and then paying back of enormous debts, whether financial or spiritual. Kanye's point was never that he is innocent, but that we (whoever "we" are) are guilty. Finding Kim to be unscrupulous or underhanded in exposing Taylor Swift as mendacious and disingenuous is equally beside the point: It's not as if she swore allegiance to a code of chivalry, and more than anyone she knows that the game of fame and reputation has always been played without rules.

The only point that matters is that Taylor Swift has been exposed as mendacious and disingenuous: The spotless image she's carefully cultivated and profited hugely from for at least a decade has been irrevocably marred. But even if Swift doesn't manage to squirm out of the pinch she's put herself in, it's not as disastrous for her as it may look. Her vast army of core fans, who adore her as they do themselves, would rally around her even if she were filmed firing pistols at a caged penguin. The sales for her next album won't suffer — spurred by the anticipation of more drama, they'll rise to new heights.

What would be best, though, is if Swift recognizes the opportunity — favor, really — that Kanye West and Kim Kardashian have presented her for what it is. She can reconstruct, as best she can, the bubble of exceptional innocence that's surrounded her for almost half her life, if not more: Preliminary signs indicate that she's doing precisely that. But, assuming she can overcome her sense of humiliation, there's a chance for her to abandon a posture which has increasingly limited her range and interest as an artist. No amount of expertise with words and harmonies can compensate for an untenable basic tone: Favorites shouldn't play at being underrated, and the famous shouldn't play at being unexposed.

(If there was a point to Kanye's "Famous" music video, it was probably that.)

Whatever her real character behind the mask of fame may be, Taylor Swift is a musician of rare gifts. She's very good in that sense. But for some strange reason, greatness involves an open admission of one's faults and imperfections, and until she manages that, there's nothing to expect from her except more of the same. Innocence sounds nice enough but, left alone too long, it's hard to tell apart from boredom.​

http://www.vulture.com/2016/07/what-does-taylor-swift-do-now.html

 

[ThaBurgerPimp]

They know not to get Taylor's new man riled up