Aftermath of the Battle of Gettysburg, American Civil War, 1863

A civil war is a war between organized groups within the same nation state or republic,^[1] or, less commonly, between two countries created from a formerly united nation state.^[2] The aim of one side may be to take control of the country or a region, to achieve independence for a region, or to change government policies.^[1] The term is a calque of the Latin bellum civile which was used to refer to the various civil wars of the Roman Republic in the 1st century BC.

A civil war is a high-intensity conflict, often involving regular armed forces, that is sustained, organized and large-scale. Civil wars may result in large numbers of casualties and the consumption of significant resources.^[3]

Civil wars since the end of World War II have lasted on average just over four years, a dramatic rise from the one-and-a-half year average of the 1900-1944 period. While the rate of emergence of new civil wars has been relatively steady since the mid-19th century, the increasing length of those wars resulted in increasing numbers of wars ongoing at any one time. For example, there were no more than five civil wars underway simultaneously in the first half of the 20th century, while over 20 concurrent civil wars were occurring at the end of the Cold War, before a significant decrease as conflicts strongly associated with the superpower rivalry came to an end. Since 1945, civil wars have resulted in the deaths of over 25 million people, as well as the forced displacement of millions more. Civil wars have further resulted in economic collapse; Burma (Myanmar), Uganda and Angola are examples of nations that were considered to have promising futures before being engulfed in civil wars.^[4]

Definition[link]

Remains of a T-62 tank after rebels enter Addis Ababa at the end of the Ethiopian Civil War, 1991

James Fearon, a scholar of civil wars at Stanford University, defines a civil war as "a violent conflict within a country fought by organized groups that aim to take power at the center or in a region, or to change government policies".^[1] Ann Hironaka further specifies that one side of a civil war is the state.^[3] The intensity at which a civil disturbance becomes a civil war is contested by academics. Some political scientists define a civil war as having more than 1000 casualties,^[1] while others further specify that at least 100 must come from each side.^[5] The Correlates of War, a dataset widely used by scholars of conflict, classifies civil wars as having over 1000 war-related casualties per year of conflict. This rate is a small fraction of the millions killed in the Second Sudanese Civil War and Cambodian Civil War, for example, but excludes several highly publicized conflicts, such as The Troubles of Northern Ireland and the struggle of the African National Congress in Apartheid-era South Africa.^[3]

Based on the 1000 casualties per year criterion, there were 213 civil wars from 1816 to 1997, 104 of which occurred from 1944 to 1997.^[3] If one uses the less-stringent 1000 casualties total criterion, there were over 90 civil wars between 1945 and 2007, with 20 ongoing civil wars as of 2007.^[1]

Further definitions[link]

Battle of Tewkesbury (1471) of the Wars of the Roses in England

The Geneva Conventions do not specifically define the term "civil war". They do, however, describe the criteria for acts qualifying as "armed conflict not of an international character", which includes civil wars. Among the conditions listed are four requirements:^[6][7]

• The party in revolt must be in possession of a part of the national territory.
• The insurgent civil authority must exercise de facto authority over the population within the determinate portion of the national territory.
• The insurgents must have some amount of recognition as a belligerent.
• The legal Government is "obliged to have recourse to the regular military forces against insurgents organized as military."

Causes of civil war in the Collier-Hoeffler Model[link]

Scholars investigating the cause of civil war are attracted by two opposing theories, greed versus grievance. Roughly stated: are conflicts caused by who people are, whether that be defined in terms of ethnicity, religion or other social affiliation, or do conflicts begin because it is in the economic best interests of individuals and groups to start them? Scholarly analysis supports the conclusion that economic and structural factors are more important than those of identity in predicting occurrences of civil war.^[8]

A comprehensive studies of civil war was carried out by a team from the World Bank in the early 21st century. The study framework, which came to be called the Collier-Hoeffler Model, examined 78 five-year increments when civil war occurred from 1960 to 1999, as well as 1,167 five-year increments of "no civil war" for comparison, and subjected the data set to regression analysis to see the effect of various factors. The factors that were shown to have a statistically significant effect on the chance that a civil war would occur in any given five-year period were:^[9]

Availability of finance

An economic dependence on commodities, such as diamonds being mined by these children in Sierra Leone, is correlated with an increased risk of civil war. (See also blood diamond.)

A high proportion of primary commodities in national exports significantly increases the risk of a conflict. A country at "peak danger", with commodities comprising 32% of gross domestic product, has a 22% risk of falling into civil war in a given five-year period, while a country with no primary commodity exports has a 1% risk. When disaggregated, only petroleum and non-petroleum groupings showed different results: a country with relatively low levels of dependence on petroleum exports is at slightly less risk, while a high-level of dependence on oil as an export results in slightly more risk of a civil war than national dependence on another primary commodity. The authors of the study interpreted this as being the result of the ease by which primary commodities may be extorted or captured compared to other forms of wealth, for example, it is easy to capture and control the output of a gold mine or oil field compared to a sector of garment manufacturing or hospitality services.^[10]

A second source of finance is national diasporas, which can fund rebellions and insurgencies from abroad. The study found that statistically switching the size of a country's diaspora from the smallest found in the study to the largest resulted in a sixfold increase in the chance of a civil war.^[10]

Armed Arab volunteers during the 1947-1948 civil war in the British Mandate of Palestine

Opportunity cost of rebellion

Higher male secondary school enrollment, per capita income and economic growth rate all had significant effects on reducing the chance of civil war. Specifically, a male secondary school enrollment 10% above the average reduced the chance of a conflict by about 3%, while a growth rate 1% higher than the study average resulted in a decline in the chance of a civil war of about 1%. The study interpreted these three factors as proxies for earnings foregone by rebellion, and therefore that lower foregone earnings encourages rebellion.^[10] Phrased another way: young males (who make up the vast majority of combatants in civil wars) are less likely to join a rebellion if they are getting an education and/or have a comfortable salary, and can reasonably assume that they will prosper in the future.

Low per capita income has been proposed as a cause for grievance, prompting armed rebellion. However, for this to be true, one would expect economic inequality to also be a significant factor in rebellions, which it is not. The study therefore concluded that the economic model of opportunity cost better explained the findings.^[9]

Military advantage

Communist soldiers during the Battle of Siping, Chinese Civil War, 1946

High levels of population dispersion and, to a lesser extent, the presence of mountainous terrain increased the chance of conflict. Both of these factors favor rebels, as a population dispersed outward toward the borders is harder to control than one concentrated in a central region, while mountains offer terrain where rebels can seek sanctuary.^[10]

Grievance

Most proxies for "grievance" - the theory that civil wars begin because of issues of identity, rather than economics - were statistically insignificant, including economic equality, political rights, ethnic polarization and religious fractionalization. Only ethnic dominance, the case where the largest ethnic group comprises a majority of the population, increased the risk of civil war. A country characterized by ethnic dominance has nearly twice the chance of a civil war. However, the combined effects of ethnic and religious fractionalization, i.e. the more chance that any two randomly chosen people will be from separate ethnic or religious groups the less chance of a civil war, were also significant and positive, as long as the country avoided ethnic dominance. The study interpreted this as stating that minority groups are more likely to rebel if they feel that they are being dominated, but that rebellions are more likely to occur the more homogeneous the population and thus more cohesive the rebels. These two factors may thus be seen as mitigating each other in many cases.^[11]

Population size

The various factors contributing to the risk of civil war rise increase with population size. The risk of a civil war rises approximately proportionately with the size of a country's population.^[9]

Time

The more time that has elapsed since the last civil war, the less likely it is that a conflict will recur. The study had two possible explanations for this: one opportunity-based and the other grievance-based. The elapsed time may represent the depreciation of whatever capital the rebellion was fought over and thus increase the opportunity cost of restarting the conflict. Alternatively, elapsed time may represent the gradual process of healing of old hatreds. The study found that the presence of diaspora substantially reduced the positive effect of time, as the funding from diasporas offsets the depreciation of rebellion-specific capital.^[11]

Other causes[link]

Evolutionary psychologist Satoshi Kanazawa has argued that an important cause of intergroup conflict may be the relative availability of women of reproductive age. He found that polygyny greatly increased the frequency of civil wars but not interstate wars.^[12] Gleditsch et al. did not find a relationship between ethnic groups with polygyny and increased frequency of civil wars but nations having legal polygamy may have more civil wars. They argued that misogyny is a better explanation than polygyny. They found that increased women's rights were are associated with less civil wars and that legal polygamy had no effect after women’s rights were controlled for.^[13]

Duration of civil wars[link]

Ann Hironaka, author of Neverending Wars, divides the modern history of civil wars into the pre-19th century, 19th century to early 20th century, and late 20th century. In 19th century Europe, the length of civil wars fell significantly, largely due to the nature of the conflicts as battles for the power center of the state, the strength of centralized governments, and the normally quick and decisive intervention by other states to support the government. Following World War II the duration of civil wars grew past the norm of the pre-19th century, largely due to weakness of the many postcolonial states and the intervention by major powers on both sides of conflict. The most obvious commonality to civil wars are that they occur in fragile states.^[14]

Civil wars in the 19th and early 20th centuries[link]

An artillery school set up by the anti-socialist "Whites" during the Finnish Civil War, 1918

Civil wars through the 19th century to early 20th century tended to be short; the average length of a civil war between 1900 and 1944 was one and half years.^[15] The state itself was the obvious center of authority in the majority of cases, and the civil wars were thus fought for control of the state. This meant that whoever had control of the capital and the military could normally crush resistance. If a rebellion failed to quickly seize the capital and control of the military for itself, it was normally doomed to a quick destruction. For example, the fighting associated with the 1871 Paris Commune occurred almost entirely in Paris, and ended quickly once the military sided with the government.^[16]

The power of non-state actors resulted in a lower value placed on sovereignty in the 18th and 19th centuries, which further reduced the number of civil wars. For example, the pirates of the Barbary Coast were recognized as de facto states because of their military power. The Barbary pirates thus had no need to rebel against the Ottoman Empire, who were their nominal state government, to gain recognition for their sovereignty. Conversely, states such as Virginia and Massachusetts in the United States of America did not have sovereign status, but had significant political and economic independence coupled with weak federal control, reducing the incentive to secede.^[17]

The two major global ideologies, monarchism and democracy, led to several civil wars. However, a bi-polar world, divided between the two ideologies, did not develop, largely due the dominance of monarchists through most of the period. The monarchists would thus normally intervene in other countries to stop democratic movements taking control and forming democratic governments, which were seen by monarchists as being both dangerous and unpredictable. The Great Powers, defined in the 1815 Congress of Vienna as the United Kingdom, Habsburg Austria, Prussia, France, and Russia, would frequently coordinate interventions in other nations' civil wars, nearly always on the side of the incumbent government. Given the military strength of the Great Powers, these interventions were nearly always decisive and quickly ended the civil wars.^[18]

There were several exceptions from the general rule of quick civil wars during this period. The American Civil War (1861–1865) was unusual for at least two reasons: it was fought around regional identities, rather than political ideologies, and it was ended through a war of attrition, rather than over a decisive battle over control of the capital, as was the norm. The Spanish Civil War (1936–1939) was exceptional because both sides of the war received support from intervening great powers: Germany, Italy, and Portugal supported opposition leader Francisco Franco, while France and Russia supported the government^[19] (see proxy war).

Civil wars since 1945[link]

In the 1990s, about twenty civil wars were occurring concurrently during an average year, a rate about ten times the historical average since the 19th century. However, the rate of new civil wars had not increased appreciably; the drastic rise in the number of ongoing wars after World War II was a result of the tripling of the average duration of civil wars to over four years.^[20] This increase was a result of the increased number of states, the fragility of states formed after 1945, the decline in interstate war, and the Cold War rivalry.^[21]

Following World War II, the major European powers divested themselves of their colonies at an increasing rate: the number of ex-colonial states jumped from about 30 to almost 120 after the war. The rate of state formation leveled off in the 1980s, at which point few colonies remained.^[22] More states also meant more states in which to have long civil wars. Hironaka statistically measures the impact of the increased number of ex-colonial states as increasing the post-WWII incidence of civil wars by +165% over the pre-1945 number.^[23]

While the new ex-colonial states appeared to follow the blueprint of the idealized state - centralized government, territory enclosed by defined borders, and citizenry with defined rights -, as well as accessories such as a national flag, an anthem, a seat at the United Nations and an official economic policy, they were in actuality far weaker than the Western states they were modeled after.^[24] In Western states, the structure of governments closely matched states' actual capabilities, which had been arduously developed over centuries. The development of strong administrative structures, in particular those related to extraction of taxes, is closely associated with the intense warfare between predatory European states in the 17th and 18th centuries, or in Charles Tilly's famous formulation: "War made the state and the state made war".^[25] For example, the formation of the modern states of Germany and Italy in the 19th century is closely associated with the wars of expansion and consolidation led by Prussia and Sardinia, respectively.^[25] The Western process of forming effective and impersonal bureaucracies, developing efficient tax systems, and integrating national territory continued into the 20th century; as late as World War I, some French military conscripts from rural regions were unable to name the country they were fighting for.^[26] Nevertheless, Western states that survived into the latter half of the 20th century were considered "strong" by simple reason that they had managed to develop the institutional structures and military capability required to survive predation by their fellow states.

A band of Ogaden National Liberation Front rebels in Ethiopia, 2006

In sharp contrast, decolonization was an entirely different process of state formation. Most imperial powers had not foreseen a need to prepare their colonies for independence; for example, Britain had given limited self-rule to India and Sri Lanka, while treating British Somaliland as little more than a trading post, while all major decisions for French colonies were made in Paris and Belgium prohibited any self-government up until it suddenly granted independence to its colonies in 1960. Like Western states of previous centuries, the new ex-colonies lacked autonomous bureaucracies, which would make decisions based on the benefit to society as a whole, rather than respond to corruption and nepotism to favor a particular interest group. In such a situation, factions manipulate the state to benefit themselves or, alternatively, state leaders use the bureaucracy to further their own self-interest. The lack of credible governance was compounded by the fact that most colonies were economic loss-makers at independence, lacking both a productive economic base and a taxation system to effectively extract resources from economic activity. Among the rare states profitable at decolonization was India, to which scholars credibly argue that Uganda, Malaysia and Angola may be included. Neither did imperial powers make territorial integration a priority, and may have discouraged nascent nationalism as a danger to their rule. Many newly independent states thus found themselves impoverished, with minimal administrative capacity in a fragmented society, while faced with the expectation of immediately meeting the demands of a modern state.^[27] Such states are considered "weak" or "fragile". The "strong"-"weak" categorization is not the same as "Western"-"non-Western", as some Latin American states like Argentina and Brazil and Middle Eastern states like Egypt and Israel are considered to have "strong" administrative structures and economic infrastructure.^[28]

A checkpoint manned by the Lebanese army and US Marines, 1982. The Lebanese Civil War (1975–1990) was characterized by multiple foreign interventions.

Historically, the international community would have targeted weak states for territorial absorption or colonial domination or, alternatively, such states would fragment into pieces small enough to be effectively administered and secured by a local power. However, international norms towards sovereignty changed in the wake of WWII in ways that support and maintain the existence of weak states. Weak states are given de jure sovereignty equal to that of other states, even when they do not have de facto sovereignty or control of their own territory, including the privileges of international diplomatic recognition and an equal vote in the United Nations. Further, the international community offers development aid to weak states, which helps maintain the facade of a functioning modern state by giving the appearance that the state is capable of fulfilling its implied responsibilities of control and order.^[29] The formation of a strong international law regime and norms against territorial aggression is strongly associated with the dramatic drop in the number of interstate wars, though it has also been attributed to the effect of the Cold War or to the changing nature of economic development. Consequently, military aggression that results in territorial annexation became increasingly likely to prompt international condemnation, diplomatic censure, a reduction in international aid or the introduction of economic sanction, or, as in the case of 1990 invasion of Kuwait by Iraq, international military intervention to reverse the territorial aggression.^[30] Similarly, the international community has largely refused to recognize secessionist regions, while keeping some states such as Cyprus and Taiwan in diplomatic recognition limbo. While there is not a large body of academic work examining the relationship, Hironaka's statistical study found a correlation that suggests that every major international anti-secessionist declaration increased the number of ongoing civil wars by +10%, or a total +114% from 1945 to 1997.^[31] The diplomatic and legal protection given by the international community, as well as economic support to weak governments and discouragement of secession, thus had the unintended effect of encouraging civil wars.

A fast attack boat of the rebel LTTE in Sri Lanka in 2003 passes the hulk of an LTTE supply ship that had been sunk by government aircraft, Sri Lankan Civil War (1983-2009)

There has been an enormous amount of international intervention in civil wars since 1945 that served to extend wars. While intervention has been practiced since the international system has existed, its nature changed substantially. It became common for both the state and opposition group to receive foreign support, allowing wars to continue well past the point when domestic resources had been exhausted. Superpowers, such as the European great powers, had always felt no compunction in intervening in civil wars that affected their interests, while distant regional powers such as the United States could declare the interventionist Monroe Doctrine of 1821 for events in its Central American "backyard". However, the large population of weak states after 1945 allowed intervention by former colonial powers, regional powers and neighboring states who themselves often had scarce resources. On average, a civil war with interstate intervention was 300% longer than those without. When disaggregated, a civil war with intervention on only one side is 156% longer, while intervention on both sides lengthens the average civil war by an addition 92%. If one of the intervening states was a superpower, a civil war is extended a further 72%; a conflict such as the Angolan Civil War, in which there is two-sided foreign intervention, including by a superpower (actually, two superpowers in the case of Angola), would be 538% longer on average than a civil war without any international intervention.^[32]

Effect of the Cold War[link]

The Cold War (1945–1989) provided a global network of material and ideological support that perpetuated civil wars, which were mainly fought in weak ex-colonial states, rather than the relatively strong states that were aligned with the Warsaw Pact and North Atlantic Treaty Organization. In some cases, superpowers would superimpose Cold War ideology onto local conflicts, while in others local actors using Cold War ideology would attract the attention of a superpower to obtain support. Using a separate statistical evaluation than used above for interventions, civil wars that included pro- or anti-communist forces lasted 141% longer than the average non-Cold War conflict, while a Cold War civil war that attracted superpower intervention resulted in wars typically lasting over three times as long as other civil wars. Conversely, the end of the Cold War marked by the fall of the Berlin Wall in 1989 resulted in a reduction in the duration of Cold War civil wars of 92% or, phrased another way, a roughly ten-fold increase in the rate of resolution of Cold War civil wars. Lengthy Cold War-associated civil conflicts that ground to a halt include the wars of Guatemala (1960–1996), El Salvador (1979–1991) and Nicaragua (1970–1990).^[33]

See also[link]

• The Logic of Violence in Civil War
• War of Independence (disambiguation)
• Wars of national liberation

References[link]

Bibliography[link]

• Ali, Taisier Mohamed Ahmed and Robert O. Matthews, eds. Civil Wars in Africa: roots and resolution (1999), 322 pages
• Mats Berdal and David M. Malone, Greed and Grievance: Economic Agendas in Civil Wars (Lynne Rienner, 2000).
• Paul Collier, Breaking the Conflict Trap: civil war and development policy World Bank (2003) - 320 pages
• Collier, Paul; Sambanis, Nicholas, eds. (2005). Understanding Civil War:Evidence and Analysis. 1: Africa. Washington, DC: The World Bank. ISBN 978-0-8213-6047-7. http://books.google.com/books?id=OnGQQVuIBjgC&pg=PP1&dq=Understanding+Civil+War:Evidence+and+Analysis&cd=1#v=onepage&q=&f=false. 
• Collier, Paul; Sambanis, Nicholas, eds. (2005). Understanding Civil War:Evidence and Analysis. 2: Europe, Central Asia, and Other Regions. Washington, DC: The World Bank. ISBN 978-0-8213-6049-1. http://books.google.com/books?id=yNTQ-BDLPxIC&pg=PP1&dq=Understanding+Civil+War:Evidence+and+Analysis&cd=2#v=onepage&q=&f=false. 
• Stathis Kalyvas, "'New' and 'Old' Civil Wars: A Valid Distinction?" World Politics 54, no. 1 (2001): 99-118.
• David Lake and Donald Rothchild, eds. The International Spread of Ethnic Conflict: Fear, Diffusion, and Escalation (Princeton University Press, 1996).
• Roy Licklider, "The Consequences of Negotiated Settlements in Civil Wars, 1945--1993," American Political Science Review 89, no. 3 (summer 1995): pp 681–690.
• Andrew Mack, "Civil War: Academic Research and the Policy Community," Journal of Peace Research 39, no. 5 (2002): pp. 515–525.
• David T. Mason and Patrick 3. Fett, "How Civil Wars End: A Rational Choice Approach," Journal of Conflict Resolution 40, no. 4 (fall 1996): 546-568.
• Patrick M. Regan. Civil Wars and Foreign Powers: Outside Intervention in Intrastate Conflict (2000) 172 pages
• Stephen John and others., eds. Ending Civil Wars: The Implementation of Peace Agreements (2002), 729 pages
• Monica Duffy Toft, The Geography of Ethnic Violence: Identity, Interests, and the Indivisibility of Territory (Princeton NJ: Princeton University Press, 2003). ISBN 0-691-12383-7.
• Barbara F. Walter, Committing to Peace: The Successful Settlement of Civil Wars (Princeton University Press, 2002),
• Elisabeth Jean Wood; "Civil Wars: What We Don't Know," Global Governance, Vol. 9, 2003 pp 247+ online version

External links[link]

Wikimedia Commons has media related to: Civil wars

• Royal Air Force Doctrine - The Nature of War and Armed Conflict
• "What makes a civil war?", BBC News, 20 April 2006

Taylor Swift
Swift performing during the Australian leg of her Speak Now Tour in 2012
Background information
Birth name	Taylor Alison Swift
Born	(1989-12-13) December 13, 1989 (age 22) Reading, Pennsylvania, United States
Genres	Country-pop, pop, country, alternative rock
Occupations	Singer-songwriter, actress
Instruments	Vocals, guitar, banjo, ukulele, piano
Years active	2006–present
Labels	Big Machine
Website	TaylorSwift.com

Taylor Alison Swift (born December 13, 1989) is an American singer-songwriter and occasional actress. Raised in Wyomissing, Pennsylvania, Swift moved to Nashville, Tennessee at the age of fourteen to pursue a career in country music. She signed to the independent label Big Machine Records and became the youngest songwriter ever hired by the Sony/ATV Music publishing house. The release of Swift's self-titled debut album in 2006 established her as a country music star. "Our Song", her third single, made her the youngest sole writer and singer of a number one song on the country chart. She received a Best New Artist nomination at the 50th Grammy Awards.

Swift's second album, Fearless, was released in late 2008. Buoyed by the chart success of the singles "Love Story" and "You Belong with Me", Fearless attracted a crossover audience and became the top-selling album of 2009. The record won four Grammy Awards, with Swift becoming the youngest ever Album of the Year winner. Fearless also received Album of the Year plaudits at the American Music Awards, Academy of Country Music Awards and Country Music Association Awards, making it the most awarded album in country music history. In 2010, Swift released her third album, Speak Now, which sold over one million copies in its first week. She then embarked on the 111-date Speak Now World Tour, which was attended by over 1.6 million fans and has become one of the highest-grossing concert tours of all time. The album's third single, "Mean", won two Grammy Awards for Best Country Song and Best Country Solo Performance. Swift is currently recording her fourth studio album, due for release in the fall of 2012.

Swift's work has earned her numerous accolades, including six Grammy Awards, ten AMAs, seven CMAs, six ACMs and 13 BMI Awards. She has sold over 22 million albums and 50 million song downloads worldwide, making her one of the best-selling music artists of all time. Swift has endorsement deals with Target, CoverGirl, Sony, Elizabeth Arden, Walmart and American Greetings. As a philanthropist, Swift has placed particular emphasis on arts education, children's literacy and natural disaster relief funds. In addition to her music career, Swift has appeared as an actress in the crime drama CSI: Crime Scene Investigation (2009), the romantic comedy Valentine's Day (2010) and the animated film The Lorax (2012).

Early life[link]

Taylor Alison Swift was born on December 13, 1989 in Reading, Pennsylvania.^[1] She is the daughter of Scott Swift, a Merrill Lynch financial adviser,^[2][3] and Andrea (née Gardner), a homemaker who previously worked as a mutual fund marketing executive.^[1][4] Swift was named after singer James Taylor; her mother believed a gender-neutral name would help her forge a successful business career.^[5][6] She has a younger brother, Austin, who attends Vanderbilt University.^[7] She spent the early years of her life on an eleven-acre Christmas tree farm in Montgomery County, Pennsylvania and was educated at the fee-paying Wyndcroft School.^[8] When Swift was nine years old, the family moved to Wyomissing, Pennsylvania,^[9][10] where she attended Wyomissing Area Junior/Senior High School.^[11] Swift spent her summers at her parent's vacation home in Stone Harbor, New Jersey^[12] and has described it as the place "where most of my childhood memories were formed".^[10]

Swift's first hobby was English horse riding. Her mother Andrea put her in a saddle when Swift was nine months old and she later competed in horse shows.^[13][14] Her family owned several Quarter horses and a Shetland pony.^[14] At the age of nine, Swift turned her attention to musical theatre and performed in Berks Youth Theatre Academy productions of Grease, Annie, Bye Bye Birdie and The Sound of Music.^[15][8] She travelled regularly to Broadway, New York for vocal and acting lessons. However, "after a few years of auditioning in New York and not getting anything”, Swift became interested in country music.^[16] She was inspired by LeAnn Rimes's Blue^[17] and her maternal grandmother, Marjorie Finlay, an opera singer.^[8] When she was in fourth grade, Swift won a national poetry contest with a three-page poem, "Monster in My Closet".^[18] At the age of eleven, after many attempts,^[19] Swift won a local talent competition by singing a rendition of LeAnn Rimes’s “Big Deal”, and was given the opportunity to appear as the opening act for Charlie Daniels at a Strausstown amphitheater.^[15] She spent her weekends performing at local festivals, fairs, coffeehouses, karaoke contests, garden clubs and Boy Scout meetings.^[20][4] This interest in country music isolated Swift from her middle school peers.^[21][22]

After watching a Behind the Music episode about Faith Hill,^[23] Swift recorded a demo of karaoke covers, and travelled with her mother to Nashville, Tennessee for spring break to leave a copy of the demo with record labels along Music Row. She received label rejections and realized that "everyone in that town wanted to do what I wanted to do. So, I kept thinking to myself, I need to figure out a way to be different".^[23] Swift began performing the "The Star Spangled Banner" at many sporting events, hoping she would be offered a recording contract. On one occasion, an eleven-year-old Swift high-fived Jay-Z after singing the national anthem at a 76ers game in Philadelphia.^[24] At the age of twelve, Swift was shown by a computer repairman how to play three chords on a guitar, inspiring her to write her first song, "Lucky You".^[25][26] She then recorded a second demo of original songs.^[15] In 2003, Swift and her parents began working with music manager Dan Dymtrow, after he spotted her singing at the US Open.^[27] Swift's second demo then caught the attention of RCA Records, who offered the eight-grader an artist development deal. In 2004, Swift modelled for Abercrombie and Fitch as part of their "Rising Stars" campaign and had an original song included in a Maybelline Cosmetics compilation CD.^[28]

When Swift was fourteen, her father transferred to the Nashville office of Merrill Lynch and the family relocated to a lake-shore house in Hendersonville, Tennessee.^[1] Swift has said her parents "presented it as a move to a nice community" rather than as her chance to become a star.^[29] Her mother has said, "We've always told her that this is not about putting food on our table or making our dreams come true."^[30] In Tennessee, Swift attended Hendersonville High School for her freshman and sophomore years.^[31] Later, to accommodate her touring schedule, Swift transferred to the Aaron Academy, a private Christian school which offered homeschooling services, and earned her high school diploma in 2008.^[32]

Music career[link]

[edit] 2004–08: Nashville songwriting sessions and Taylor Swift release

Swift moved to Nashville at the age of fourteen, having secured an artist development deal with RCA Records. Her musical influences included the Dixie Chicks, Shania Twain, LeAnn Rimes, Faith Hill,^[29] Tom Petty,^[33] Sheryl Crow,^[34] Melissa Etheridge, Pat Benatar,^[35] Reba McEntire, Garth Brooks,^[36] Patsy Cline, Loretta Lynn and Tammy Wynette.^[37] Swift had writing sessions with experienced songwriters such as Troy Verges, Brett Beavers, Brett James, Mac McAnally and the Warren Brothers,^[38][39] but eventually formed a lasting working relationship with Liz Rose.^[40] Swift saw Rose performing at an RCA songwriter event and suggested that they write together.^[41] They began meeting for two-hour writing sessions every Tuesday afternoon after school.^[42] Rose has said that the sessions were "some of the easiest I've ever done. Basically, I was just her editor. She'd write about what happened in school that day. She had such a clear vision of what she was trying to say. And she'd come in with the most incredible hooks".^[43][42] Swift also began recording demos with producer Nathan Chapman.^[41] After performing at a BMI Songwriter's Circle showcase at The Bitter End, New York,^[39] Swift became the youngest songwriter ever hired by the Sony/ATV Tree publishing house.^[44]

Swift performing at the Maverick Saloon & Grill in Santa Maria, California in 2006

Swift left RCA Records when she was fifteeen; the company wanted her to record the work of other songwriters and wait until she was eighteen to release an album, but she felt ready to launch her career with her own material.^[45][19] She also parted ways with manager Dan Dymtrow, who later took legal action against Swift and her parents.^[28] At an industry showcase at Nashville's The Bluebird Café in 2005, Swift caught the attention of Scott Borchetta, a Dreamworks Records executive who was preparing to form his own independent record label, Big Machine Records.^[40] Swift was one of the new label's first signings.^[40] As an introduction to the country music business, Borchetta arranged for Swift to intern at the CMA Music Festival; she acted as the artist escort for Darryl Worley.^[46][47]

Swift began working on her self-titled debut album shortly after signing her record deal. After experimenting with veteran Nashville producers, Swift persuaded Big Machine to hire her demo producer Nathan Chapman.^[19] It was his first time to record a studio album but Swift felt they had the right "chemistry".^[19] In the end, Chapman produced all but one of the tracks on Taylor Swift.^[19] She has described the album as the "diary" of her early teens^[48] and most songs were written during her freshman year of high school.^[19] As a result, the songs describe coming of age experiences such as insecurity, young love, and teenage angst.^[19] She has said that, although "it sounds like I've had 500 boyfriends", a lot of the songs are observational.^[19] Swift wrote three of the album's songs alone, including two singles, and co-wrote the remaining eight with writers such as Liz Rose, Robert Ellis Orrall and Angelo Petraglia.^[49] Musically, the album has been described as "a mix of trad-country instruments and spry rock guitars".^[50]

Taylor Swift was released in October 2006 and received generally positive reviews from music critics.^[51] PopMatters hoped Swift would be "able to find an accomodation between the country tradition and her very obvious pop sensibilities, because Taylor Swift suggests she has much to offer".^[52] The New Yorker's Sasha Frere-Jones described Swift as a "prodigy". She noted that "Our Song" "stop[ed] me in my tracks" and praised the lyrics: “He’s got a one-hand feel on the steering wheel, the other on my heart".^[53] Country Weekly felt Swift demonstrated "an honesty, intelligence and idealism with which listeners of any age will be able to connect" and noted that "the more thoughtful material suggests a talent poised to last well past high school".^[54] AllMusic stated that, while listening to the album, it was "never in doubt" that "Swift is a talent to be reckoned with".^[55] Rolling Stone described Swift as "bright-eyed but remarkably seasoned", and admired "Our Song"'s "insanely hooky sing-song melody that's as Britney as it is Patsy".^[50]

Swift performing at Yahoo HQ in Sunnyvale, California in 2007

Big Machine Records was still in its infancy upon the release of the lead single "Tim McGraw" in June 2006, and Swift and her mother helped "stuff the CD singles into envelopes to send to radio".^[30] She spent much of 2006 promoting Taylor Swift in a radio tour and later commented, "Radio tours for most artists last six weeks. Mine lasted six months."^[19] Swift painted canvases (inspired by Jackson Pollock) to gift to radio station managers who played her music.^[56] She took part in "GAC Short Cuts", a part-documentary, part-music-video series designed to introduce her to country music fans.^[57][58] She also made television appearances on Good Morning America,^[59] The Megan Mullally Show,^[59] America's Got Talent,^[60] and TRL.^[61] Swift, a self-described "kid of the internet",^[62] used MySpace to build a fanbase. She wrote her own blog posts, left comments on her fans' accounts and personally respond to the messages that were sent to her.^[63] This was, at the time, "revolutionary in country music".^[64][57] Borchetta has said that his decision to sign a sixteen year old singer-songwriter initially raised eyebrows among his record industry peers^[57] but Swift tapped into a previously unknown market: teenage girls who listen to country music.^[1][57]

Following "Tim McGraw", four further singles were released throughout 2007 and 2008: "Teardrops on My Guitar", "Our Song", "Picture to Burn" and "Should've Said No". All were highly successful on the Billboard Hot Country Songs chart, with "Our Song" and "Should've Said No" both reaching number one. "Our Song" made Swift the youngest sole writer and singer of a number one country song.^[65] "Teardrops on My Guitar" became a minor pop hit; it reached number thirteen on the Billboard Hot 100.^[66][67] The album sold 39,000 copies during its first week^[68] and, as of March 2011, has sold over 5.5 million copies worldwide.^[69] Swift also released a holiday album, Sounds of the Season: The Taylor Swift Holiday Collection, in October 2007 and an EP, Beautiful Eyes, in July 2008.^[70][71]

Swift toured extensively in support of Taylor Swift. In addition to festival and theater dates, Swift performed as an opening act for several country artists' concert tours. She opened for Rascal Flatts on several dates in late 2006.^[59][72] In 2007, she served as the opening act on twenty dates for George Strait's 2007 United States tour,^[73] several dates on Kenny Chesney's tour^[74] and selected dates on Brad Paisley's Bonfires & Amplifiers Tour.^[75][76] Also in 2007, Swift appeared as the opening act on several dates for Tim McGraw and Faith Hill's joint Soul2Soul II Tour.^[77] Swift again opened for Flatts for their Still Feels Good Tour in 2008.^[78] In addition to performing her own material, Swift played covers of songs by Beyoncé and Rihanna.^[79] She conducted meet-and-greet sessions with fans before and after her concerts; these lasted for up to four hours.^[80][81]

In 2007, Swift and Alan Jackson were jointly named the Nashville Songwriters Association's "Songwriter/Artists of the Year". Swift was the youngest person ever to be honored with the title.^[82] She also won the Country Music Association’s Horizon Award for Best New Artist.^[83] In 2008, she won Top New Female Vocalist at the Academy of Country Music Awards^[84] and Favorite Country Female Artist at the American Music Awards.^[85] She won seven BMI Awards for songs featured on Taylor Swift.^[86] Swift was also nominated for a 2008 Grammy Award in the category of Best New Artist, but lost to Amy Winehouse.^[87]

[edit] 2008–10: Fearless release, MTV VMA incident and media backlash

Swift's second studio album, Fearless, was released in November 2008.^[88] She wrote seven of the album's songs alone, including two singles, and co-wrote the remaining six with songwriters Liz Rose, John Rich, Colbie Caillat and Hillary Lindsey.^[49] While Swift wrote many of the songs on tour, she made a conscious effort not to include "road songs": "As a 16-year-old girl, I could never relate to those songs about playing a different city every night. I want to write about feelings and love and the lack of love".^[89] She has said that the album title "means you’re afraid of a lot of things, but you jump anyway".^[90] She co-produced the album with Nathan Chapman.^[49] Musically, the record is characterized by "loud, lean guitars and rousing choruses", with the occasional "bit of fiddle and banjo tucked into the mix".^[91]

Swift performing at the 2010 Cavendish Beach Music Festival in Canada

Fearless received generally positive reviews from music critics.^[92] The New York Times described Swift as "one of pop's finest songwriters, country’s foremost pragmatist and more in touch with her inner life than most adults".^[93] The Village Voice felt she displayed "preternatural wisdom and inclusiveness", "masterfully avoiding the typical diarist's pitfalls of trite banality and pseudo-profound bullshit".^[94] Rolling Stone described her as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture" whose "squirmingly intimate and true" songs seemed to be "literally ripped from a suburban girl's diary".^[95] USA Today found it "a pleasure to hear a gifted teenager who sounds like a gifted teenager, rather than a mouthpiece for a bunch of older pros' collective notion of adolescent yearning."^[96] The New Yorker described it as an album "without a bad track", adding that "the album’s finest effort, "Fifteen", will feature in yearbook quotes for years".^[97] Entertainment Weekly noted that the album would appeal mainly to young girls – "she sounds like a real teen, not some manufactured vixen-Lolita" – but predicted it would be "exciting to watch her precocious talent grow".^[98] Music critic Robert Christgau described Swift as "an uncommonly-to-impossibly strong and gifted teenage girl".^[99]

Swift promoted Fearless heavily upon its release. An episode of The Ellen DeGeneres Show was dedicated to the album launch^[57] and Swift appeared on many other chat shows.^[100] She communicated with fans using social media platforms such as twitter and personal video blogs.^[57] In October 2008, she appeared at the CMT Giants: Alan Jackson event, performing a cover of Jackson's "Drive (For Daddy Gene)".^[101] In November 2008, Swift took part in a joint, televised concert with rock band Def Leppard in Nashville.^[102][103] She performed her song "Fifteen" with Miley Cyrus at the 51st Grammy Awards in February 2009.^[104] In April 2009, she performed a cover of George Strait's "Run" at a televised ACM event honoring Strait as Artist of the Decade.^[105] Swift hosted and appeared as the musical guest on Saturday Night Live in November 2009.^[106] The lead single from the album, "Love Story", was released in September 2008 and became the second best-selling country single of all time, peaking at number four on the Billboard Hot 100 chart.^[67][107] Four more singles were released throughout 2008 and 2009: "White Horse", "You Belong with Me", "Fifteen" and "Fearless". "You Belong with Me" was the album's highest-charting single, peaking at number two on the Billboard Hot 100.^[108] The album debuted at number one on the Billboard 200 Album Chart with sales of 592,304 and has since sold over 8.6 million copies worldwide.^[109][110] It was the top-selling album of 2009 and brought Swift much crossover success.^[111]

Swift carried out her first headlining tour from April 2009 to June 2010. As part of the 105-date Fearless Tour, Swift played 90 dates in North America, six dates in Europe, eight dates in Australia and one date in Asia.^[112] The stage show included multiple costume changes, dancers and a fairy-tale castle set.^[113] She sang a cover of Justin Timberlake's "What Goes Around... Comes Around" nightly, intertwined with her own "You're Not Sorry".^[114] Swift invited John Mayer, Faith Hill and Katy Perry to perform one-off duets with her at various dates during the North American tour.^{[115][116][117]} Justin Bieber, Kelly Pickler and Gloriana were the support acts.^[118] The tour was attended by more than 1.1 million fans and has grossed over $63 million.^[119] Taylor Swift: Journey to Fearless, a concert film, was aired on television and later released on DVD and Blu-ray.^[120] Also in 2009, Swift performed as a supporting act for Keith Urban.^[121]

In September 2009, Swift became the first country music artist to win an MTV Video Music Award when "You Belong with Me" was named Best Female Video.^[122] Her acceptance speech was interrupted by rapper Kanye West, who had been involved in a number of other award show incidents.^[123] West declared Beyoncé's video for "Single Ladies (Put a Ring on It)", nominated in the same category, to be "one of the best videos of all time." Many audience members booed West,^[124][125] prompting him to flip off the crowd.^[126][124] He then handed the microphone back to a speechless Swift.^[124][127] Backstage, Swift was seen "hysterically crying".^[124] According to Rolling Stone, when Swift's mother confronted West, he gave "a half-hearted apology in which he added he still thought Beyoncé's video was superior".^[128] West was removed from the event.^{[124][126][129]} When Beyoncé later won the award for Video of the Year, she invited Swift onstage to finish her speech.^[124][130] In the event's press room, Swift, who in 2008 had expressed a desire to sing a hook on a Kanye West rap song,^[131] was asked if she had "any hard feelings" towards West: "I don’t know him, and I’ve never met him, so... I don’t want to start anything because I had a great night tonight."^[128][132]

The incident received much media attention and inspired many Internet memes.^[133] President Barack Obama, in an "off the record" comment, called West a "jackass".^[134] Former US President Jimmy Carter said West's interruption was "completely uncalled for".^[135] West's behavior was criticized by celebrities, including Eminem, Snoop Dogg and Lady Gaga.^{[126][136][137][128]} The following day, West apologized for his verbal outburst both in a blog entry and during an appearance on The Jay Leno Show.^[124][125] He maintained that, while Swift was "very talented", "Beyoncé's video was the best of this decade!!!! ... I gave my awards to Outkast when they deserved it over me ... I'm not crazy y'all, I'm just real."^[138] Two days after the VMAs, Swift told an interviewer that West had not spoken to her since the ceremony.^[139] West then contacted her to offer a personal apology, which Swift accepted: "Kanye did call me, and he was very sincere in his apology."^[122][139] It has been said that the incident and subsequent media attention turned Swift into "a bona-fide mainstream celebrity".^[140]

Swift released a cover of Tom Petty's "American Girl", exclusively through Rhapsody in June 2009^[141] and continues to make her stage entrance to Petty's recording of the song.^[142] Swift contributed backing vocals to John Mayer's "Half of My Heart", featured on his fourth album, in November 2009.^[143] Mayer wrote the song as a tribute to Tom Petty and Fleetwood Mac: "I thought, 'Well, if this is going to be my love letter to that style of music, who's going to be the Stevie Nicks in this equation?' And I thought, 'This Taylor Swift girl is going to be around for a long time."^[144] The song received positive reviews from music critics.^{[145][146][147]} Swift and Mayer performed the song live at Madison Square Garden, New York in December 2009.^[148] It was released as the album's third single in June 2010 and peaked at number 25 on the Billboard Hot 100.^[149] Swift collaborated with a number of other artists in 2008 and 2009. She co-wrote and recorded "Best Days of Your Life" with Kelly Pickler.^[150] She co-wrote two songs for the Hannah Montana: The Movie soundtrack – "You'll Always Find Your Way Back Home" and "Crazier" – with Martin Johnson and Robert Ellis Orrall, respectively.^[151] Swift also provided vocals for Boys Like Girls's "Two Is Better Than One", written by Martin Johnson.^{[152][153][154][155]} In January 2010, Swift contributed two songs – including "Today Was a Fairytale" – to the Valentine's Day soundtrack^[156] and recorded a cover of Better Than Ezra's "Breathless" for the Hope for Haiti Now album.^[157]

Swift at the 2010 Time 100 Gala, where she was honored

In November 2009, Swift became the youngest ever artist, and one of only six women, to be named Entertainer of the Year by the Country Music Association.^[158] Fearless also won the Association's Album of the Year award.^[158] The album won many other accolades and has become the most awarded album in country music history.^[159] Swift was the youngest ever artist to win the Academy of Country Music's Album of the Year honor.^[160] The American Music Awards honored Swift with Artist of the Year and Favorite Country Album plaudits.^[161] She was awarded the Hal David Starlight Award by the Songwriters Hall of Fame^[162] and was named Songwriter/Artists of the Year by the Nashville Songwriters Association.^[163] She won four BMI Awards.^[164] Billboard named her 2009's Artist of the Year.^[165] Swift was included in Time's annual list of the 100 Most Influential People in 2010.^[166]

In January 2010, Swift won four Grammy Awards for Album of the Year, Best Country Album, Best Female Country Vocal Performance and Best Country Song, from a total of eight nominations.^[167][168] She was the youngest ever artist to win Album of the Year.^[169] During the ceremony, Swift sang "Rhiannon" and "You Belong with Me" with Stevie Nicks. Her vocal performance received negative reviews and sparked a widespread media backlash.^[140][170] Her vocals were described variously as "badly off-key", "strikingly bad" and "incredibly wretched".^[171][172] While The New York Times found it "refreshing to see someone so gifted make the occasional flub" and described Swift as "the most important new pop star of the past few years",^[169] music critic Bob Lefsetz predicted that her career would end "overnight".^[173][174] In April 2010, Stevie Nicks, writing in Time, defended the singer: "Taylor reminds me of myself in her determination and her childlike nature. It's an innocence that's so special and so rare. This girl writes the songs that make the whole world sing, like Neil Diamond or Elton John ... The female rock-'n'-roll-country-pop songwriter is back, and her name is Taylor Swift. And it's women like her who are going to save the music business."^[166]

[edit] 2010–12: Speak Now release, 13-month world tour and collaborations

Swift released her third studio album, Speak Now, in October 2010.^[175] She wrote all twelve songs alone: "I'd get my best ideas at 3 a.m. in Arkansas and I didn't have a co-writer around."^[176] Album recording sessions took place in California, Tennessee and Kentucky over a two year period.^[177][178] Swift, who co-produced the record with longtime collaborator Nathan Chapman,^[179] has described it as "a collection of confessions—things I wish I had said when I was in the moment".^[180] She originally intended to call the album Enchanted but Scott Borchetta, her record label's CEO, felt the title did not reflect the album's more adult themes: "She had played me a bunch of the new songs. I looked at her and I'm like, 'Taylor, this record isn't about fairy tales and high school anymore. That's not where you're at'".^[181] Musically, it has been said that the album "expands beyond country-pop to border both alternative rock and dirty bubblegum pop".^[182]

Speak Now received generally positive reviews from music critics.^[183] USA Today felt that Swift's songwriting skills would remind listeners "what all the fuss was about in the first place", with the album capturing "the sweet ache of becoming an adult".^[184] The Los Angeles Times praised her ability as a songwriter to "hit on common experiences that feel unique".^[182] The New York Times described the album as savage, musically diverse and "excellent too, possibly her best".^[179] The Village Voice found that the album demanded "a true appreciation of Swift's talent, which is not confessional, but dramatic: Like a procession of country songwriters before her, she creates characters and situations—some from life—and finds potent ways to describe them."^[185] Entertainment Weekly noted that while love may confound her, "the art of expert songcraft clearly doesn't".^[186] Music critic John Christgau found the album's songs "overlong and overworked" but remarked that "they evince an effort that bears a remarkable resemblance to care—that is, to caring in the best, broadest, and most emotional sense".^[99] Rolling Stone described Swift as one of the best songwriters in "pop, rock or country": "Swift might be a clever Nashville pro who knows all the hitmaking tricks, but she's also a high-strung, hyper-romantic gal with a melodramatic streak the size of the Atchafalaya Swamp".^[187]

Swift performing during the Speak Now World Tour in July 2011

Swift carried out an extensive promotional campaign prior to Speak Now's release.^[188] She appeared on various talk shows and morning shows, and gave free mini-concerts in unusual locations, including an open-decker bus on Hollywood Boulevard and a departure lounge at JFK airport.^[189][190] She took part in a "guitar pull" alongside Kris Kristofferson, Emmylou Harris, Vince Gill and Lionel Ritchie at LA's Club Nokia; the musicians shared the stage and took turns introducing and playing acoutic versions of their songs to raise money for the Country Music Hall of Fame and Museum.^[191][192] The album's lead single, "Mine", was released in August 2010 and five further singles were released throughout 2010 and 2011: "Back to December", "Mean", "The Story of Us", "Sparks Fly" and "Ours".^[193] Speak Now was a major commercial success, debuting at number one on the US Billboard 200 chart. Its sales of 1,047,000 copies made it the sixteenth album in United States history to sell one million copies in a single week.^[194] As of February 2012, Speak Now has sold over four million copies in the US^[195] and over 5.7 million copies worldwide.^[196][197] In her career, as of May 2012, Swift has sold over 22 million albums^[198] and 50 million digital tracks worldwide.^[199]

In September 2010, Kanye West's 2009 VMA interruption once again became newsworthy when West used his twitter account to apologize to Swift, referring to her as "just a lil girl with dreams like the rest of us": ""I wrote a song for Taylor Swift that's so beautiful and I want her to have it. If she won't take it then I'll perform it for her." Later that month, both artists performed at the 2010 VMAs. Swift sang "Innocent", a song widely believed to be about West, which The Washington Post has described as "a small masterpiece of passive aggressiveness, a vivisection dressed up as a peace offering".^[200] Music critics found Swift's performance overly serious and "petty".^[201][202] Speaking in November 2010, West said he failed to see what was "so arrogant about that moment" and described his actions as "selfless". He added that "if it was the other way around" and Swift were an established artist who had "made the video of her career, do you think she would have lost to a brand new artist? Hell no!"^[203][204] Also that month, he claimed that, "If I wasn't drunk, I would have been on stage longer ... Taylor never came to my defense at any interview. And rode the waves and rode it and rode it".^[205][206] At the Costume Institute Gala in May 2011, Swift and West came face-to-face on the red carpet. West was observed to hold "a hand out, and the two exchanged a studiedly casual, “down low” high five".^[1]

Swift toured throughout 2011 and early 2012 in support of Speak Now. As part of the thirteen-month, 111-date world tour, Swift played seven shows in Asia, twelve shows in Europe, 80 shows in North America and twelve shows in Australasia.^[207] Three dates on the US tour were rescheduled after Swift fell ill with bronchitis.^[208] The stage show was inspired by Broadway musical theatre, with choreographed routines, elaborate set-pieces, pyrotechnics and numerous costume changes.^[209][210] Swift invited many musicians to join her for one-off duets during the North American tour. Appearances were made by James Taylor, Jason Mraz, Shawn Colvin, Johnny Rzeznik, Andy Grammer, Tal Bachman, Justin Bieber, Selena Gomez, Nicki Minaj, Nelly, B.o.B., Usher, Flo Rida, T.I., Jon Foreman, Jim Adkins, Hayley Williams, Hot Chelle Rae, Ronnie Dunn, Darius Rucker, Tim McGraw and Kenny Chesney.^[211][212] The tour was attended by over 1.6 million fans and has grossed over $123 million, becoming one of the highest-grossing concert tours of all time.^[207] Swift's first live album, Speak Now World Tour: Live, featuring all seventeen performances from the North American leg of the tour, was released in November 2011.^[213]

Swift speaking during a Youtube interview in September 2011

During the North American and Australasian tour legs, Swift wrote different song lyrics on her left arm for each performance. She has said that the lyrics should be viewed as a nightly "mood ring"^[214] and The New Yorker has cited the practice as an example of Swift's "keen understanding of what fuels fan obsession in the first place: a desire for intimacy between singer and listener".^[1] Artists quoted include Tom Petty, Carole King, Neil Young, Bruce Springsteen, Elton John, Joni Mitchell, Ryan Adams, Patty Griffin, Band of Horses, Jimmy Eat World, Death Cab For Cutie, Alanis Morrissette, Rachael Yamagata, Erin McCarley, Mindy Smith and Martina McBride.^[215][216] Swift also performed many acoustic cover versions during her North American tour. In each city, she paid tribute to a homegrown artist.^[217] She has said the cover versions allowed her to be "spontaneous" in an otherwise well-rehearsed show: "You'll have a lot of people who will come to more than one show, and I want them to get a different experience every time."^[218] Artists covered include Justin Timberlake, Tori Amos, TLC, Pink, Fall Out Boy, Dave Matthews Band, Michelle Branch, Jordin Sparks, Maroon 5, Train, John Mellencamp, Kim Carnes, Avril Lavigne, The Jackson 5, Carolyn Dawn Johnson, Gwen Stefani, All American Rejects, Britney Spears and Eminem.^[219]

At the 54th Grammy Awards in February 2012, Swift's song "Mean" won Best Country Song and Best Country Solo Performance.^[220] She also performed "Mean" during the ceremony. The song is believed to be a rebuttal to Bob Lefsetz, one of the most vocal critics of her 2010 Grammy performance.^[174] Lefsetz had previously been a supporter of the singer's career,^[221] and Swift and Lefsetz had corresponded occasionally by email and telephone.^[174] Time felt she "delivered her comeback on-key and with a vengeance"^[222] while USA Today remarked that the criticism in 2010 seemed to have "made her a better songwriter and live performer".^[223]

Swift was named Songwriter/Artist of the Year by the Nashville Songwriters Association in both 2010 and 2011. During the 2011 ceremony, she played an acoustic version of "Where Were You (When the World Stopped Turning)" in honor of Alan Jackson, a Nashville Songwriters Hall of Fame inductee,^[224] who later thanked Swift in his speech for "the prettiest version I've ever heard".^[225] Swift won various other awards for Speak Now. She was named Entertainer of the Year by the Academy of Country Music in both 2011 and 2012^[226] and was named Entertainer of the Year by the Country Music Association in 2011.^[227] Swift was the American Music Awards's Artist of the Year in 2011, and Speak Now was named Favorite Country Album.^[228] She was also the recipient of two BMI Awards.^[229] Billboard named Swift 2011's Woman of the Year.^[230] Also that year, Billboard ranked her at number 15 in a list of the Top 20 Hot 100 Songwriters 2000–2011; she was the second highest ranking woman.^[231] Swift was ranked second on Rolling Stone's list of the Top 16 "Queen Of Pops" of the decade.^[232]

Swift contributed two original songs to The Hunger Games soundtrack album in March 2012. "Safe & Sound" was co-written and recorded with The Civil Wars and T-Bone Burnett.^[233] John Paul White has said working with Swift was "a revelation. She had some great ideas. We had complete freedom. It truly was a collaboration. We brought the melancholy and the darker angle. Taylor was bringing the melody and the chords."^[234] Rolling Stone described the song as "Swift's prettiest ballad" and wondered whether the alt-country folk song was "a one-off novelty, a trial balloon cred-move, or the stirrings of a "grown-up" style".^[235] Swift and The Civil Wars debuted a live version of the song at the Ryman Auditorium, Nashville in January 2012.^[236] It was released as the album's lead single and, as of April 2012, has sold 970,000 copies in the United States.^[237] Swift's second contribution to the album, "Eyes Open", was written solely by the singer and produced by Nathan Chapman.^[238] In May 2012, Swift contributed vocals to "Both of Us", a Dr. Luke-produced song on B.o.B's second album Strange Clouds.^{[239][240][241][242]}

2012–present: Untitled fourth studio album[link]

Swift is currently working on her fourth album with producer Nathan Chapman.^[243][244] It is scheduled for release in the fall of 2012.^[245] Swift intends to keep writing and recording throughout 2012 "because I'm having so much fun".^[246] After writing her third album alone, Swift is now collaborating with people "from all different places in music",^[246] including songwriters Lori McKenna,^[247][248] Butch Walker,^[249][250] Ed Sheeran,^[251] and Dan Wilson.^[252] The album will detail "the rise and fall of a relationship",^[253] as well as the resulting "absolute crash-and-burn heartbreak".^[254] She has described the album's mood as "sad, if I'm being honest."^[255]

Artistry[link]

Songwriting style[link]

Swift has said she writes songs as an "open letter".^[256] She has said songwriting is "is a way of verbalizing those things that I feel that I can’t say".^[47] Swift has said she is "very interested in any writing from a child's perspective" and has cited To Kill a Mockingbird as one of her favorite books.^[257] Neil Young has described Swift as "a great writer" and follows her career.^[258][259] Kris Kristofferson has said that "she blows me away. It's amazing to me that someone so young is writing such great songs. She's got a great career ahead of her".^[260][261] Dolly Parton has said her songs are "great" and that she has "the qualities that could last a long time".^[262] Stevie Nicks has said Swift writes "songs that make the whole world sing, like Neil Diamond or Elton John".^[166]

Vocal abilities[link]

In studio recordings, the Los Angeles Times identifies Swift's "defining" vocal gesture as "the line that slides down like a contented sigh or up like a raised eyebrow, giving her beloved girl-time hits their air of easy intimacy".^[182] In a review of Speak Now, The Village Voice noted that her phrasing was previously "bland and muddled, but that's changed. She can still sound strained and thin, and often strays into a pitch that drives some people crazy; but she's learned how to make words sound like what they mean".^[185] Slate, reviewing Speak Now, described Swift as "a technically poor singer": "Though she does vary her phrasing in ways that attempt to mask her limited voice (the way she sneers, "She looks at me like I'm a trend/And she's so over it," on "Better Than Revenge" is especially effective), Swift is still noticeably off-pitch at least once on every song on the album".^[263]

In an interview with The New Yorker, Swift characterized herself primarily as a songwriter: “I write songs, and my voice is just a way to get those lyrics across”.^[1] "I'm not trying to go out there and do vocal acrobatics. I'm just trying to write good songs".^[264] However, her vocal presence is something that concerns her and she has "put a lot of work" into improving it.^[265] She has said that she only feels nervous performing "if I'm not sure what the audience thinks of me, like at award shows".^[266]

Public image[link]

Swift has been described as "America's sweetheart" and "a role model".^[267][268] The singer considers it her "responsibility" to be conscious of her influence on young fans.^[269] However, she insists that "I don't live by all these rigid, weird rules that make me feel all fenced in. I just like the way that I feel like, and that makes me feel very free".^[270] Swift does not drink alcohol because she worries that "I might come off in a way that I can't control. Maybe I should just lighten up!" "It's not like I judge people who [drink] or that I don't hang out with people who drink".^[270] She refuses to take part in overly sexualised photo-shoots.^[9] The lyrical content of her songs is regarded as appropriate for young audiences. A New Yorker journalist who attended a Swift concert recounted watching "sixteen-year-old girls holding hands and swaying, and a girl in a hijab sobbing as she sang the words. It was hard not to be a little moved, and not to feel relieved that the words being sung were, more or less, safe ... One can attend a concert by Katy Perry and listen to a stadium full of thirteen-year-olds chant along with the song “Peacock” which goes, “I want to see your peacock-cock-cock! Your peacock-cock!"^[1]

A Rolling Stone journalist who profiled Swift in 2009 remarked upon her polite manners: "If this is Swift's game face, it must be tattooed on because it never drops".^[271] A 2012 Vogue cover story described Swift as "clever and funny and occasionally downright bawdy" in person, but noted that she "asks if her cursing can be off the record".^[272] Grantland.com describes Swift as "talkative and openly neurotic in a way you'd never see from a blonde country princess like Faith Hill or Carrie Underwood. She is more like Diane Keaton in Annie Hall: overly gracious and eager to please but full of a nonstop, nervous, fluttering energy".^[273]

There has been much media commentary about Swift's reactions when she is recognized at award ceremonies.^[274] In 2011, The Hollywood Reporter remarked that she "seems to be consistently shocked and wonderstruck by each awards win, despite racking up an ever-growing collection of Grammys, CMAs, MTV Moonmen and AMAs".^[275] Kristen Wiig parodied Swift's surprised facial expressions during a Saturday Night Live sketch in February 2012.^[276] Swift later said she had seen the sketch: “I was laughing the entire time and then I realized that, as I was watching it, I was making the face she was making”.^[277] At the Academy of Country Music Awards in April 2012, the ceremony's host Blake Shelton joked in his opening monologue that Swift should release a perfume called "I can't believe I smell this good". When Swift later presented Shelton with the Academy's Best Male Vocalist award, "the two faced off, showing each other their ultra-surprised looks".^[278][279]

Feminist discussion[link]

Swift at the premiere of Hannah Montana: The Movie, April 2009

The merits of Swift as a feminist have been widely discussed.^[280] She has been described by Jezebel as "a feminist's nightmare": "Her image of being good and pure plays right into how much the patriarchy fetishizes virginity, loves purity, and celebrates women who know their place as delicate flowers".^[281] However, a Village Voice music critic dismissed this criticism as "shallow and gross, in that special way that things get gross when you cram shaded and living work through an ideological sieve like you're mechanically separating chicken".^[282] He continued: "Criticisms include: She's a conformist stooge of the patriarchy (she's now had two hits about defying fathers); she idolizes chastity (she's coy about sex, but only the willful could miss the fucking in the new "Sparks Fly," which includes the line "Gimme something that'll haunt me when you're not around"); and she sells girls corrupt and shallow fairy-tale notions of romance (one of the two fairy-tale songs on Fearless mocked a guy for trying to white-knight her, and the only mention of such things on Speak Now is "I had the time of my life fighting dragons with you"—note the tense)."^[282]

The song Fifteen has been the subject of particular scrutiny. It has been said that the song contains a "feminist message" in the lyrics "Back then I swore I was gonna marry him some day, but I realized some bigger dreams of mine” and "In your life you'll do things greater than dating the boy on the football team".^[283] Feminist critics claim the use of the word "everything" in the lyric "Abigail gave everything she had to a boy, who changed his mind, and we both cried" is a reference to virginity: "Songs like "Fifteen" dig up the ancient Puritan ideal that girls can only access power by confidently and heterosexually denying access to their pants."^[284] However, others interpret "everything" as trust: "Abigail trusted and opened up to a boy for the first time, only to be let down. Maybe that includes sex, maybe it doesn’t."^[283]

When asked by The New York Times in 2010 whether she considered herself a feminist, Swift replied, "I have never really thought about that".^[285] In December 2011, Billboard's Tom Roland asked Swift whether the marginalization of women in country music, prevalent in the 1950s, was still an issue: "I was fortunate enough to come about in a time when I didn't feel that kind of energy at all, and it was always my theory that if you want to play in the same ballgame as the boys, you've got to work as hard as them. I was always playing just as many shows as they were and playing on the same shows as they were. I was willing to pay my dues as an opening act, playing in clubs and bars and playing in tiny venues. The new male artists were doing the same thing, so I never saw an issue there."^[286]

Philanthropy[link]

Arts education[link]

In September 2010, Swift donated $75,000 to Nashville's Hendersonville High School to help refurbish the school auditorium's sound and lighting systems.^[287] In May 2012, she pledged $4 million to fund a new education center at the Country Music Hall of Fame and Museum in Nashville. The two-storey, 7,500-square foot space will have its own exterior entrance and museum officials have decided to name it The Taylor Swift Education Center.^[288] It will feature three classrooms and a children's exhibit gallery, and will house interactive activities such as a musical petting zoo and a “wet” classroom space to make concert posters and other art projects. New programs and workshops for teenagers and senior citizens will also be accommodated within the space. The Center is scheduled to open in early 2014 and Swift will be involved in an advisory capacity.^[289]

Children's literacy[link]

In December 2009, Swift donated $250,000 to various schools around the country that she had either attended or had other associations with. The money was used to buy books, fund educational programs and pay teachers' salaries.^[290] In October 2010, she took part in a live webcast, Read Now! with Taylor Swift, broadcast exclusively in US schools to celebrate Scholastic's Read Every Day campaign.^[291][292] In October 2011, Swift donated 6,000 Scholastic books to Reading Public Library, Pennsylvania^[293] and, in February 2012, she donated 14,000 books to Nashville Public Library, Tennessee.^[294] Most of the books were placed in circulation; the rest were gifted to children from low-income families, preschools and daycare centers.^[294] In March 2012, she co-chaired the National Education Association's Read Across America campaign and recorded a PSA encouraging children to read.^[295][296]

Natural disaster funds[link]

In June 2008, Swift donated all the proceeds from her merchandise sales at the 2008 Country Music Festival to the Red Cross's disaster relief fund.^[297] Swift donated $100,000 to the Red Cross in Cedar Rapids, Iowa to help the victims of the Iowa flood of 2008.^[298] Swift lent her support to the Victorian Bushfire Appeal by joining the lineup at Sydney's Sound Relief concert,^[299] reportedly making the biggest contribution of any artist playing at Sound Relief to the Australian Red Cross.^[300]

In response to the May 2010 Tennessee floods, Swift donated $500,000 during a flood relief telethon hosted by WSMV, a Nashville television station.^[301] In August 2010, she donated $100,000 to help rebuild a playground in Hendersonville, Tennessee, which was damaged by floodwater.^[302] In May 2011, Swift transformed what was to have been the final dress rehearsal for the North American leg of her Speak Now tour into a benefit concert for victims of recent tornadoes in the United States southeast region, raising more than $750,000 from proceeds from ticket sales, merchandise and other facets of the show.^[303] The benefit concert for tornado relief was subsequently honored at the 2011 Do Something Awards.^[304] In July 2011, Swift further aided the cause by donating $250,000 to Alabama football coach Nick Saban's charity Nick's Kids to aid in the tornado relief efforts of West Alabama.^[305] In April 2012, Swift donated $1,500 to a fund to help a man left permanently paralyzed by the tornado to make his house wheelchair-accessible.^[306]

Other charitable endeavors[link]

In September 2007, Swift helped launch a campaign to protect children from online predators, in partnership with the Tennessee Association of Chiefs of Police.^[307] In January 2008, Swift donated a pink Chevy pick-up truck given to her by her record label to the Victory Junction Gang Camp.^[308] Swift has teamed up with Sound Matters to make listeners aware of listening "responsibly".^[309] Swift supports @15, a teen-led social change platform underwritten by Best Buy to give teens opportunities to direct the company's philanthropy through the newly-created @15 Fund.^[310] She appeared in a Got Milk campaign in July 2010.^[311]

Swift donated her prom dress, which raised $1,200 for charity, to DonateMyDress.org.^[312] In November 2009, after a live performance on BBC's Children in Need night, she donated $20,000 to the cause.^[313] Swift donated a pair of her shoes to the Wish Upon a Hero Foundation's Hero in Heels fundraiser for auction to raise money to benefit women with cancer. In June 2011, as the Academy of Country Music's Entertainer of the Year, Swift donated $25,000 to St. Jude Children's Research Hospital, Tennessee. This figure was matched by the Academy.^[314]

Other work[link]

Acting[link]

Swift made her acting debut in a 2009 episode of CBS's CSI: Crime Scene Investigation, playing a rebellious teenager.^[315] The New York Times noted that the character allowed Swift to be "a little bit naughty, and credibly so".^[316] Rolling Stone felt she "held her own" and "does a good job with the script"^[317] while the Chicago Tribune said she "acquits herself well".^[318] Later that year, Swift both hosted and performed as the musical guest for an episode of Saturday Night Live.^[319] Entertainment Weekly described her as "this season’s best Saturday Night Live host so far", noting that she "was always up for the challenge, seemed to be having fun, and helped the rest of the cast nail the punchlines". Proving "admirably resilient in a wide variety of sketch roles", "Swift inspired more of a female, girly-in-the-best-sense sensibility in SNL than it’s shown since the Tina Fey-Amy Poehler days".^[320]

In 2010, Swift made her feature film acting debut in the romantic comedy Valentine's Day and won the Teen Choice Award for Movie Female Breakout.^[321] In 2012, she voiced the character of Audrey in the animated film The Lorax.^[322] Swift is in talks to star as Joni Mitchell in the film adaptation of Sheila Weller's Girls Like Us, which follows the careers of Mitchell, Carly Simon and Carole King.^[323]

Product endorsements[link]

Jakks Pacific released a celebrity doll of Swift in late 2008.^[324] Swift was the face of L.E.I. jeans in 2008.^[325] In 2007, Swift launched a line of sundresses at Wal-Mart.^[326][327] In 2009, Swift became the National Hockey League's newest celebrity spokesperson and appears in commercials for the Nashville Predators.^[328] In 2011, Swift partnered with Elizabeth Arden to launch a fragrance, "Wonderstruck".^[329] Swift works with American Greetings, Inc.^[330] She also has endorsement deals with companies including Target, CoverGirl and Sony.^[331]

In May 2009, Swift filed a lawsuit (kept sealed until August 2010) against numerous sellers of unauthorized counterfeit merchandise bearing her name, likeness, and trademarks, where she demanded a trial by jury, sought a judgement for compensatory damages, punitive damages, three times the actual damages sustained, and statutory damages, and sought for recovery of her attorney's fees and prejudgement interest.^[332] Nashville's U.S. District Court granted an injunction and judgment against the sellers, who had been identified at Swift's concerts in several states. The court ordered merchandise seized from the defendants to be destroyed.^{[333][334][335]}