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The term above mean sea level (AMSL) refers to the elevation (on the ground) or altitude (in the air) of any object, relative to the average sea level datum. AMSL is used extensively in radio (both in broadcasting and other telecommunications uses) by engineers to determine the coverage area a station will be able to reach. It is also used in aviation, where most heights are recorded and reported with respect to AMSL (see flight level), and in the atmospheric sciences.

Definition[link]

The concept of a "mean sea level" is in itself rather artificial, because it is not possible to determine a figure for mean sea level for the entire planet, and it varies quite a lot even on a much smaller scale. This is because the sea is in constant motion, affected by the high and low pressure zones above it, the tides, local gravitational differences, and so forth. The best one can do is to pick a spot and calculate the mean sea level at that point and use it as a datum. For example, the Ordnance Survey uses a height datum based on the measurements of mean sea level at a particular gauge at Newlyn, Cornwall from 1915 to 1921^[1] for their maps of Great Britain, and this datum is actually some 80 cm different from the mean sea level reading obtained on the other side of the country. An alternative is to base height measurements on an ellipsoid of the entire earth, which is what systems such as GPS do. In aviation, the ellipsoid known as World Geodetic System 84 is increasingly used to define mean sea level. Another alternative is to use a geoid based datum such as NAVD88.

Usage[link]

When referring to geographic features such as mountains on a topographic map, variations in elevation are shown by contour lines. The elevation of a mountain denotes the highest point or summit and is typically illustrated as a small circle on a topo map with the AMSL height shown in either metres or feet or both.

The height above average terrain (HAAT) for a station is determined from topographic maps by averaging the elevation AMSL at points along several radials or radii. This is subtracted from the elevation AMSL of the antenna, including both the tower itself and the ground it is on, to determine the difference. Negative numbers for HAAT sometimes result from this when the station or airport is in a valley, which is significantly lower AMSL than the surrounding mountains. In the rare case that a location is below sea level, AMSL itself is a negative number. For one such case see Amsterdam Airport Schiphol.

AMSL is also important to engineers in high-elevation areas because some equipment is not designed with enough airflow for sufficient cooling in the thin air, which can cause overheating, damage and failure of the electronic components within a transmitter.

See also[link]

• Above ground level
• For sample AMSL elevations, see,
  • 1 E3 m
  • List of mountains
  • Ranges, peaks and passes of the Alps
• Orthometric height
• Normal height
• Geopotential height
• Normaal Amsterdams Peil
• Normalhöhennull
• Metres above the Adriatic
• Extreme points of Earth

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2011)

This marker indicating the sea level is placed on the path from Jerusalem to the Dead Sea.

Mean sea level (MSL) is a measure of the average height of the ocean's surface (such as the halfway point between the mean high tide and the mean low tide); used as a standard in reckoning land elevation.^[1] MSL also plays an extremely important role in aviation, where standard sea level pressure is used as the measurement datum of altitude at flight levels.

Measurement[link]

Sea level measurements from 23 long tide gauge records in geologically stable environments show a rise of around 200 millimetres (7.9 in) during the 20th century (2 mm/year).^{[citation needed]}

To an operator of a tide gauge, MSL means the "still water level"—the level of the sea with motions such as wind waves averaged out—averaged over a period of time such that changes in sea level, e.g., due to the tides, also get averaged out. One measures the values of MSL in respect to the land. Hence a change in MSL can result from a real change in sea level, or from a change in the height of the land on which the tide gauge operates.

In the UK, the Ordnance Datum (the 0 metres height on UK maps) is the mean sea level measured at Newlyn in Cornwall between 1915 and 1921. Prior to 1921 the datum was MSL at the Victoria Dock, Liverpool.

In France, the Marégraphe in Marseilles measures continuously the sea level since 1883 and offers the longest collapsed data about the sea level. It is used for a part of continental Europe and main part of Africa as official sea level.

Satellite altimeters have been making precise measurements of sea level since the launch of TOPEX/Poseidon in 1992. A joint mission of NASA and CNES, TOPEX/Poseidon was followed by Jason-1 in 2001 and the Ocean Surface Topography Mission on the Jason-2 satellite in 2008.

Difficulties in utilization[link]

1. Ocean. 2. Reference ellipsoid.
3. Local plumb line. 4. Continent. 5. Geoid

To extend this definition far from the sea means comparing the local height of the mean sea surface with a "level" reference surface, or datum, called the geoid. In a state of rest or absence of external forces, the mean sea level would coincide with this geoid surface, being an equipotential surface of the Earth's gravitational field. In reality, due to currents, air pressure variations, temperature and salinity variations, etc., this does not occur, not even as a long term average. The location-dependent, but persistent in time, separation between mean sea level and the geoid is referred to as (stationary) ocean surface topography. It varies globally in a range of ± 2 m.

Traditionally, one had to process sea-level measurements to take into account the effect of the 228-month Metonic cycle and the 223-month eclipse cycle on the tides. Mean sea level is not constant over the surface of the Earth. For instance, mean sea level at the Pacific end of the Panama Canal stands 20 cm (7.9 in) higher than at the Atlantic end.

Sea level and dry land[link]

Sea level sign (2/3 of the way up the cliff face) above Badwater Basin, Death Valley National Park, USA

Several terms are used to describe the changing relationships between sea level and dry land. When the term "relative" is used, it means change relative to a fixed point in the sediment pile. The term "eustatic" refers to global changes in sea level relative to a fixed point, such as the centre of the earth, for example as a result of melting ice-caps. The term "steric" refers to global changes in sea level due to thermal expansion and salinity variations. The term "isostatic" refers to changes in the level of the land relative to a fixed point in the earth, possibly due to thermal buoyancy or tectonic effects; it implies no change in the volume of water in the oceans. The melting of glaciers at the end of ice ages is one example of eustatic sea level rise. The subsidence of land due to the withdrawal of groundwater is an isostatic cause of relative sea level rise. Paleoclimatologists can track sea level by examining the rocks deposited along coasts that are very tectonically stable, like the east coast of North America. Areas like volcanic islands are experiencing relative sea level rise as a result of isostatic cooling of the rock which causes the land to sink.

On other planets that lack a liquid ocean, planetologists can calculate a "mean altitude" by averaging the heights of all points on the surface. This altitude, sometimes referred to as a "sea level", serves equivalently as a reference for the height of planetary features.

Sea level change[link]

Local and eustatic sea level[link]

Water cycles between ocean, atmosphere, and glaciers.

Local mean sea level (LMSL) is defined as the height of the sea with respect to a land benchmark, averaged over a period of time (such as a month or a year) long enough that fluctuations caused by waves and tides are smoothed out. One must adjust perceived changes in LMSL to account for vertical movements of the land, which can be of the same order (mm/yr) as sea level changes. Some land movements occur because of isostatic adjustment of the mantle to the melting of ice sheets at the end of the last ice age. The weight of the ice sheet depresses the underlying land, and when the ice melts away the land slowly rebounds. Changes in ground-based ice volume also affect local and regional sea levels by the readjustment of the geoid and true polar wander. Atmospheric pressure, ocean currents and local ocean temperature changes can affect LMSL as well.

Eustatic change (as opposed to local change) results in an alteration to the global sea levels due to changes in either the volume of water in the world oceans or net changes in the volume of the ocean basins.^[2]

Short term and periodic changes[link]

There are many factors which can produce short-term (a few minutes to 14 months) changes in sea level.

Long term changes[link]

Sea-level changes and relative temperatures

Various factors affect the volume or mass of the ocean, leading to long-term changes in eustatic sea level. The primary influence is that of temperature on seawater density and the amounts of water in rivers, lakes, glaciers, polar ice caps and sea ice. Over much longer geological timescales, changes in the shape of the oceanic basins and in land/sea distribution will also affect sea level.

Observational and modelling studies of mass loss from glaciers and ice caps indicate a contribution to sea-level rise of 0.2 to 0.4 mm/yr averaged over the 20th century.

Glaciers and ice caps[link]

Each year about 8 mm (0.3 inch) of water from the entire surface of the oceans falls into the Antarctica and Greenland ice sheets as snowfall. If no ice returned to the oceans, sea level would drop 8 mm every year. To a first approximation, the same amount of water appeared to return to the ocean in icebergs and from ice melting at the edges. Scientists previously had estimated which is greater, ice going in or coming out, called the mass balance, important because it causes changes in global sea level. High-precision gravimetry from satellites in low-noise flight has since determined Greenland is losing billions of tons per year, in accordance with loss estimates from ground measurement.

Ice shelves float on the surface of the sea and, if they melt, to first order they do not change sea level. Likewise, the melting of the northern polar ice cap which is composed of floating pack ice would not significantly contribute to rising sea levels. Because they are lower in salinity, however, their melting would cause a very small increase in sea levels, so small that it is generally neglected.

• Scientists previously lacked knowledge of changes in terrestrial storage of water. Surveying of water retention by soil absorption and by reservoirs outright ("impoundment") at just under the volume of Lake Superior agreed with a dam-building peak in the 1930s-1970s timespan. Such impoundment masked tens of millimetres of sea level rise in that span. ( Impact of Artificial Reservoir Water Impoundment on Global Sea Level. http://www.sciencemag.org/cgi/content/full/320/5873/212?rss=1.  B. F. Chao,* Y. H. Wu, Y. S. Li).
• If small glaciers and polar ice caps on the margins of Greenland and the Antarctic Peninsula melt, the projected rise in sea level will be around 0.5 m. Melting of the Greenland ice sheet would produce 7.2 m of sea-level rise, and melting of the Antarctic ice sheet would produce 61.1 m of sea level rise.^[3] The collapse of the grounded interior reservoir of the West Antarctic Ice Sheet would raise sea level by 5–6 m.^[4]
• The snowline altitude is the altitude of the lowest elevation interval in which minimum annual snow cover exceeds 50%. This ranges from about 5,500 metres above sea-level at the equator down to sea level at about 70° N&S latitude, depending on regional temperature amelioration effects. Permafrost then appears at sea level and extends deeper below sea level polewards.
• As most of the Greenland and Antarctic ice sheets lie above the snowline and/or base of the permafrost zone, they cannot melt in a timeframe much less than several millennia; therefore it is likely that they will not, through melting, contribute significantly to sea level rise in the coming century. They can, however, do so through acceleration in flow and enhanced iceberg calving.
• Climate changes during the 20th century are estimated from modelling studies to have led to contributions of between –0.2 and 0.0 mm/yr from Antarctica (the results of increasing precipitation) and 0.0 to 0.1 mm/yr from Greenland (from changes in both precipitation and runoff).
• Estimates suggest that Greenland and Antarctica have contributed 0.0 to 0.5 mm/yr over the 20th century as a result of long-term adjustment to the end of the last ice age.

The current rise in sea level observed from tide gauges, of about 1.8 mm/yr, is within the estimate range from the combination of factors above^[5] but active research continues in this field. The terrestrial storage term, thought to be highly uncertain, is no longer positive, and shown to be quite large.

Geological influences[link]

Comparison of two sea level reconstructions during the last 500 Ma. The scale of change during the last glacial/interglacial transition is indicated with a black bar. Note that over most of geologic history, long-term average sea level has been significantly higher than today.

At times during Earth's long history, the configuration of the continents and seafloor have changed due to plate tectonics. This affects global sea level by determining the depths of the ocean basins and how glacial-interglacial cycles distribute ice across the Earth.

The depth of the ocean basins is a function of the age of oceanic lithosphere: as lithosphere becomes older, it becomes denser and sinks. Therefore, a configuration with many small oceanic plates that rapidly recycle lithosphere will produce shallower ocean basins and (all other things being equal) higher sea levels. A configuration with fewer plates and more cold, dense oceanic lithosphere, on the other hand, will result in deeper ocean basins and lower sea levels.

When there were large amounts of continental crust near the poles, the rock record shows unusually low sea levels during ice ages, because there was lots of polar land mass upon which snow and ice could accumulate. During times when the land masses clustered around the equator, ice ages had much less effect on sea level.

Over most of geologic time, long-term sea level has been higher than today (see graph above). Only at the Permian-Triassic boundary ~250 million years ago was long-term sea level lower than today. Long term changes in sea level are the result of changes in the oceanic crust, with a downward trend expected to continue in the very long term.^[6]

During the glacial/interglacial cycles over the past few million years, sea level has varied by somewhat more than a hundred metres. This is primarily due to the growth and decay of ice sheets (mostly in the northern hemisphere) with water evaporated from the sea.

The Mediterranean Basin's gradual growth as the Neotethys basin, begun in the Jurassic, did not suddenly affect ocean levels. While the Mediterranean was forming during the past 100 million years, the average ocean level was generally 200 metres above current levels. However, the largest known example of marine flooding was when the Atlantic breached the Strait of Gibraltar at the end of the Messinian Salinity Crisis about 5.2 million years ago. This restored Mediterranean sea levels at the sudden end of the period when that basin had dried up, apparently due to geologic forces in the area of the Strait.

[edit] Changes through geologic time

Comparison of two sea level reconstructions during the last 500 Ma. The scale of change during the last glacial/interglacial transition is indicated with a black bar. Note that over most of geologic history long-term average sea level has been significantly higher than today.

Sea level change since the end of the last glacial episode. Changes displayed in metres.

Sea level has changed over geologic time. As the graph shows, sea level today is very near the lowest level ever attained (the lowest level occurred at the Permian-Triassic boundary about 250 million years ago).

During the most recent ice age (at its maximum about 20,000 years ago) the world's sea level was about 130 m lower than today, due to the large amount of sea water that had evaporated and been deposited as snow and ice, mostly in the Laurentide ice sheet. The majority of this had melted by about 10,000 years ago.

Hundreds of similar glacial cycles have occurred throughout the Earth's history. Geologists who study the positions of coastal sediment deposits through time have noted dozens of similar basinward shifts of shorelines associated with a later recovery. This results in sedimentary cycles which in some cases can be correlated around the world with great confidence. This relatively new branch of geological science linking eustatic sea level to sedimentary deposits is called sequence stratigraphy.

The most up-to-date chronology of sea level change during the Phanerozoic shows the following long term trends:^[7]

• Gradually rising sea level through the Cambrian
• Relatively stable sea level in the Ordovician, with a large drop associated with the end-Ordovician glaciation
• Relative stability at the lower level during the Silurian
• A gradual fall through the Devonian, continuing through the Mississippian to long-term low at the Mississippian/Pennsylvanian boundary
• A gradual rise until the start of the Permian, followed by a gentle decrease lasting until the Mesozoic.

Recent changes[link]

For at least the last 100 years, sea level has been rising at an average rate of about 1.8 mm per year.^[8] The majority of this rise can be attributed to the increase in temperature of the sea and a slight resulting thermal expansion of the upper 500m of sea water. Additional contributions, as much as one-fourth of the total, come from water sources on land such as melting snow and glaciers and extraction of groundwater for irrigation and other agricultural and human needs. (see global warming).^[9]

Aviation[link]

Using pressure to measure altitude results in two other types of altitude. Distance above true or MSL (mean sea level) is the next best measurement to absolute. MSL altitude is the distance above where sea level would be if there were no land. If one knows the elevation of terrain, the distance above the ground is calculated by a simple subtraction.

An MSL altitude—called pressure altitude by pilots—is useful for predicting physiological responses in unpressurized aircraft (see hypoxia). It also correlates with engine, propeller, and wing performance, which all decrease in thinner air.

Pilots can estimate height above terrain with an altimeter set to a defined barometric pressure. Generally, the pressure used to set the altimeter is the barometric pressure that would exist at MSL in the region being flown over. This pressure is referred to as either QNH or "altimeter" and is transmitted to the pilot by radio from air traffic control (ATC) or an Automatic Terminal Information Service (ATIS). Since the terrain elevation is also referenced to MSL, the pilot can estimate height above ground by subtracting the terrain altitude from the altimeter reading. Aviation charts are divided into boxes and the maximum terrain altitude from MSL in each box is clearly indicated. Once above the transition altitude (see below), the altimeter is set to the international standard atmosphere (ISA) pressure at MSL which is 1013.2 HPa or 29.92 inHg.^[10]

Flight level[link]

MSL is useful for aircraft to avoid terrain, but at high enough altitudes, there is no terrain to avoid. Above that level, pilots are primarily interested in avoiding each other, so they adjust their altimeter to standard temperature and pressure conditions (average sea level pressure and temperature) and disregard actual barometric pressure—until descending below transition level. To distinguish from MSL, such altitudes are called flight levels. Standard pilot shorthand is to express flight level as hundreds of feet, so FL 240 is 24,000 feet (7,300 m). Pilots use the international standard pressure setting of 1013.25 hPa (29.92 inHg) when referring to Flight Levels. The altitude at which aircraft are mandated to set their altimeter to flight levels is called "transition altitude". It varies from country to country. For example in the U.S. it is 18,000 feet, in many European countries it is 3,000 or 5,000 feet.

See also[link]

Notes[link]

External links[link]

Wikimedia Commons has media related to: Sea level

• Sea Level Rise:Understanding the past - Improving projections for the future
• Permanent Service for Mean Sea Level
• Global sea level change: Determination and interpretation
• Environment Protection Agency Sea level rise reports
• Properties of isostasy and eustasy
• Measuring Sea Level from Space
• Rising Tide Video: Scripps Institution of Oceanography
• Sea Levels Online: National Ocean Service (CO-OPS)
• Système d'Observation du Niveau des Eaux Littorales (SONEL)
• Sea level rise - How much and how fast will sea level rise over the coming centuries?

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Kool Keith
Kool Keith performing at Mezzanine in San Francisco, California during the 2009 Noise Pop Festival.
Background information
Birth name	Keith Matthew Thornton
Also known as	Dr. Octagon, Dr. Dooom, Black Elvis
Born	(1963-10-19) October 19, 1963 (age 48)
Origin	The Bronx, New York
Genres	Hip hop
Occupations	Rapper, producer
Instruments	Rapping, keyboard, bass guitar
Years active	1984–present
Labels	Junkadelic, Gothom, Funky Ass, DreamWorks Records, Ruffhouse/Columbia/SME Records
Associated acts	Ultramagnetic MCs Analog Brothers Masters of Illusion Thee Undatakerz The Clayborne Family KutMasta Kurt Dan the Automator The Prodigy 54-71 Diesel Truckers Spazz Princess Superstar
Website	www.koolkeith.co.uk

Keith Matthew Thornton, better known by his stage name Kool Keith, is an American rapper from The Bronx, New York. A founding member of Ultramagnetic MCs, Kool Keith has recorded prolifically both as a solo artist and in group collaborations. Kool Keith is the self-proclaimed inventor of horrorcore.^[1]

History[link]

Kool Keith began his rap career with the group Ultramagnetic MCs. After the release of Critical Beatdown, Thornton was reportedly institutionalized in Bellevue Hospital Center.^[2][3] However, he later said that the idea that he was institutionalized came from a flippant remark made during a stressful interview and he never expected the story to become so well-known.^[4]

Thornton released his first notable solo single, "Earth People," in 1995, under the name Dr. Octagon, followed by the release of Dr. Octagonecologyst the following year. The album's production by Dan the Automator and Kutmasta Kurt, with scratching by DJ Qbert was acclaimed by critics, and the album was released nationally by DreamWorks Records, which also issued an instrumental version of the album, titled Instrumentalyst (Octagon Beats).^[2][3] Thornton followed the album with Sex Style in 1997 under the name Kool Keith.

In 1998, Thornton collaborated with Tim Dog for the single "The Industry is Wack," performing under the name Ultra.^[2][3] The following year, he released the album First Come, First Served under the name "Dr. Dooom", in which the album's main character killed off Dr. Octagon on the album's opening track. On August 10, 1999, Thornton released Black Elvis/Lost in Space. It peaked at #10 on the Billboard Heatseekers chart, #74 on the Top R&B/Hip-Hop Albums chart, and #180 on the Billboard 200.^[5] On July 25, 2000, Thornton released the album Matthew. It peaked at #47 on the Billboard Heatseekers chart.^[6] The same year, Thornton collaborated with Ice-T, Marc Live, Black Silver and Pimp Rex for the album Pimp to Eat, under the group name Analog Brothers, with Keith performing as Keith Korg and Ice-T as Ice Oscillator.^[2]

On June 5, 2001, Thornton released the album Spankmaster on Esham's Gothom Records.^[7] It peaked at #16 on the Billboard Heatseekers chart, #11 on the Top Independent Albums chart and #48 on the Top R&B/Hip-Hop Albums chart.^[8]

In 2002, Thornton began recording The Resurrection of Dr. Octagon with producer Fanatik J,^[9][10] signing a contract with CMH Records to release the album, which was eventually completed without much input from Thornton, due to a falling out over contractual terms.^[10] Thornton, Marc Live and H-Bomb formed the group KHM, releasing the album Game on November 19, 2002, changing their name to "The Clayborne Family" by the release of their second album.^[3]

On October 12, 2004, Real Talk Entertainment issued the unauthorized release Dr. Octagon Part 2. The album was discontinued by court order.^[3] On April 25, 2006, Thornton released the album Nogatco Rd. under the name Mr. Nogatco.^[3] On June 27, The Return of Dr. Octagon was released by OCD International, an imprint of CMH, advertised as the official follow-up to Dr. Octagonecologyst.^[10] Some critics felt that it was not as good as its predecessor.^[11][12] Thornton stated that he liked the album, but felt that it hurt his reputation as a musician.^[10] In August, Thornton performed under the Dr. Octagon billing, but did not acknowledge the release of the OCD album.^[13]

In 2007, Ultramagnetic MCs released the reunion album The Best Kept Secret.^[3] In 2009, Kool Keith released the concept album Tashan Dorrsett; a follow-up, The Legend of Tashan Dorrsett, followed two years later.^[3]

Lyrical and performance style[link]

Thornton's lyrics are often abstract,^[14] surreal,^[15] and filled with non-sequiturs and juvenile humor.^[16] Thornton is also known for an explicit style focusing on sexual themes, which Thornton has referred to as "pornocore".^[17][18] In a 2007 interview, Thornton claims to have "invented horrorcore".^[1]

Discography[link]

• Dr. Octagonecologyst (1996)
• Sex Style (1997)
• First Come, First Served (1999)
• Black Elvis/Lost in Space (1999)
• Matthew (2000)
• Spankmaster (2001)
• Diesel Truckers (2004)
• Nogatco Rd. (2006)
• The Return of Dr. Octagon (2006)
• Dr. Dooom 2 (2008)
• Tashan Dorrsett (2009)
• The Legend of Tashan Dorrsett (2011)
• Love & Danger (2012)

References[link]

External links[link]

• Official website
• www.ultrakeith.net
• Kool Keith at Allmusic
• Interview

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]