Connecting some dots... Taylor and Olivia
**This is PURE speculation and just an opinion about Taylor’s stance, and given that we often speculate on this forum I hope it’s taken as such. Feel free to share your view too.
So we’ve talked about what really occurred between Taylor and Olivia Rodrigo before, but whispers of a falling out were always rebuffed by reasonable explanations like ‘Olivia needed to focus on her own identity so they distanced’, ‘Taylor wouldn’t care about getting into something with such a young artist, she still supports her from afar and it was done intentionally/by mutual understanding’.
I posit that Taylor will never outwardly express anything other than polite/professional admiration for a new artist, but we have enough clues to figure out what she really thought about Olivia, not just in the context of Deja Vu but the overall fallout from Sour – the various claims of copying and overlap with prominent artists followed by the enormous and widespread awards, industry recognition etc.
We all know Taylor uses her words wisely, she embeds clues and signals, and likes making statements without explicitly doing so. She plays an important role in the industry and has been a vocal supporter of new artists– but she also champions ‘good’ artistic values, creator rights, IP rights etc. I really don’t see her agreeing the enormous adulation and runaway success afforded to Sour and 'not buying it' when Olivia stepped on so many toes in the process and perhaps still can’t conclusively own all the merit for it. Here’s why…
July 2021 – As you may know, Olivia had to give Taylor and Jack co-write credits for interpolation from Cruel Summer and more specifically the layered vocals in the bridge section that goes “I love you ain’t that the worst thing you ever heard”.
December 2021 – Taylor wrote, “I will never forget that I’m standing on the shoulders of giants” in her note to Don McLean when she broke his record for the longest number one song. To me, this was intentional and an implicit jab at Olivia for stepping on musical legacies without enough consideration. Taylor was making a subtle/pointed comment about her own values being different.
Olivia seemingly addressed/responded to it in her own speech accepting the Billboard Woman of the Year (March 2022) trying to smooth it over: “It's not always easy being a young woman in the music industry, but I've found so much strength from the female songwriters who have come before me and paved the way and opened doors for so many young women like me. (Olivia also seemed to make it a point to celebrate her music influences in the months that followed on tour, telling Avril Lavinge she “looks up 2 u so much” on April 22, 2022 and cosying up to Alanis Morisette rather overtly.)
My favourite clue – in October 2022 Taylor releases Karma… and the layered pitched vocals in the Karma bridge are SO telling: “Ask me why so many fade…but I’M STILL HEREEE!!” Quite a pointed and intentional musical choice by Taylor IMHO. Taylor may not have felt entitled to the De Ja Vu credits exactly, and likely the co-write was driven by her label, but I still think she would be unimpressed by the artistic choices made on Olivia’s part, esp. after her request to interpolate the chords for 1 step forward 1 step back. Combined with Olivia’s overall obvious attempts to imitate Taylor’s persona and musical approach in general, I think Taylor would privately disapprove the lack of authenticity and obvious copying/bootstrapping method to success by a new artist who already has so much talent, over so many other young talents – especially when her debut record is then heralded as a deeply innovative artistic achievement/over the top praise for Olivia like woman of the year, etc. by the same industry in which Taylor has carved her own spot.
Most recently – Jan. 2023 Taylor signed Paramore as an opener for her Eras tour (which I found interesting and not necessarily on par with other opener choices). She specifically praises Paramore for their “writing, originality, artistic integrity”.
I find this very telling…a clear affirmation of team Paramore in the debate over Brutal and whether it was properly attributed or not. It’s also a very Taylor move to try and impose justice in her own way by giving Paramore a special platform on her tour/show support and align them with her.
Full quote: “I just remember being constantly floored and inspired by their writing, originality, and artistic integrity. Hayley is such a riveting performer because she’s so multifaceted – bold and playful and ferocious and completely in command. It’s a dream come true to join forces like this.”
Also, Taylor openly loves Gracie Abrams (Gracie being another young artist but one who clearly has a distinct and authentic artist style). It’s hard to ignore the contrast to her radio silence on Olivia since Sour’s release– and nearly impossible to ignore the likely conclusion that she doesn’t exactly approve and/or consider Olivia to be authentically expressing her artistic vision in those songs.
Also, Olivia has said Driver’s License, was inspired after listening to minor by Gracie Abrams, and when you listen to “I miss you, I’m sorry”, the breaks in the song structure and initial chords feel very similar…it’s not difficult to form the view that Olivia piggybacked off Gracie’s introspective style, her songs as inspiration or a starting point… she even said in an interview with Gracie that she was “obsessed” with Gracie’s songs and “she only learned it from [Gracie]”. Taylor is all about independent artistic vision and doing the work yourself, and its clear Olivia has a different way of channeling her own artistic vision.
Lastly, Taylor is an effusive, expressive person in her support for artists and creators she likes, she even said she’s “a big advocate for not hiding your enthusiasm for things” in her NYU speech. In Olivia’s case these issues were dragged out into the public – it’s not a stretch in my view to interpret Taylor’s view on this. We also know she doesn’t like people who twist and bend certain rules for their own gain, especially if she has tried to follow them herself.
No one could ever publicly admit to any of this – Taylor's too smart for that and there’s nothing to gain from it – especially now that Olivia is established as a pop heavyweight for the foreseeable future – but she can make her view known in other muted ways. I still think she doesn’t hate Olivia, and ‘Nothing New’ was also an implicit nod to the fact that artists like OR can and will “get the map from her” but she still wants them to demonstrate actual artistic integrity and create their own path without using bricks from existing musical legacies so to speak.
Thanks for reading and again, open to hearing your speculative thoughts or comments, respectfully and thank you!
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and at the end of the day, people will still hate women.
because beyonce is a terrible songwriter who has a good body and nothing more and she's really nothing compared to olivia rodrigo, that stuck-up bitch who steals other people's music, but taylor swift is an old, bitter nothing who clearly hates other girls. and sabrina carpenter deserves to die because she followed her heart, not her brain, and that's exactly why zendaya will never be good enough for tom holland. don't forget about kylie jenner, who's stealing precious timothee's innocence away and dating her is like committing arthouse cinema suicide, or how we said the same thing about miley cyrus and her disgusting profanity, think of the children, poor liam hemsworth, trapped in a marriage with such a horrible woman. lana del rey was hot until she was big and she made trailerpark sexy until her ass got a little too fat. and ariana grande, talentless homewrecker, and selena gomez, jealous and unreasonable, and hailey bieber, even more boring than the blood drying on the knives you are so quick to pull. sophie turner is a bad mom and megan thee stallion deserved whatever was coming to her.
and amidst all of this, we still don't know these women. we cannot fathom the pain of having a public divorce, one where people choose sides and hurl insults at you until the battery on their phone dies. we don't watch them chase after sweet-cheeked children in tucked-away backyards or play board games with their best friends while their chests heave in laughter. we don't know their marriages and we don't know their solitudes. we don't watch them unravel themselves, time and time again, preparing for the battle that we have made of their lives. they can never make a mistake. they can never cry. they can never be who they believe themselves to be.
and we take all of this and we go to work, we ride the bus, we go grocery shopping, we walk in dappled sunlight, and we let ourselves shrivel. i compare myself to every body i see and i comfort in the fact that i can still encircle my wrists with my fingers. food turns to dust in my mouth when i think about the fact that taylor swift thinks she's fat and people still hate sabrina carpenter for sticking by joshua bassett's side when he almost died, for God's sake, and now the people on my twitter feed are saying GUTS is the worst album they've ever heard. i liked it, the tiny voice in my head cries out. she wrote songs that made me feel noticed. they're calling the song i relate to the most a total skip.
so i close the app. i try not to think about the endless profiles screaming about how much they hate a nineteen/thirty-two/thirty-eight/twenty-three/twenty-six/forty-two year old. i try not to think about how much they would hate me, if they knew anything at all.
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