K-pop sextet P1Harmony just wrapped up their P1ustage H : UTOP1A tour and member Jongseob tells Billboard that the nearly two-month North American run of dates went by “very fast,” while also saying that it felt “very short.”
The group comprised of Jongseob, Theo, Soul, Jiung, Intak and Keeho kicked off the run of dates on May 14 in Houston and hit Dallas, Chicago, Toronto, Boston, Washington, D.C, Atlanta, Nashville, Miami, New York (as part of Governors Ball) and Oakland before wrapping up on June 16 in Los Angeles.
They, of course, took advantage of their time in the U.S., with Keeho saying that on off days he loves to soak up as much culture as he can. “I love to go out. I love to be really immersed in the city I’m in,” he said of his days-off activities. “I like to try out food, go shopping and see sites.” In Miami, he says he went out to Miami Beach and got dinner by himself, gently ribbing his bandmates for not answering his text request to join him on his adventures.
He also recalls that in Nashville — where the group played at the Grand Ole Opry — he and Intak were at a mall and they spotted five or six fans who recognized them and were wearing their merch. “We love see our fans out in the wild,” he says. “They’re all super nice and respectful.”
Though they’re a bit tired from the travel, Jiung says that they are ready and excited to hit the ground when they return to Seoul this week. “We have a lot of festivals and we’re always preparing the new album or new songs, new performances,” he says.
The group say they were overjoyed by their chance to play the Governors Ball in New York, with Intak saying in Korean that it was “an honor to see new artists perform and show them our performance at the same time, which is an opportunity that doesn’t come very often.” Keeho added he loved seeing sets by artists they respect and are inspired by, including SZA and Don Toliver.
They also discussed their upcoming second visit to K-CON in Los Angeles (July 26-28), with Keeho getting geeked for the 360 performance stage at Crypto Arena in which they are surrounded by their fans. “It’s alway so cool to perform because you can see everyone everywhere,” he says. “Coming back as even more refined and better artists than before and being able to show the audience how much we improved.” P1HARMONY released their full-length debut, Killin’ It, in February.
In addition, the group touched on being “nervous and honored” to throw out the first pitch at a Chicago Cubs game, with Keeho revealing that Theo had never thrown a baseball before and was up all night beforehand searching YouTube for how-to videos on pitching. Check out the video above to find out what the group thought of their first visit to the ACM Awards — where they got to meet one of their favorites, Post Malone, and take a pic with the singer — as well as how they feel about making social content with fellow K-pop idols TOMORROW X TOGETHER and Zerobaseone.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 16:37:332024-07-02 16:37:33P1Harmony Talk Wrapping Utopia Tour, Preparing Their Next Album, Getting Recognized By Fans in Malls: ‘They’re All Super Nice and Respectful’
Taylor Swift is all smiles following her three-night Eras Tour stint in Dublin over the weekend, which the pop star recapped in a thank-you note to fans on Instagram Tuesday (July 2).
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Sharing a carousel of photos of her performing on stage at Aviva Stadium June 28-30, Swift wrote, “I knew as soon as I saw the first Dublin crowd on Friday night that we were in for a wild weekend.”
“The spirit of those 3 glorious crowds embodied fun and joy and exuberance, and we just felt so lucky to be there,” she added in her caption. “The Irish fans made us feel so at home, so welcome in every way. Still smiling thinking about it now. 🇮🇪 See you soon, Amsterdam!!”
As the “Fortnight” singer pointed out, she is next slated to bring her trek to the Netherlands. She’ll play three back-to-back shows at Johan Cruyff Arena starting Thursday (July 4), after which she’ll take off for Switzerland.
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Swift’s stay in Dublin was certainly memorable, with the superstar at one point debuting her Tortured Poets Department track “Clara Bow” in front of Stevie Nicks, who is referenced in the song. With the Fleetwood Mac frontwoman in the crowd, Swift also performed Midnights‘ “You’re on Your Own, Kid,” which Nicks has previously credited with helping her grieve late bandmate Christine McVie.
“The reason I want to play this tonight is because a friend of mine is here,” Swift told the crowd at the time. “She’s a hero of mine. I could tell her any secret; she’d never tell anybody.”
After the final show, the “Karma” artist hung out with boyfriend Travis Kelce, Nicks and Paramore at Hacienda bar in Dublin. The Kansas City Chiefs tight end had previously entered the VIP tent halfway through the concert, appearing to cause Swift to light up with a big smile as she noticed him arrive.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 16:32:302024-07-02 16:32:30Taylor Swift Recaps the Eras Tour’s ‘Wild Weekend’ in Dublin: ‘Still Smiling Thinking About It’
Throughout her career, R&B star Kehlani has spoken up about her identity time and time again. But in a new set of videos posted to her TikTok on Sunday (June 30), the “After Hours” singer shut down anyone who still hasn’t gotten the memo.
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In the first clip, the singer spoke about the importance of prioritizing female voices in her life in order to find happiness. “I was bisexual my entire life, and then I came out as a lesbian almost four years ago now,” she said. “But when I realized, recently actually, all of the f–king elevation in my life that has come from de-centering men in every f–king area of it … when I prioritized women and also just centered myself and women? When all the bad b—hes decide what planet we’re going to after we f–k this one, invite me, because I will thrive.”
While most fans in the comments section were supportive, a few began questioning the star’s sincerity, saying that she’d been in multiple relationships with men. So Kehlani made a second video responding to the claims, clapping back at those attempting to invalidate her sexuality.
“Bringing up the fact that I had a child, or bringing up ex-boyfriends from four years ago or before, bringing up situations from when I was 20? I’m 29. I will be 30 next year,” she said. “I don’t know why there’s this inability to fathom that I’m a raging lesbian.”
She continued, adding that her identity as a lesbian naturally bleeds into her artistry. “And yes, my music is gay! Who I perform to and for is the gays,” she said. “And if you’re stuck in the past, it’s between you and your god. If you’re a man still bringing up my ex-boyfriends, just say you want to f–k ’em.”
In a since-deleted TikTok from April 2021, Kehlani let her fans know that she identified as “gay, gay, gay, gay, gay,” adding that it seemed everyone in her life seemed to know already. “When I want to have these heart-to-hearts with my family and my friends, and I’m like, ‘Guys, I finally know that I’m like gay gay,’ and they’re like, ‘We know, duh,’” she said. “I want you to fall on the floor and be like, ‘Congratulations, we had no idea!’”
Kehlani recently debuted her fourth studio album Crash, which officially debuts at No. 25 on the Billboard 200 dated July 6. The album’s lead single “After Hours,” meanwhile, reaches a new high of No. 72 on this week’s Hot 100, just two slots under Jordan Adetunji’s viral single titled “Kehlani.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 16:32:292024-07-02 16:32:29Kehlani Gets the Last Word in a Debate Over Her Dating History: ‘I’m a Raging Lesbian’
The Detroit icon has cryptically dropped easter eggs and hints about the project while many details in regards to possible features and a concrete release date have remained under wraps. Eminem officially announced the project following his appearance at the NFL Draft in April in support of his hometown Detroit Lions.
The album announcement came in the form of an Unsolved Mysteries episode featuring Em meeting his demise in search of “who killed Slim Shady?”
The Death Of Slim Shady will serve as the rapper’s 12th studio album, and first since 2020’s Music to Be Murdered By, which debuted at No. 1 on the Billboard 200 to give Eminem his historic 10th consecutive leader.
Em has been no stranger to the element of surprise as he dropped his 2018 Kamikaze album out of the sky without any sort of warning for fans, which also topped the charts. He’s been laying low on the music front and is yet to drop off any new tunes in 2024, so the lead single — if there is one — will be his first offering of the year.
Fittingly enough, Dr. Dre was the first to spill the beans about the project when he revealed that Eminem had an album ready in the stash during his first late-night TV appearance in 30 years back in March.
Find the complete list delving into what we know about The Death of Slim Shady (Coup De Grâce) below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 16:20:512024-07-02 16:20:51Here’s Everything We Know About Eminem’s ‘The Death of Slim Shady’ Album
Shady’s back, tell a friend! Eminem unveiled the second single from his upcoming album on Tuesday (July 2), and for “Tobey,” he tapped fellow Detroit natives Big Sean and Babytron as the featured artists. The song’s corresponding music video is set to arrive on Friday (July 5).
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“Tobey” marks Em’s first collab with Babytron and fourth with Big Sean following their team-up in 2017 on I Decided’s “No Favors,” Detroit 2‘s “Friday Night Cypher” and ShadyXV‘s “Detroit Vs. Everybody.”
Eminem’s The Death of Slim Shady (Coup De Grâce)will serve as his 12th studio album and is slated to arrive on July 12. (The release date was announced the night before the arrival of “Tobey,” via a horror-themed trailer.) The album follows 2020’s Music to Be Murdered By, which debuted at No. 1 on the Billboard 200 to give Eminem his historic 10th consecutive leader. He kicked off the highly anticipated album rollout for The Death of Slim Shady with his nostalgic “Houdini” single, which gave Em his highest charting track of the decade when it debuted at No. 2 on the Hot 100.
Em originally announced plans for the album shortly after his appearance at the 2024 NFL Draft in Detroit. He teased his own version of an Unsolved Mysteries episode featuring a cameo from 50 Cent. However, it was actually Dr. Dre who revealed the details about Eminem’s upcoming album during a late-night appearance on Jimmy Kimmel Live! in March.
Stream “Tobey,” featuring Big Sean and Babytron, below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 16:06:472024-07-02 16:06:47Eminem Calls on Big Sean & Babytron for ‘Tobey’: Stream It Now
After wrapping up their UTOP1A Tour, P1Harmony spoke with Billboard to share their experience during the trek, and their excitement about attending KCON LA. The group talked about what it was like to attend the ACM Awards, perform at the Governors Ball, what fans can expect with their new music and more!
Keeho: When is this coming out? Do we know?
Tetris Kelly: This interview.
Keeho: OK, I don’t even know if I’m allowed to say anything, but …
Tetris Kelly: You won’t get in trouble
Keeho: They’re all like, “No! No!”
Tetris Kelly: Hey, it’s Tetris with Billboard News, hanging out with the fellas of P1Harmony. How’s it going guys? And I got to start by saying congratulations because you just wrapped up the UTOP1A tour.
Keeho: Yes we did, thank you.
Tetris Kelly: It’s all done, you came here and now you get to relax and hang out with me. So how are you feeling now that the tour is over?
Jongseob: I think it’s … I feel like touring was going very fast. We’ve done our concert 10 times. It’s kind of long — it’s a month and a half — but it feels very short. But it was very fun.
Tetris Kelly: You say it’s very short, but you also had a lot of cities in a very small amount of time. You guys started in Seoul, then all over the United States. So let’s talk about what you guys kind of do in cities where you’re hanging out. So how has it been in Los Angeles so far? You need to do some shopping.
Keeho: Exactly, I think just as you said , whenever we do have off days, for me personally, I love to go out. I love to be really immersed in the city I’m in. And you know, I like to try the food, go shopping and see sites.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 16:00:342024-07-02 16:00:34P1Harmony Chats UTOP1A Tour, Attending KCON LA, New Music & More | Billboard News
In May, Jason Aldean took the stage at the Academy of Country Music Awards to honor the legacy of the late singer-songwriter Toby Keith with a version of Keith’s breakthrough hit “Should’ve Been a Cowboy.” Keith died in February at age 62, following a battle with stomach cancer. During a Monday (July 1) interview on The Bobby Bones Show, Aldean opened up about his tribute performance.
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iHeartRadio personality Bobby Bones noted, “A lot of us knew Toby [Keith] in different ways, and you had a relationship with Toby. Do you want to actually be feeling [the sadness over his loss]? Or do you want to not feel it so you can pull off a performance?”
Aldean replied, “Yeah, I think it was a little bit more of that. I felt like Toby deserved a great tribute for the career he had. I knew it was going to be a big night for his family and people that were going to be out there. To be honest, I just didn’t want to mess it up. I wanted to go out and give him a send off that he deserved.” During the ACM Awards, Aldean sat on a stool and was flanked by two additional guitar players as he offered up an earnest, slowed down version of the Keith hit.
“Especially with us kind of changing the song up, you just don’t know how people are going to take that. You know what I mean?” Aldean said. “If they’re going to like it, not like it, or whatever. So for us, it was trying to do something cool and different and something to honor him and his family. His wife texted me that night after the show, which was really the icing on the cake for me if [she] approved, I’m cool.”
Following the performance, Keith’s family publicly praised Aldean’s performance, posting on Keith’s official X account, “The Covel family would like to thank Jason Aldean for the wonderfully touching performance at the ACM Awards tonight. It was the perfect tribute to Toby Keith.”
Watch Aldean’s interview on The Bobby Bones Show below:
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 15:54:392024-07-02 15:54:39Jason Aldean Opens Up About His ACM Awards Toby Keith Tribute: ‘I Just Didn’t Want to Mess It Up’
For the past several years, the organizations that collect public performance royalties have been growing far faster than most of the music business, especially in Europe. Revenue at the French collective management organization SACEM rose 34% in 2022, while its UK counterpart, PRS for Music, doubled its revenue since 2014. The growth is fast enough to make the whole alphabet soup of initials exciting to the point of attracting investment-backed rivals to the traditional nonprofits — think BMI, which just took on outside investment, or Kobalt’s AMRA.
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Until about a decade ago, the traditional collective management organizations, known as CMOs, licensed rights within a given territory for compositions played in public — at concerts, in stores and restaurants, on television and radio, and eventually from streaming services. (Some also collect for mechanical rights or neighboring rights and remit that to rightsholders through related organizations.) And while European CMOs still do that, for the last decade they have also competed against one another to represent and license online rights in Europe and some other territories (not including the U.S.). This has made the most complicated part of a complex business even harder to understand, since it allows publishers and songwriters to assign different kinds of rights in different territories to different CMOs. In the U.S., for example, songwriters can join ASCAP or BMI, then assign certain rights in other territories to different organizations, in order to collect that money directly instead of indirectly, although only very successful creators tend to do this.
As the pandemic subsided in 2021, CMO growth turned to hypergrowth, fueled by increases in online revenue, the reopening of restaurants and stores, and the roaring comeback of the concert business. The annus mirabilis was 2022, especially for the European societies that represent the most U.S. repertoire: SACEM grew 34%, PRS 23%, Sweden’s STIM 20% and Germany’s GEMA 13%. Now growth is coming down to earth, but it’s still healthy — last year, revenue grew 5% at SACEM (where distributions grew 19%), 12% at PRS, 8.4% at GEMA and 14.2% at STIM. So I was eager to write a column about how important this is for songwriters and the music publishing business that supports them, what this means for the future, and how creators can figure out which CMO would be the best for them. Instead, I ended up spending a few days staring into an abyss of uncertainty.
Growth in CMO revenue means that either the publishing business is growing, a given CMO is faring better than its competitors, or some mix of the two. But although the European Union mandates transparency, each CMO accounts for revenue so differently that it’s very hard to compare them. For example, STIM categorizes revenue collected from online licenses in foreign territories as “foreign income”; SACEM considers this “online”; while PRS treats this income as online when it licenses rights directly and foreign when it doesn’t. It gets considerably more complicated from there.
As competition among societies heats up, the most important few are pulling away from the rest. PRS, GEMA and STIM operate ICE as a Berlin-based pan-European licensing hub, and most publishers and other societies license online rights in Europe and other countries either through it or SACEM, which is a hub in its own right. That means at least some of the growth at those societies is coming at the expense of their European competitors, although it’s hard to tell how much.
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Even as CMOs compete, they also cooperate in various ways — including remitting money to one another. Some of the success of societies actually depends on their rivals: GEMA members will make more if SACEM maximizes the money it collects on their behalf in France, for example. The closest analog I can think of is world trade, where countries drive prosperity by boosting the success of their counterparts while also trying to outcompete them. Consider that every CMO wants to account to its members faster than its rivals, but final accounting is only possible once numbers come in from other markets. It’s a game that can only be won by both beating and boosting rivals. At this point, the abyss starts to stare back.
Perhaps since the CMOs depend so much on one another, the top executives agreed on a few points — most important that growth will come back to earth and that as it does, cost efficiency will become more important. “I think we will continue to see growth but not at as fast a pace as during the pandemic,” STIM CEO Casper Bjørner told me. As that happens, “I think cost ratio becomes really important,” GEMA CEO Tobias Holzmüller added, referring to the percent of revenue that goes to expenses, which has historically been between about 10% to 15% and is generally declining. And since the CMOs collect relatively similar per-play payouts from streaming services, Holzmüller said, “You compete on cost and services.”
SACEM CEO Cécile Rap-Veber said the same: “What matters to me is value for our members.” PRS CEO Andrea Czapary Martin has also prioritized efficiency, setting a goal of getting the PRS cost ratio below 10%, which it did in 2023 for the second year in a row, in addition to cutting its administration rate for royalties from online services by 20%. “We can do this,” Martin said recently, “because we are surpassing our targets.” The idea is that, amid the accounting chaos, cost ratio might emerge as a comparison that’s easy for songwriters and publishers to measure.
Cost ratio may be an easy way to compare CMOs — but even that gets complicated because different sources of royalties come with very different costs. For example, general licensing revenue for music played in stores or restaurants is relatively expensive, since signing licensing deals with new businesses is relatively labor intensive. Revenue that comes in from online services costs less, while income from foreign counterparts is cheaper still. That gives an advantage to CMOs that depend more on foreign revenue relative to their size — and it helps STIM and PRS reduce their costs. (This isn’t the whole story; these societies are also very well-run.) It also makes SACEM’s 10.76% cost ratio even more impressive.
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For all their competition, in fact, the big European CMOs aren’t always even playing the same game. STIM gets 73% of its income from foreign and online royalties, so to some extent its success is tied to that of Swedish songwriters who write for global pop stars, although it has to make sure they can’t get a better deal from another CMO. GEMA is at the opposite end of the spectrum — more than a third of its revenue comes from general and concert licensing, for which it takes in more than its rivals, presumably partly because the German economy is the biggest in Europe. PRS collects more online and foreign income, partly because English-language repertoire travels globally. SACEM, the oldest CMO and the biggest outside the U.S., benefits from operating its own hub. Breaking this down to determine the best deal for a given creator gets even harder, and it may just depend on which of those specialties offers the most appealing advantage.
That doesn’t mean competition isn’t working, though — even if some executives said that they measure themselves against their performance in previous years more than that of rivals. “Competition has forced a lot of us to improve our efficiency,” Rap-Verber told me when SACEM announced its results. And that benefits creators who join any CMO.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 15:54:382024-07-02 15:54:38Inside the Fastest-Growing, Most Complicated Sector of the Music Business
Tixr, the fast-growing primary ticketing and live event commerce company, today announced the official opening of its London office and strategic expansion into continental Europe. Industry veteran Stephanie Rosa has been appointed to serve as managing director of the London outpost, leading a new handpicked local team to build upon the company’s already robust roster of partners in the region.
The move marks the California-based company’s latest international launch, following the expansion of its operations into Canada, announced in March. Tixr’s recent client partnerships in Europe include Space Ibiza, Eden Nightclub in Ibiza, British digital radio station Kisstory, F.A.T. International, RuPaul’s Dragcon, Dreamhack, Uptown Festival, Dublin ComicCon, Leicestershire County Cricket Club, Egg London, E1 Series, Brockwell Live, Aramco Team Series, and London’s popular brewery Signature Brew.
Most recently, Tixr partnered with Forbidden Forest Festival which took place earlier this month. Nestled in hundreds of acres of lush forest on the grounds of the stunning Belvoir Castle in Leicestershire, Forbidden Forest brings together 20,000 over three nights to celebrate music, nature and dance. Tickets for next year’s fest, the first to be handled under the new Tixr deal, go on sale to the general public later this year.
“There’s no modern platform more capable of servicing such a wide array of complex events, and the opportunities in the region are immense,” said Rosa. “The fantastic regional team we’ve built is honoured to partner with iconic sell-out festivals like Forbidden Forest that value design, innovation, and share in our mission to deliver the best fan experience possible, starting with the ticket.”
Before relocating to London for her newly created role, Rosa served as Tixr’s director of partnerships and sales operations. She came to Tixr from UK-based Festicket, which was acquired by Lyte in 2022, where she served as vp of sales in North America.
“Each year we set out to deliver extraordinary customer experiences”, said Laura Ball, marketing director at Forbidden Forest Festival. “When we selected Tixr as our trusted ticketing partner for 2025 and beyond, we knew each year we could collaborate to further raise the bar and deliver a best-in-class experience for our Forbidden Forest customers.”
Tixr already services events in 10 European countries and exclusively powers more than 500 of the most respected live entertainment brands in 40 countries. Since its inception, Tixr has processed nearly $2 billion in transactions through its highly visual, modern, unified commerce platform built for sales beyond admission tickets.
Tixr’s new London office is located at London Bridge.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 15:46:072024-07-02 15:46:07Tixr Hears London Calling With Expansion to Europe
Whether or not it was their intention, Newsweek got quite a bit of negative attention last week for publishing an opinion piece by writer John Mac Ghlionn that criticized Taylor Swift for being “not a good role model” due to her status as “unmarried and childless.” Now, Martina Navratilova is leading the charge against the author’s views, which she slammed as being “a massive pile of misogynistic bull” on X Sunday (June 30).
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“This guy should be ashamed of himself and I can’t believe he writes for Newsweek…and they printed it,” the tennis champion wrote. “I mean…”
Navratilova also pointed out in the replies: “Taylor never claimed she was a role model.”
The former Olympian’s comments come in response to Ghlionn claiming in his piece — which was simply titled Taylor Swift Is Not a Good Role Model — that the public “must ask if [Swift’s] personal life choices are ones we want our sisters and daughters to emulate.”
Why? Because, as the writer put it, “at 34, Swift remains unmarried and childless, a fact that some might argue is irrelevant to her status as a role model … But, I suggest, it’s crucial to consider what kind of example this sets for young girls.”
Ghlionn also took issue with the 14-time Grammy winner writing songs that he claims “depict her as the victim” and promoting what he sees as “romantic promiscuity” through her public relationships.
Navratilova is just one of countless people to comment that the opinion piece is rife with sexist connotations, while The Standardrecently published a counterargument pointing out that male pop stars almost never receive the same type of critique.
“To claim that Swift’s power as a role model is diminished by those mediaeval metrics is pure misogyny,” added writer Claire Cohen. “It positions a woman’s worth in terms of her duty towards men and sends us back to an era in which we were little more than walking wombs … And no doubt if Swift was married with children, she’d be criticized for leaving her family at home while she selfishly went on tour and accused of emasculating her husband by being the breadwinner.”
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Billboard has reached out to Newsweek for comment.
So far, Swift herself hasn’t responded to Newsweek’s article. The “Fortnight” singer – who’s been open for years about her stance as a feminist as well as her experiences battling sexist commentary — is currently busy on the European leg of her global Eras Tour, which most recently wrapped three nights in Dublin.
See Navratilova’s tweets below.
A massive pile of misogynistic bull💩💩💩. This guy should be ashamed of himself and I can’t believe he writes for Newsweek…and they printed it. I mean… https://t.co/SdqjYeg0NG
Right? Misogynist AF!!! And btw- Taylor never claimed she was a role model, ASAIK. Also remember Charles Barkley’s comment years ago about role models ? And generally speaking, athletes are more likely to be held out as role models than pop stars etc, for obvious reasons…
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-07-02 15:38:332024-07-02 15:38:33Martina Navratilova Slams ‘Misogynistic’ Article Criticizing Taylor Swift for Being ‘Unmarried & Childless’