Is there anything better than watching two rich divas duke it out, especially when one such diva has perpetuated a squeaky clean image of propriety? Such was the case when Kim Kardashian West boldly released footage of her husband, Kanye West, receiving verbal approval from Taylor Swift for using her name in his song, ‘Famous,’ which is featured in his most recent record, ‘The Life of Pablo.’ During the phone call, Kanye can be heard reciting the lyric, “To all my southside n—-s that know me best, I feel like me and Taylor might still have sex,” to which Taylor responds, “it’s like a compliment, kind of,” and “It’s obviously very tongue in cheek.” She then mentioned the flowers sent to her by Kanye and bragged about the amount of likes the photo received.
Kim Kardashian had previously proclaimed Swift’s consent to the lyric, and Swift’s team countered with condescension, implying that Kim was merely her husband’s puppet, saying:
Taylor does not hold anything against Kim Kardashian as she recognizes the pressure Kim must be under and that she is only repeating what she has been told by Kanye West. However, that does not change the fact that much of what Kim is saying is incorrect. Kanye West and Taylor only spoke once on the phone while she was on vacation with her family in January of 2016 and they have never spoken since. Taylor has never denied that conversation took place. It was on that phone call that Kanye West also asked her to release the song on her Twitter account, which she declined to do. Kanye West never told Taylor he was going to use the term ‘that bitch’ in referencing her. A song cannot be approved if it was never heard. Kanye West never played the song for Taylor Swift. Taylor heard it for the first time when everyone else did and was humiliated. Kim Kardashian’s claim that Taylor and her team were aware of being recorded is not true, and Taylor cannot understand why Kanye West, and now Kim Kardashian, will not just leave her alone.
Kim also claimed that Swift was set to reveal her approval at the Grammys, but backtracked, which can also be heard in the conversation when Swift says, “right after the song comes out I’m going to be on a Grammys red carpet and they’re going to ask me about it and I’ll be like, ‘He called me.'” Swift immediately countered on twitter, insisting that although she can be heard approving the sex line, she cannot be heard approving the words, “that bitch,” as if the tiny dichotomy makes a difference. Plus, her entire Grammy speech was about Kanye wrongfully taking credit for her success, not about the misogyny of the word “bitch.” In fact, Swift also says, “You honestly didn’t know who I was before that. It doesn’t matter that I sold 7 million of that album before you did that which is what happened, you didn’t know who I was before that. It’s fine.” I can only assume that’s in reference to the line about making her famous. And though she has tried to worm out of this by claiming she was never “played the song,” for approval, as one twitter user rightfully pointed out, she did not call John Mayer for approval of “Dear John,” nor did she call the plethora of other exes she bashed in her music using very specific references to their identity. Furthermore, most rappers don’t call for approval at all. Ask Eminem.
To quote Katy Perry, Taylor Swift is “Regina George in sheep’s clothing,” and she’s been exposed. It’s time to stop attacking Kanye and open our eyes to the Swift machine that is now breaking down. Having said that, it must be noted that an industry insider friend of mine is insistent that this is one big publicity stunt involving all three parties, and it’s spinning too far out of control. He predicts that there will be a very public amends, followed by an appearance by Kanye on Taylor’s upcoming record, which is all part of the master plan or long game. It’s certainly possible, and time will tell.