Taylor Swift announces that she now owns her entire catalogue of music
Taylor Swift is now the proud owner of her entire catalogue of music, roughly six years after she protested the sale of her master recordings by her former record label.
Swift announced the news in a letter posted to her website Friday, writing that 'all of the music I've ever made… now belongs… to me.'
The Grammy-winner specified that she owns all her music videos, concert films, album art and photography, along with unreleased songs. She purchased her music 'outright with no strings attached, no partnership, full autonomy,' from Shamrock Capital, a private equity company that had acquired her master recordings.
'To say this is my greatest dream com true is actually being pretty reserved about it,' Swift wrote, adding that she was able to 'buy back' her music from Shamrock following the success of the Eras Tour.
This is a developing story and will be updated.
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Yahoo
21 minutes ago
- Yahoo
The Frequency School breaks GUINNESS WORLD RECORDS™ title for the "195" song featuring the most nationalities
History made by The Frequency School: The "195" officially shatters the GUINNESS WORLD RECORDS title LONDON and LOS ANGELES, June 2, 2025 /CNW/ -- The Frequency School set a new GUINNESS WORLD RECORDS title for "Most nationalities to contribute vocals to a musical recording (single song)" with the "195" song on Monday, in a bid to raise awareness about gender equality and to ignite a global movement uplifting people through the transformative power of soundhealing frequencies. The record-breaking "195" is the first song in history featuring women from all of the world's 195 countries and using sound healing frequencies and the 528 Hz 'Love Frequency'. The Frequency School co-founded by U.S. Grammy-nominated and multi-platinum music producer Maejor, Martina Fuchs, Kingsley M, Brandon Lee and Aaron Dawson produced this visionary, powerful and universal campaign and premiered it during the 55th Annual Meeting of the World Economic Forum (WEF) in Davos-Klosters, Switzerland, from January 20-24. Using the sounds of birds and the heartbeat as instrumental elements, the "195" aims to raise the world's frequency, elevate humanity, and trigger a positive impact by uniting and empowering women worldwide. One woman in every one of the world's 195 countries recognized by the United Nations said one word: "EQUALITY" in her national language or native tongue and sent in her voice and video recording. The number of women and nationalities participating in the song was officially verified by a Guinness World Records adjudicator. Martina Fuchs, Executive Producer of the "195" and Co-Founder of the Frequency School, said: "It has always been my dream to produce the first song in history featuring every country on the planet. Our vision was to unite 195 ordinary women from all walks of life in this pioneering and groundbreaking initiative to advocate for gender equality and the rights of women and girls, and to help people struggling with mental health issues. Breaking this record is only the beginning: we are on a global mission to make our world a more peaceful place." Maejor, Founder and CEO of the Frequency School who produced the song, said: "The world record is a testimony to our work and the universal language of music. This achievement is a call to every one of us to lift each other up and spread peace, love and harmony. We chose to use 528 Hz which is often referred to as the 'love frequency', or the frequency of transformation and miracles. We wanted to promote more respect and fairness for women, as well as deep inner healing and a state of peace. The transformative vibration of 528 Hz can inspire positive action and empathy and people to act more kindly and inclusively." According to scientific studies and music theory, Solfeggio frequencies, ranging from 174 Hz to 963 Hz, offer unique sound patterns that promote relaxation, stress relief, and overall well-being. These frequencies have been shown to positively impact mental, emotional, and physical health by generating vibrations that help achieve a state of calm and balance of the mind, body and spirit. Kingsley Maduka, Co-Founder of the Frequency School, said: "We're incredibly excited to set a new world record, and I am honored to have the youngest lady in my family, my 6 year-old daughter, to be apart of such an intentional women empowerment project, focused on wellness. Being a man, it's important that we do our parts to support our better halfs for the sake of the mental health and wellness of humanity. The Frequency School is such an amazing platform for utilizing, implementing and amplifying wellness tools - working at the intersection of music, wellness, mental health and education is some of the most impactful work I've been able to be apart of." Brandon Lee, Co-Founder of the Frequency School, said: "Every one of us enters this world through a woman—women are the very heartbeat of humanity. I'm deeply honored to be part of this project and inspired by the future initiatives we're building at Frequency School to uplift women's wellness. Earning the GUINNESS WORLD RECORDS title will amplify our mission globally, allowing us to create an even greater impact." Aaron Dawson, Co-Founder and Creative Director of the Frequency School, said: "This project is much more than a world record, it's a reflection of the immense gratitude I hold for women everywhere. I carry deep appreciation for every woman who have shaped me: my mother, grandmothers, aunts, cousins, godchildren, teachers, ancestors, and the many women whose love and existence have given me and the world such beautiful life. A better world exists when we honor women's gifts, invest in them, and protect their well-being." Miriam Moriati, President of the Kiribati Rotaract Youth Club and a Women and Youth representative for OARS (Ocean Alliance for Resilience and Sustainability), said: "I'm from Kiribati, a small island nation in the Pacific, where our highest point is just 3 meters above sea level. Our women in Kiribati are vulnerable due to gender equality not being part of our culture and traditions. They are often the first to be affected by crises and the last to recover. Being part of this initiative to support women on an international stage is an incredible honor. Opportunities to represent our small country are rare, and I am grateful for this platform to amplify the voices of Kiribati women." Sawilanji Nachula, a middle school student representing Zambia, said: "I am a 13-year old Zambian and live on the 'Mighty Zambezi' near the Victoria Falls. I am currently a student at Falcon College in Esigodini, Zimbabwe, where I will start my grade 9 next month. I am both honoured and inspired to smash the world record with so many already successful and soon to be successful members. I doubt I will be able to contribute much myself for now. But I will be sure to promote gender equality as I get older." Inspired by the murmuration of birds and nature's synchronicity, the visualizer of the song includes art elements evoking raw emotions and reflecting the power and harmony of women, and their aspiration for freedom and collective strength. Watch the "195" here: MEDIA CONTACT:Martina FuchsEmail: +41 79 361 01 46 LIST OF "195" PARTICIPANTS: Fawzia Koofi, Afghanistan Juxhina Sotiri Gjoni, Albania Kahina Bouagache, Algeria Jimena Cierco Martinez and Júlia Carreras Salvadó, Andorra Ester Nilsson, Angola Abrianna Cooper, Antigua and Barbuda Romina Sudack, Argentina Sose Markosyan, Armenia Anjali Nadaradjane, Australia Delia Fischer, Austria Bahar Balayeva, Azerbaijan Amanda Darville, Bahamas Ahdeya Ahmed Al-Sayed, Bahrain Laiba Jannati Pritha, Bangladesh Gloria Carter, Barbados Kristina Lozinskaya, Belarus Nyanchama Okemwa, Belgium Julie Robinson, Belize Adjalla Senami Naomy Campbell Mariela, Benin Yangdon Sonam, Bhutan Valentina Crespo Kuljis, Bolivia (Plurinational State of) Iman Daneya Zulum, Bosnia and Herzegovina Kabelo Botlhe Dikobe, Botswana Samanta Bullock, Brazil Daphne Lai Teck Ching, Brunei Darussalam Natalini Yordanova, Bulgaria Audrey Korsaga, Burkina Faso Jeanne Irakoze, Burundi Zanu Alves, Cabo Verde Savada Prom, Cambodia Sabrina Love, Cameroon Alyson Meister, Canada Kessy Martine Ekomo-Soignet, Central African Republic Mariam Abdoulaye Malloum, Chad Bernardita Castillo Passi, Chile Joyce Peng Peng, China Karin Andrea Stephan, Colombia Armel Azihar Sly-vania, Comoros Gisèle Brice Mabiala, Republic of the Congo Maria Jose Freer Murillo, Costa Rica Noussoeu Bih, Côte D'Ivoire Marijana Maros, Croatia Lixandra Díaz Portuondo, Cuba Louiza Nikolaou, Cyprus Shelley Pleva, Czechia Esther Eom, Democratic People's Republic of Korea Dodo Liwanga, Democratic Republic of the Congo Heidi Bjerkan, Denmark Intibah Ali Abdallah, Djibouti Sapphire Vital, Dominica María Eugenia del Castillo, Dominican Republic Margarita Heredia Forster, Ecuador Amena Bakr, Egypt Fabiola Torres, El Salvador Paulina Laurel Sami, Equatorial Guinea Harena Amanuel, Eritrea Anette Maria Rennit, Estonia Zandisile Howe, Eswatini Lina Getachew Ayenew, Ethiopia Renita Reddy, Fiji Julia Sulonen, Finland Anino Emuwa, France Rita Aboghe, Gabon Sarjo M Jallo, Gambia (Republic of The) Eka Khorbaladze, Georgia Carolin Strunz, Germany Michelle Nana Adwoa Agyakomah Yeboah, Ghana Efi Pylarinou, Greece Laureen Redhead, Grenada Lilian Viviana Tzul Pérez, Guatemala Fatoumata Diallo, Guinea Waltemira Audilia Monteiro Eckert, Guinea Bissau Amrita Naraine, Guyana Stephanie Garçonvil, Haiti Carmen Elisa Méndez Silva, Honduras Aliz McLean, Hungary Mardis Karlsdottir, Iceland Asma Khan, India Siti Suliatin Buechel, Indonesia Sanam Shantyaei, Iran (Islamic Republic of) Aya Al-Shakarchi, Iraq Lisa Armstrong, Ireland Dalith Steiger, Israel Cristina Romelli Gervasoni, Italy Heather Carrington, Jamaica Meguri Fujisawa, Japan Suad Musallam Hijazin, Jordan Zhanna Kan, Kazakhstan Shayoon, Kenya Miriam Moriati Koae, Kiribati Suad Al Sabah, Kuwait Aigerim Sultanbekova, Kyrgyzstan Duangtavanh Oudomchith, Lao People's Democratic Republic Laima Dimiševska, Latvia Dia Audi, Lebanon Reekelitsoe Molapo, Lesotho Laymah E. Kollie, Liberia Manal Aboujtila, Libya Katrin Eggenberger, Liechtenstein Deimile Soares, Lithuania Sophie-Anne Schaul, Luxembourg Mireille Ramampandrison, Madagascar Jacqueline Nhlema, Malawi Harpreet Bhal, Malaysia Widhadh Waheed, Maldives Binthily Youma Macalou, Mali Michelle Muscat, Malta Claret ChongGum, Marshall Islands Habibata Cissé, Mauritania Ameenah Gurib-Fakim, Mauritius Yolanda Sánchez, Mexico Drinnette James, Micronesia (Federated States of) Annabelle Jaeger-Seydoux, Monaco Amrita Gerelt-od, Mongolia Milica Markovic, Montenegro Touria El Glaoui, Morocco Maria Honoria da Silva Mocambique, Mozambique Ei Han, Myanmar Tisha Haushona, Namibia Angelina Waqa, Nauru Sahana Vajracharya, Nepal Andrea B. Maier, Netherlands (Kingdom of the) Alexia Hilbertidou, New Zealand Kathia Salazar, Nicaragua Alassane Soumana Roukayatou, Niger Eyitola St. Matthew-Daniel, Nigeria Matea Kocevska, North Macedonia Alliance Niyigena, Norway Ruby Saharan, Oman Mariam Zaidi, Pakistan Dee Raya Antonio, Palau Nadia Hazem, Palestine Trishna Nagrani, Panama Jenny Namana, Papua New Guinea Emilie Seitz, Paraguay Gigi Caballero, Peru Andrea Mikaella Geronimo, Philippines Elvira Eevr Djaltchinova-Malec, Poland Sandra Fankhauser, Portugal Dr. Asmaa Alfadala, Qatar Sylvia Shin, Republic of Korea Dana Muntean, Republic of Moldova Carina Schuster, Romania Ashley Dudarenok, Russian Federation Bonita Mutoni, Rwanda Vicia Woods, Saint Kitts and Nevis Sheridin Jones, Saint Lucia Rianka Chance, Saint Vincent and the Grenadines Faauiga Maiava Onosai Sauiluma, Samoa Martina Mattioli, San Marino Katy Nascimento, Sao Tome and Principe Asma Alsharif, Saudi Arabia Korka Dieng, Senegal Teodora Cosic, Serbia Beverly Dick, Seychelles Sylvia Conteh, Sierra Leone Cheng Ying (Monica), Singapore Lucia Kupcova, Slovakia Ksenia Juvan, Slovenia Sharon Inone, Solomon Islands Amran Abocar, Somalia Kim August, South Africa Josephine Albino, South Sudan Alejandra Costales Richards, Spain Suba Umathevan, Sri Lanka Tahani Karrar, Sudan Radhiya Ebermann-Joval, Suriname Sabinije von Gaffke, Sweden Martina Fuchs, Switzerland Stephanie Ghazi, Syrian Arab Republic Zarina Khasanova, Tajikistan Ratih Paramitha, Thailand Dália Kiakilir, Timor-Leste Isbath Esther Ali, Togo Ofa gé, Tonga Alexa Chin Pang, Trinidad and Tobago Aya Chebbi, Tunisia Guelistan Fuchs, Türkiye Aylar Babayeva, Turkmenistan Lilly Teafa, Tuvalu Jovia Kisaakye, Uganda Kateryna Krasnozhon, Ukraine Suaad Al Shamsi, United Arab Emirates Melissa Monique, United Kingdom of Great Britain and Northern Ireland Flaviana Matata, United Republic of Tanzania Kenzi Kachi Maduka, United States of America Camila Bentancur, Uruguay Muldir Khayitova, Uzbekistan Adrina J L Abel, Vanuatu Boglarka Sztancs, Vatican City Sophia Santi Guevara, Venezuela, Bolivarian Republic of Yip Thy Diep Ta, Viet Nam Wadha Abdullah Mohsin, Yemen Suwilanji Nachula, Zambia Rosheen Ngorima, Zimbabwe ABOUT THE FREQUENCY SCHOOL: The Frequency School is a pioneering global initiative designed to harness the transformative power of music for the holistic development of people around the world, focusing on the mind, body, and spirit. Through services like music therapy, education, and performance, we empower individuals to lead balanced, healthy, and fulfilling lives. The approach integrates the latest in sound therapy with traditional wellness practices to support the whole person. It was launched by Maejor, Martina Fuchs, Kingsley M, Brandon Lee, and Aaron Dawson at the renowned international boarding school Aiglon College in Switzerland in 2024. YouTube: Frequency SchoolLinkedIn: The Frequency SchoolInstagram: @thefrequencyschoolWebsite: PARTNERS: The Female Quotient 100 Women @ Davos Learnstar International Institute for Management Development (IMD) Läderach Montreux Jazz Festival China Bullock Inclusion LGT Private Banking Innovation Foundation, Empowered by the Adecco Group Global Women's Institute, The George Washington University Female Founders Initiative Global Africa Global Gender Academy (AGGA) Equal Voice The Lion Academy OpenDesk The Equality Institute Global Island Partnership (GLISPA) Caribbean Women's Network NOTA Inclusion Women Future Cities Initiative Global CSR Foundation (GCSRF) World Pulse Global Citizen Forum Video - - - - - View original content to download multimedia: SOURCE The Frequency School View original content to download multimedia: Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Yahoo
39 minutes ago
- Yahoo
Taylor Swift got what she wanted. So what do 'Taylor's Versions' mean now?
I have been to some very loud concerts. Nothing compares to what I witnessed at SoFi Stadium in Los Angeles on Aug. 9, 2023, when I attended Taylor Swift's Eras Tour. 'Here we are on the last night of the U.S. leg of the Eras Tour, in the eighth month of the year on the ninth day of the month,' Swift told the 70,000-plus people in the audience near the end of the 3½-hour show. '... There's something that I've been planning for a really, really, really, ridiculously, embarrassingly long time. And I think instead of just telling you about it, I think I'll just sort of show you.' The screaming during Swift's speech — her emphasis on the numbers eight and nine could only mean one thing — was just a warmup for the deafening roar when the enormous screen behind her transformed into the cover art for '1989 (Taylor's Version).' The surprise reveal of Swift's fourth rerecorded album, an effort she started in 2019 after her devastation that her master recordings of her first six albums were sold to music manager Scooter Braun, sent the crowd into such a frenzy that my ears still hurt when I think about it. That was the last rerecording announcement that Swift made until Friday morning, when the superstar dropped the bombshell that after the years-long battle, she finally was able to buy back her masters and now owns her entire music catalogue. The purchase, which Swift called her 'greatest dream come true,' immediately made global headlines, from every corner of social media to midday cable news. ('Now it's all going to be Taylor's version,' said CNBC reporter Bertha Coombs, to which anchor Kelly Evans replied, 'All is well with the world.') The most ecstatic people were in her fandom, the famously loyal Swifties who ensured that all of the 'Taylor's Version' albums ('Fearless' and 'Red' in 2021, 'Speak Now' and '1989' in 2023) debuted at No. 1 on the Billboard 200 chart. Swift embarked on this project to gain control of her music and as a way to devalue her original recordings so they wouldn't be worth as much to Braun, who Swift claimed bullied her for years. (In 2020, he sold her masters to private equity firm Shamrock Capital.) Until Friday, the most die-hard fans called those songs the 'stolen versions' and refused to listen to them, even if they preferred the originals to the updated tracks. Swift's announcement, however, also prompted some criticism on social media and beyond from people who looked back on the 'Taylor's Version' endeavor and called it a 'scam,' or mocked fans who spent money on the rerecords when Swift — whose net worth reached a reported $1.6 billion last year — turned around and bought back the masters anyway. Swift's statement implied that she won't be releasing the highly anticipated 'Reputation (Taylor's Version)' and that there's no timeline for her rerecorded self-titled debut album. There's no doubt that Swifties have had an extreme reaction to this project: the internet-consuming countdown to every rerelease day; the intense speculation about when Swift was dropping 'Rep TV,' including the widespread theory that she would reveal the date at last week's American Music Awards (nope); the literal tears of joy after Friday's announcement. But as I thought about it, I went back to that eardrum-piercing night in Los Angeles and what Swift said during her speech before she revealed the album, as she talked about how she was 'pleasantly surprised' by how much fans had supported her rerecording quest. 'That was something that I expected to be just a 'me' thing, just a personal thing,' Swift said. '... The way that you have embraced that, the way that you have celebrated that — you really decided that it was your fight too, and that you were 100 percent behind me. And if I cared about it, you cared about it. I will never stop thanking you for that.' Setting aside the idea that Swift could actually be surprised that her listeners cared about her actions (in 2014, iTunes Canada accidentally uploaded eight seconds of static labeled as a Taylor Swift song and it immediately rocketed to No. 1), her speech got to the core of why Swifties connected so deeply to the rerecords. The foundation of Swift's legacy as a once-in-a-generation pop star is the inimitable relationship she has with her fan base, building on the personal nature of her music that has enthralled listeners for nearly 20 years. Swift's back-and-forth with her fans dates back to her country music days as a teenager in Nashville, when she spent hours chatting on MySpace and stayed at venues until every autograph was signed. She bought listeners Christmas presents and showed up at their houses and left comments on their Instagram photos, and she jumped out of the car to meet them if she saw them wearing one of her tour T-shirts on the street. Swift has never charged for meet-and-greets at her concerts. She hosted backstage after-parties and had 'secret sessions' for early album previews at her home. She referred to her fans as friends, and emphasized that they are all equally important participants in her musical journey. But as Swift has become a global celebrity, the relationship with her fans had to change. Her fan base has grown at an astonishing and unmanageable rate, and for both logistical and safety reasons, Swift hasn't hosted meet-and-greets since 2018. Although she posts the occasional reaction on TikTok, she's rarely active on social media. When I interview Swifties, they often say that they understand why she had to pull back on letting everyday people into her life, but that they still wish they could talk to Taylor like they did in the old days. In a way, the rerecords allowed the less accessible Swift to communicate with her fans once again. She incentivized the purchase by including 'from the vault' songs that she left off the albums the first time, which provided new details for the Swifties who meticulously track her life story, and shed insight into how she thought about her career and legacy. On the rerecorded 'Fearless,' she paid homage to her country music roots as she tapped Keith Urban and Maren Morris to sing with her on two vault tracks. The new 'Red' included the 10-minute version of 'All Too Well,' with unreleased lyrics that fans had been clamoring for for almost a decade. With the 'Speak Now' rerelease looming, she assured one concert crowd that she didn't need anyone defending her online — presumably a preventative measure for people to leave John Mayer alone about 'Dear John,' the album's scathing ballad. The updated '1989' included vault songs with even more vulnerable lyrics about a breakup. All of her actions surrounding the rereleases, including the letters she included with each album that explained her choices in making the record, proved the most important thing for Swifties: that she was still listening to them. A few years ago, I wrote about how the hunt for hints and Easter eggs in Swift's work (something she has always encouraged) had exploded over time. One fan told me, 'She's aware of the game, so if we play the game, it feels like we're all doing something together.' That sums up why the practice only increased through the rerecords. During the Los Angeles announcement, for example, people in the stadium also lost their minds when Swift appeared onstage in a blue costume. Because '1989' is associated with the color blue, they (correctly) assumed a 'Taylor's Version' announcement was coming that night. This doesn't make sense to anyone outside the fan base, but that's the point. In her letter about her masters on Friday, Swift noted that the success of the Eras Tour (which grossed more than $2 billion) allowed her to make this purchase — but so did the support from her fans. And that underscores what Swift has told them all along and what the Swifties believe: that Taylor and the fans always have been, and always will be, in this together.
Black America Web
3 hours ago
- Black America Web
Is Doechii's Oversized Balloon Jacket Summer's Newest Style Trend?
Source: Bryan Bedder / Getty When it comes to commanding the stage, rapper and budding style icon Doechii never misses. However, her May 31 performance at the Samsung Edge in New York didn't just deliver a flawless stage performance but a flawless fit, too. The Florida-born rapper has again gone viral. This time in a statement-making ensemble that blurs the lines between high fashion and hip-hop flair. The fashion girls are talking – and taking notes. The Grammy-winning artist hit the Samsung stage as part of a new partnership with the tech brand. She wore a dramatic balloon-shaped trench coat layered over a crisp white button-down and maroon necktie. Styled by Sam Woolfe, the look was cinched just enough to reveal her tiny waist and mini length to show off her legs. She paired the funky outwear with high beige socks and sharp black stilettos. Adding to her look was makeup and hair for the 'gawds. Her makeup included a silver cut crease, flawless matte skin, and a glossy red lip. Gold hoops and wire-rimmed glasses gave her fit a soft throwback finish, and her signature face tape continues to be that girl. What we love about Doechii's balloon jacket is that it challenges the idea of what summer style is (or should look like). A departure from the typical warm-weather dressing of booty shorts, maxi dresses, and skimpy tops, the 'Anxiety' femcee's fit stood out. Her body was still bodying – and so was her style. Her jacket is also a nod to icons like Andre Leon Talley who always played with proportions by his own rules. Yes, the piece is just that good. If you're thinking about how to tap into the Doechii summer style trend, start with exaggerated outerwear in breathable fabrics. Think unexpected to expected from linen and chambray to seersucker and chiffon. Pair the outerwear with short hemlines or stackable layers that help balance the volume. Source: Bryan Bedder / Getty For those not ready to go bare-legged just yet, layer baggy silhouettes over shorts or bike sets. Add sleek heels or chunky sneakers to stand out and don't be afraid to play with accessories that contrast the drama. Doechii's summer style trend is for the girls who like to put that ish on. Her fashion era continues to evolve —and we're ready for every oversized moment. SEE ALSO Is Doechii's Oversized Balloon Jacket Summer's Newest Style Trend? was originally published on Black America Web Featured Video CLOSE
