Hanks Johnson, 52, allegedly tried to force his way into the "Shake It Off" singer's pricey Franklin St. pad about 8:30 p.m. Saturday but was foiled when cops arrived, sources said.
Johnson has showed up at Swift's building to ring the doorbell at least five times over the past six months, and the head of security there told him he's not welcome inside, according to a criminal complaint.
He was charged with criminal trespass and released on his own recognizance after a Manhattan criminal court arraignment Sunday night.
Outside the courthouse, Johnson made a show of sending direct messages to Swift's Instagram account, and claimed the predictive text suggestions on his phone were actually replies from the megastar.
He described himself as a motivational speaker and claimed he was visiting her to "make a presentation" at her request, so they could "place America back on top" economically and "increase the vibrations in America."
"She messaged me from her place, I think, and she invited me to come over, that's why I went there," he said. "I went to Franklin St. just to communicate with her about the presentation... and that's when the police came."
He also showed off a restraining order barring him from contacting models Bella and Gigi Hadid, who are close pals with the pop star.
Johnson is the latest in a string of stalkers for Swift, who is famous for hits like "Love Story" and "Look What You Made Me Do."
In March 2019, Roger Alvarado, 23, was busted on felony charges after he used a ladder to climb up to the terrace of her Franklin St. apartment — just months after he served jail time for a 2018 break-in attempt there. The ladder stunt cost him two to four years behind bars.
Taylor Swift: Fearless (Taylor's Version) Album Review | Pitchfork
Taylor Swift's project to re-record her albums to reclaim legal ownership of the music begins with 2008's Fearless , an almost identical, polished, and somewhat melancholy version of it.
When Taylor Swift announced that she planned to re-record each of her albums to effectively take control of her masters and stick it to famed music manager Scooter Braun, the move was quintessential Taylor: strategic, savvy, and easily mapped onto an empowerment narrative. This wasn't simply a cynical IP grab with purely financial implications; this was also a woman quite literally reclaiming her past selves. For listeners, however, the value proposition seemed less clear. So much of the relationship between pop star and fan revolves around the idea of "blessings," with the generous artist bestowing gifts to her listeners. With "new" versions of old albums, Swift seemed to ask her fans to accept the re-done albums as a new canon to replace the beloved decade-old records.
Fearless (Taylor's Version) is the first of six of these planned "new" versions. Starting with her second album is a deft choice; her writing is stronger than on her 2006 self-titled debut , and Fearless contains some of her more iconic and commercially successful tracks. Instead of cosplaying a caricature of her 18-year-old self, we get present-day Taylor in conversation with the Taylor of the past with a wrenching intimacy.
What is to be gained from parsing the gap between remix, recitation, and reincarnation? Dissecting the Easter eggs tucked into Swift's songs has always been part of the Taylor listening experience—decoding which lyric corresponds to which break-up, tracing the lineage of each biting remark. Fearless (Taylor's Version) presents a different puzzle: spotting the difference between the original and this almost-identical copy. These versions are slightly more polished, like photos touched up on Instagram with a press of a button: the sound is brighter, the mix is clearer, each peal of guitar is sharper. Most of the alterations to original songs are barely noticeable, besides an invigorating blast of fiddle on "Love Story"; each song's runtime remains either exactly the same or off by a single second.
Most obviously changed is her voice, which has strengthened and deepened over the years. Her choruses are a bit less breathy, and she glides into belting without sounding strained. There are micro-changes in inflection: "You ask me for my love and then you push me around," she cries on "Tell Me Why," the note a bit more strangled and snarling. The seconds-long "Hallelujah" in the bridge of "Change" sounded exalted on the earlier version; here it sounds more like a sigh, somewhere between relief and remorse.
The songs on Fearless surge between hope and pain, bitterness and awe. The tension in Taylor's early albums drew from that dichotomy: to reach for fairytales while listing their fallacies, to decry white horses and still believe there's redemption in the perfect dress. "Today Was a Fairytale," a song she wrote to accompany her cameo in the 2010 rom-com Valentine's Day , slots right into this context with buoyant guitar and Swift's ode to "magic in the air." The other "new" songs on Taylor's Version, released from her famed vault , blend into that bland, twangy sweetness—with the exception of "Mr. Perfectly Fine," a delightful, strumming takedown. "I don't know how it gets better than this," she sings on the title track, and that glow remains even as she describes a breakup that leaves her breathless.
"Forever and Always" is Fearless' best song, but the shock from the original album gives way to something cooler—more disgusted than aghast. In the 2009 version, Swift sounded wounded as she sings: "You looked me in the eye and told me you loved me/Were you just kidding?" In the newer versions (she also includes a slowed piano iteration among the bonus material), her voice is subdued but more full as she sings those lines, no longer litigating the cruelty of an ex, but allowing the sorrow that comes with accepting your own anger.
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Taylor Swift Rules Country Songwriters Chart | Billboard
Taylor Swift becomes the first talent to simultaneously top Billboard 's Country Songwriters and Country Producers charts, both of which launched in June 2019.
Swift tallies her fifth week atop Country Songwriters and surges from No. 10 to No. 1 on Country Producers, leading for the first time and becoming the first woman to reign.
Swift leads the April 24-dated surveys on the strength of 18 credits on the Hot Country Songs chart as both a songwriter and producer, all of which appear on her new album Fearless (Taylor's Version) . The set debuts at No. 1 on the Billboard 200 and Top Country Albums with 291,000 equivalent album units earned, according to MRC Data, the largest week for any album this year.
As Swift tops Country Producers for the first time, here's a rundown of all 18 of her entries on Hot Country Songs, with co-producers listed in parentheses. (She wrote seven of the 18 songs by herself.)
Rank, Artist Billing, Title (co-producers in addition to Swift):
No. 2, "Mr. Perfectly Fine (Taylor's Version) (From the Vault)" (Jack Antonoff)
No. 6, "Love Story (Taylor's Version)" (Christopher Rowe)
No. 12, "Forever & Always (Taylor's Version)" (Rowe)
No. 14, "Fearless (Taylor's Version)" (Rowe)
No. 15, "You All Over Me (Taylor's Version) (From the Vault") feat. Maren Morris (Aaron Dessner)
No. 16, "You Belong With Me (Taylor's Version)" (Rowe)
No. 20, "Fifteen (Taylor's Version)" (Rowe)
No. 24, "The Way I Love You (Taylor's Version)" (Rowe)
No. 28, "Hey Stephen (Taylor's Version)" (Rowe)
No. 29, "White Horse (Taylor's Version)" (Rowe)
No. 30, "That's When (Taylor's Version) (From the Vault)" (Antonoff)
No. 34, "Breathe (Taylor's Version)" (Rowe)
No. 40, "You're Not Sorry (Taylor's Version)" (Rowe)
Mo. 41, "Tell Me Why (Taylor's Version)" (Rowe)
No. 42, "Don't You (Taylor's Version) (From the Vault)" (Antonoff)
No. 43, "We Were Happy (Taylor's Version) (From the Vault)" (Dessner)
No. 45, "The Best Day (Taylor's Version)" (Rowe)
No. 49, "Bye Bye Baby (Taylor's Version) (From the Vault)" (Antonoff)
Two of Swift's two co-producers on the album, Christopher Rowe and Jack Antonoff, also land on this week's Country Producers chart, at Nos. 2 and 5, respectively. Rowe co-produced 12 of the songs above and Antonoff co-produced four.
Plus, two of Swift's co-writers on the set, Liz Rose and Hillary Lee Lindsey, reach the Country Songwriters chart, at Nos. 2 and 8, respectively. Rose co-wrote "Fearless," "You Belong With Me," "White Horse," "Tell Me Why," "We Were Happy" and "Bye Bye Baby" and Lindsey co-wrote "Fearless," as well as Jordan Davis' "Almost Maybes," at No. 19 on Hot Country Songs.
The weekly Country Songwriters and Country Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot Country Songs chart. As with Billboard 's yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Country Songwriters and Country Producers charts, in addition to the full genre rankings, can be found on Billboard.com.
Taylor Swift's 'Willow' Tops Adult Pop Airplay | Billboard
As Taylor Swift 's newest album, Fearless (Taylor's Version) , blasts in at No. 1 on the Billboard 200, her previous release, Evermore , generates its own latest chart achievement.
The latter's "Willow" ascends to No. 1 on Billboard 's Adult Pop Airplay chart, becoming the first radio chart leader from Evermore .
The lead pop single from Evermore became Swift's seventh No. 1 on the multi-metric, all-genre Billboard Hot 100 upon its debut on the Dec. 26, 2020-dated tally.
On the latest Adult Pop Airplay chart (dated April 24), "Willow" becomes Swift's eighth No. 1. She ties Katy Perry for the third-most leaders in the survey's 25-year history, after Maroon 5's 14 and P!nk's 10.
"I Knew You Were Trouble.," one week at No. 1, March 16, 2013
"Shake It Off," eight weeks, beginning Oct. 11, 2014
"Blank Space," six weeks, beginning Jan. 3, 2015
"Style," two weeks, beginning April 11, 2015
"Bad Blood" three weeks, beginning July 25, 2015
"Wildest Dreams," four weeks, beginning Oct. 31, 2015
"Delicate," four weeks, beginning July 7, 2018
"Willow," one week to-date, April 24, 2021
Evermore arrived as Swift's eighth No. 1 on the Billboard 200 and has earned 1 million equivalent album units to-date (391,000 in album sales), according to MRC Data.
"Willow" concurrently holds at its No. 6 high on the Adult Contemporary chart after reaching No. 17 on Pop Airplay. Two other Evermore singles have scaled airplay charts: "Coney Island," featuring The National, hit No. 18 on Adult Alternative Airplay and "No Body, No Crime," featuring Haim, rose to No. 54 on Country Airplay.
While not being promoted as a proper radio single from Fearless (Taylor's Version) , "Love Story (Taylor's Version)" has hit No. 29 on Adult Contemporary, No. 39 on Adult Pop Airplay and No. 57 on Country Airplay. It launched as Swift's eighth No. 1 on the multi-metric Hot Country Songs chart.
Taylor Swift's 'Fearless (Taylor's Version)' Hits Number One
The 10 Best Houses in Taylor Swift's Music Videos: The Lover dollhouse, the bedroom from
Taylor Swift lookalike leaves TikTok users baffled: 'I remember getting brutally made fun of'
A Taylor Swift fan who bears a shocking resemblance to the pop star went viral after recreating all nine stages of Swift's career in an elaborate TikTok.
The 22-year-old musical theatre student told In The Know that she's been a "huge Swiftie" since she was 8 years old, and now even has a lyric tattoo (and a viral video) to prove it.
"I remember getting brutally made fun of back in the day for liking her, but I never cared," she said.
Julie doesn't really think she looks like Swift, though. She's more of a fan of the mega-star's on-stage aesthetics.
When Julie attended Swift's Reputation Tour in 2018, she wore one of her costumes, and a number of people told her she looked like the singer and asked her to pose for photos.
A while later, Swift released merchandise honoring her so-called "eras," or the aesthetics she adheres to for each album cycle. That inspired Julie to try to recreate some of the looks.
For a couple of the costumes, like the formal dress of Swift's self-titled debut album and the plaid coat of the Evermore era, Julie bought her clothes from Fashion Nova. The more elaborate costumes — like the marching band outfit from Fearless and the ringleader costume from Red — she had to make herself.
Ultimately, the whole thing, including making costumes and editing the clip's audio, took about four months to complete. The filming and video editing process alone took 13 hours over three days.
"I'm incredibly grateful that TikTok gave me the opportunity to have so much positivity come out of this," she said. "I used to sing Taylor Swift songs in my room into a hairbrush in secret for years so it's incredible to get to share something that makes me so happy with so many people."
Twenty One Pilots, Lady Gaga, Pink, DMX And Taylor Swift: The 5 Biggest Moves On The U.K. Chart
ANAHEIM, CALIFORNIA - DECEMBER 08: Josh Dun of Twenty One Pilots performs onstage during KROQ ... [+] Absolut Almost Acoustic Christmas 2019 at Honda Center on December 8, 2019 in Anaheim, California. (Photo by Emma McIntyre/Getty Images for KROQ)
The highest-ranking of the bunch is "Mr. Perfectly Fine (Taylor's Version) (From The Vault)," which opens at No. 30. Further down the tally, "Love Story (Taylor's Version)" returns at No. 45, while fellow new cut "You Belong With Me (Taylor's Version)" launches at No. 52.
With "Mr. Perfectly Fine" starting its time on the chart inside the top 40, Swift adds a thirty-sixth placement inside that important region to her discography.
Rag'n'Bone Man has now appeared in that space with five songs, while Pink has done so with 35 different tracks.
Alternative rock powerhouses Twenty One Pilots have officially kicked off the promotional campaign for their upcoming album Scaled and Icy , which is expected next month. The plan starts with new single "Shy Away," which is quickly becoming a true hit all around the world. The title opens at No. 56 in the U.K.
Following his tragic passing at the age of 50, DMX returns to the UK. singles chart for the first time in years with one of his biggest hits. "X Gon' Give It to Ya" is back at No. 72 this frame, as millions of fans bought and streamed his entire back catalog after the terrible news spread. The tune originally peaked at No. 6 during its initial chart runback in 2003.
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