Bill Ackman’s Pershing Square has submitted an offer to buy Universal Music, the world’s largest music company.
The investment fund offered a mix of cash and shares for Universal, which represents artists including Taylor Swift, Bad Bunny, Harry Styles, and Kendrick Lamar. The bid is for €9.4 billion ($10.9 billion) in cash plus shares, which would value the group at $63.5 billion.
It comes as Ackman is looking to take Pershing Square public, with the company filing for an IPO on the New York Stock Exchange in March.
This is a developing story. Check back for updates.
Taylor Swift is the biggest-selling artist in the world by most reliable measures, so when she makes an unconventional business move — no matter how random or trivial it may appear — it’s worth paying attention.
On Friday, Swift unveiled the self-directed music video for “Opalite,” her latest single from “The Life of a Showgirl.” Upon release, the cameo-laden clip was available exclusively on Spotify and Apple Music, with its YouTube premiere scheduled for a two-day delay.
Streamers like Spotify and Apple Music specialize in hosting songs, albums, podcasts, and playlists — not visual works. Meanwhile, YouTube is famously a destination for music video lovers. So what gives?
As usual, when it comes to Swift, the answer seems to lie with her bottom line. In December, YouTube announced it would withdraw its streaming data from Billboard’s chart formulas because the music company tweaked its methodology so that streams from YouTube subscribers were weighted even more heavily than free streams. YouTube’s stance is that the ratio is unfair to fans.
Swift recently scored her longest reign yet on the Billboard Hot 100 with “The Fate of Ophelia,” the lead single from “Showgirl,” which charted at No. 1 for 10 weeks. With “Opalite” officially serving as its follow-up, Swift appears to be making moves to boost the song’s chart performance.
If fans were flocking to YouTube today to watch her new music video, none of those views would help “Opalite” reach No. 1 — and nobody wants to follow a personal best with a personal flop, least of all an athlete-style competitor like Swift.
Of course, this savvy tweak to the song’s promo schedule was paired with a physical release: a seven-inch vinyl single in “pearlescent blue,” only available in Swift’s online store for 48 hours.
How Taylor Swift moves, other artists tend to follow
Swift’s unyielding commitment to commerce isn’t just something to behold. It’s something to study. Swift’s sales tactics often become instructive for other artists.
Much has been made about Swift’s push to sell physical albums, for example, but many fellow pop stars have followed suit. Charli XCX released about two dozen vinyl variants for her 2024 album “Brat” and its deluxe editions. Sabrina Carpenter, a self-professed disciple of Swift’s work, released 13 vinyl variants last year for “Man’s Best Friend,” in addition to seven-inch singles, cassettes, and CDs. As a result, “Man’s Best Friend” scored the ninth-biggest vinyl sales week of the modern era, according to Billboard. (Seven of the top eight slots on that list belong to albums by Swift.)
“The Fate of Ophelia” reached No. 1 on the chart dated October 18, 2025.
So, it could very well mean that Swift’s strategic video rollout will start a trend as well. Although YouTube is the customary platform for music videos, customs can be changed, and she isn’t the only artist who cares about climbing the charts.
It could also be that Swift’s premiere delay will inspire YouTube to rethink its attitude toward Billboard. If one of the most influential celebrities in the world is delaying their content to your product, that could be bad for business — and it wouldn’t be the first time Swift convinced a major company to change its tune. Back in 2015, she criticized Apple Music for refusing to pay artists during a new user’s free trial. Within 24 hours, Apple updated its policy and tagged Swift in the announcement online.
It remains to be seen whether “Opalite” will affect the music industry beyond Swifties, but if the song’s lyrics are any indication, Swift is content to manufacture success on her terms — or, in her words, to make her own sunshine.
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The Grammy Award for best new artist is considered a high honor in the music industry.
Marquee names like The Beatles, Adele, and John Legend have all taken home the award.
Stars like Taylor Swift, Drake, and Britney Spears were nominated for the award but didn’t win.
Winning the Grammy for best new artist is considered a high honor in the music industry.
With iconic musicians like The Beatles, Mariah Carey, Alicia Keys, John Legend, and Adele all taking home the award, it’s easy to see why this Grammy is so sought after.
But many of the biggest names in music went on to launch successful careers even though they didn’t win the award.
Here are 19 of the biggest stars who were nominated for — but lost — the Grammy for best new artist.
Elton John lost to The Carpenters.
John was nominated for best new artist in 1971. Samir Hussein/Getty Images
He’s now one of the most famous names in the music industry, but in 1971, John lost the award for best new artist to The Carpenters.
John has since won five Grammys. He’s also one of few stars to reach EGOT status, meaning he’s won an Emmy, Grammy, Oscar, and Tony.
Boyz II Men won their first Grammy the same night they lost the award for best new artist.
Boyz II Men were nominated for best new artist in 1992. Jason Kempin/Getty Images
In 1992, Boyz II Men lost the award for best new artist to the singer-songwriter Marc Cohn.
The trio didn’t leave empty-handed, as they took home the award for best R&B performance by a duo or group with vocals that same night.
The group has earned four Grammys and 15 nominations.
Green Day lost to Sheryl Crow.
Green Day were nominated for best new artist in 1995. Kevin Mazur/AMA2016/Getty Images
At the 1995 ceremony, Green Day was nominated for best new artist alongside Ace of Base, Counting Crows, Crash Test Dummies, and Crow.
Although the award went to Crow, Green Day’s album “Dookie” took home the prize for best alternative music performance that same night.
The band has since won four Grammys.
Shania Twain didn’t win the award for best new artist, but now has five Grammys.
Twain was nominated for best new artist in 1996. Rick Kern/Stringer/Getty Images
Known for iconic songs like “Man! I Feel Like a Woman!” and “You’re Still the One,” Twain’s music has sold millions of copies worldwide.
But when she was up for best new artist at the 1996 Grammys, Hootie & the Blowfish took home the award.
Today, Twain has five Grammys.
Britney Spears lost the award for best new artist to Christina Aguilera.
Spears was nominated for best new artist in 2000. J. Merritt/Getty Images
In 2000, Spears was making a name for herself in pop music, coming off the success of her debut single “…Baby One More Time.”
That same year, Spears missed out on the Grammy for best new artist, which went to her “Mickey Mouse Club” costar Aguilera.
Spears won her first and only Grammy in 2005 for her song “Toxic.”
Avril Lavigne has had success despite missing out on the Grammy for best new artist.
Lavigne was nominated for best new artist in 2003. Jason Kempin/Getty Images
Lavigne was nominated for best new artist after the success of her debut album, which included hits like “Complicated,” “Sk8er Boi,” and “I’m With You.”
During the February 2003 ceremony, Norah Jones took home the award.
Although Lavigne has not yet won a Grammy, she’s been nominated eight times.
John Mayer now has multiple Grammys but did not win best new artist in 2003.
Mayer was nominated for best new artist in 2003. Gilbert Flores/Getty Images
Like Lavigne, Mayer also lost out on the title of best new artist in 2003.
He has since taken home seven Grammys, including for song of the year.
Ciara lost the award for best new artist to John Legend in 2006.
Ciara was nominated for best new artist in 2006. AP Photo/Chris Pizzello
In 2006, Ciara was nominated for best new artist alongside Fall Out Boy, Legend, Keane, and Sugarland.
Legend left with the award, but Ciara didn’t go home empty-handed. That night, she won the best short-form music video award for her feature on Missy Elliott’s song “Lose Control.”
Taylor Swift never won best new artist, but she’s won many other Grammys.
Swift was nominated for best new artist in 2008. VALERIE MACON/Getty Images
After her hugely successful Eras Tour, it’s hard to imagine a time when Swift didn’t win the title of best new artist at the Grammys.
However, when she was nominated in 2008, the award went to Amy Winehouse.
Since then, Swift has won 14 Grammys. She is the only artist in history to win album of the year four times.
The Jonas Brothers lost to Adele.
The Jonas Brothers were nominated for best new artist in 2009. Kevin Mazur/Getty Images
In 2009, the Jonas Brothers were in a tight race for best new artist alongside Adele, Duffy, Jazmine Sullivan, and Lady A.
Adele took home the prize, but the Jonas Brothers have gone on to have an extremely successful career.
Although they’ve yet to win a Grammy, they’ve been nominated for two.
Drake lost the title in 2011 but has since won five Grammys.
Drake was nominated for best new artist in 2011. Dave Benett/Getty Images
Although Drake now has five Grammys under his belt, he lost best new artist to jazz musician Esperanza Spalding in 2011.
Justin Bieber lost the award for best new artist to Esperanza Spalding.
Bieber was nominated for best new artist in 2011. Kevin Mazur/Getty Images
Like Drake, Bieber also lost the award for best new artist to Esperanza Spalding.
He’s since taken home two Grammys and earned 27 nominations.
Despite being one of the most successful female rappers, Nicki Minaj lost best new artist in 2012.
Minaj was nominated for best new artist in 2012. Rodin Eckenroth/Stringer/Getty Images
In 2012, Minaj lost out on the title of best new artist to indie-folk group Bon Iver. But Minaj made history that night as the first female rapper to perform solo at the Grammys.
Despite being nominated 12 times, Minaj has yet to win a Grammy.
Kendrick Lamar has won 17 Grammys but lost the award for best new artist in 2014.
Lamar was nominated for best new artist in 2014. Arturo Holmes/MG23/Getty Images
Although Rolling Stone’s Brian Hiatt called Lamar “thegreatest rapper alive” in 2017, the musician didn’t take home the award for best new artist in 2014.
The award went to Macklemore & Ryan Lewis. But since then, Lamar has earned a whopping 66 Grammy nominations and 22 wins.
Ed Sheeran also lost the title in 2014.
Sheeran was nominated for best new artist in 2014. Variety/Getty Images
Like Lamar, Ed Sheeran was up for the award for best new artist in 2014.
He later went on to win two of his four Grammys in 2016.
SZA didn’t win the award in 2018, but has continued to grow her career.
SZA was nominated for best new artist in 2018. Presley Ann/Getty Images
In 2018, SZA was up against Khalid, Alessia Cara, Lil Uzi Vert, and Julia Michaels for best new artist. The honor went to Cara.
SZA won her first Grammy in 2022 for collaborating with Doja Cat on the hit song “Kiss Me More.” She has since won a total of five Grammys.
Rosalía has won both Grammys and Latin Grammys but missed out on best new artist at both ceremonies.
Rosalía was nominated for best new artist at the Latin Grammys in 2017 and the Grammys in 2020. Neilson Barnard/Getty Images
In 2020, Rosalía was nominated for best new artist alongside names like Billie Eilish, Lizzo, Lil Nas X, and Maggie Rogers.
Although Eilish walked away with the award, Rosalía made history that night as the first all-Spanish-language singer to be nominated in that category.
She was nominated in the same category at the 2017 Latin Grammys but didn’t win.
She’s since won two Grammys and 11 Latin Grammys.
Doja Cat lost the award for best new artist, but won her first Grammy the following year.
Doja Cat was nominated for best new artist in 2021. John Nacion/Getty Images
In 2021, Doja Cat was nominated for best new artist. She lost to Megan Thee Stallion.
She didn’t have to wait long for a Grammy win, though. She won her first in 2022 for “Kiss Me More.”
Despite dominating pop charts, Sabrina Carpenter didn’t win the award in 2025.
Sabrina Carpenter was nominated for best new artist in 2025. Kevin Mazur/Getty Images for The Recording Academy
In 2025, Sabrina Carpenter was nominated for the award alongside artists like Chappell Roan, Benson Boone, Doechii, and Raye. However, the honor went to Roan.
Carpenter still went home with two Grammys that night, including best pop vocal album and best pop solo performance.
This story was originally published in February 2024 and most recently updated on January 28, 2026.
Picture this: You’ve just received a text from Taylor Swift.
It’s easy to imagine her missives resembling her famously personal song lyrics. Something honest and vulnerable, like, “I just wanted you to know that this is me trying,” or tender, like, “I don’t wanna miss you like this. Come back, be here,” or even sassy, like, “Good thing I like my friends canceled.”
Well, thanks to a slew of newly unsealed court documents, we now have evidence that’s not far from the truth.
“I think I’m just exhausted in every avenue of my life,” Swift seemingly wrote to her friend Blake Lively in December 2024. “You don’t need to apologize. Just come back please.” Earlier that year, Swift apparently praised her longtime friend’s tenacity: “No one. Should ever. Get into a war of wills with you.”
Several text messages between Swift and Lively were recently made public amid Lively’s legal battle with Justin Baldoni, her director and costar on the hit 2024 movie “It Ends with Us.” These particular texts presumably became relevant to the lawsuit because Baldoni’s name was mentioned (or alluded to, as when Lively wrote to Swift about “this doofus director of my movie”). In some cases, they speak to Lively’s state of mind while the two actors were filming “It Ends With Us,” and amid the breakdown of Lively and Baldoni’s working relationship.
Despite these nuggets of insight, however, some of the most interesting details of Lively’s conversations with Swift are the ones that offer a unique glimpse into Swift’s writerly craft.
Swift is already renowned for her lyricism. The same week these texts were unsealed, she became the youngest woman ever to be inducted into the Songwriters Hall of Fame — in her very first year of eligibility, no less. But these texts reveal a less polished, less reputation-conscious version of Swift’s communication style.
Blake Lively and Taylor Swift seen together in New York City in 2023.
Gotham/GC Images
According to these court documents, Lively texted Swift on December 4, 2024, shortly before the end of the Eras Tour, to temperature-check their friendship. Lively and Swift have been close friends for years (Swift is the godmother to Lively’s children), but the actor felt that something in their dynamic had shifted.
“Hey, just checking in,” Lively wrote to Swift. “I have no reason to ask, but I donno, l’ve been feeling like I should… is everything OK?”
Lively went on to say she felt like a “bad friend lately,” that she didn’t want to come across as “needy and awkward,” but her gut (and her husband, Ryan Reynolds) told her to reach out anyway. “I always want the opportunity to be a better friend if there’s something I unintentionally did,” she wrote.
If you’ve ever gone through a rough patch with a loved one, then this brand of ambient, unsettled anxiety will surely feel familiar. It’s really hard to communicate complex emotions, especially when an important relationship is at stake, and the conversation isn’t face-to-face.
Luckily, written communication of complex emotions is exactly Swift’s forte.
“I feel really bad saying anything about this because your texts have been so nice in their intent but your last few… it’s felt like I was reading a mass corporate email sent to 200 employees,” Swift replied in part. “You said the word ‘we’ like 18 times. And it feels awful to be in any way critical of any way you process what you’ve been going through but I just kinda miss my funny, dark, normal-speaking friend who talks to me as herself, not like. A plural unit.”
She added: “I know you feel attacked from all sides for ridiculous reasons so you’re feeling like you have to overly explain things or be overly nice or whatever but. It’s me! That’s just caused a little distance.”
Swift’s response is exactly what I’d hope to receive from a friend in that position: open-hearted and generous, yet firm and forthright. She doesn’t treat Lively with kid gloves, nor does she pile on. Instead, she validates her friend’s anxiety, clarifies her own perspective, and reinforces their bond.
Over the past two decades, Swift has built an empire by making fans feel like her friends, writing songs that sound like heart-to-hearts. It’s oddly comforting to know that Swift writes to her actual friends with the same attention to detail.
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Taylor Swift’s single “The Fate of Ophelia” debuted at No. 1 on the Billboard Hot 100.
The song has charted at No. 1 for nine weeks, surpassing “Anti-Hero” as her longest-leading hit.
The list also includes hits like “Shake It Off,” “Blank Space,” “Cruel Summer,” and “Fortnight.”
Since releasing her first No. 1 album in 2008, Taylor Swift has enjoyed a historic run on the charts, topping the Billboard 200 and Billboard Hot 100 over a dozen times each.
Swift’s collection of No. 1 hits includes both radio-friendly pop singles and understated gems pushed to the top of the chart by passionate fans.
Most recently, “The Fate of Ophelia” joined the ranks while breaking a record for the most streams in a single week on Spotify. Swift is now tied with Michael Jackson and Drake for the fifth-most No. 1 hits in history.
All 13 are listed below in chronological order of their peak dates.
1. “We Are Never Ever Getting Back Together”
“We Are Never Ever Getting Back Together” hit No. 1 on the chart dated September 1, 2012.
Taylor Swift/YouTube
Weeks at No. 1: Three
Despite writing ubiquitous hits like “You Belong With Me” and “Love Story” earlier in her career (which peaked at No. 2 and No. 4, respectively), “We Are Never Ever Getting Back Together” was Swift’s first-ever song to top the Hot 100.
The country-pop crossover smash was released as the lead single from Swift’s fourth album, “Red.” It rose from No. 72 to No. 1 in its second week of tracking and remained atop the chart for two more weeks.
“Blank Space,” the second single from “1989,” debuted at No. 18 on the Hot 100.
It rose to No. 13 before soaring to No. 1 in its third week — dethroning “Shake It Off” and making Swift the first woman in history to replace herself in the chart’s top spot.
“Blank Space” went on to become one of Swift’s biggest hits, reigning atop the chart for nearly two months.
On May 17, 2015, a remix of “Bad Blood” featuring Kendrick Lamar was released as the fourth single from “1989.”
It rose from No. 53 to the chart’s top spot after the music video premiered at the 2015 Billboard Music Awards and broke the Vevo record for most views in 24 hours.
5. “Look What You Made Me Do”
“Look What You Made Me Do” hit No. 1 on the chart dated September 16, 2017.
Taylor Swift/YouTube
Weeks at No. 1: Three
Despite mixed reactions from critics, Swift’s lead single from “Reputation” rose to No. 1 after its first full week of tracking, breaking the weekly streaming record for a song by a woman.
Once again, Swift’s music video broke the record for most views within 24 hours, racking up 43.2 million views in its first day.
Swift announced the arrival of her eighth album, “Folklore,” just one day in advance. The second track, “Cardigan,” was released at the same time as the album and promoted with a whimsical music video.
“Folklore” debuted at No. 1 on the Billboard 200 while “Cardigan” simultaneously debuted at No. 1 on the Hot 100, making Swift the first artist in history to open atop both charts in the same week.
Just five months after “Folklore,” Swift repeated her pandemic-era strategy and surprise-released her ninth album, “Evermore,” alongside its lead single.
Again, “Willow” debuted at No. 1 on the Hot 100 while “Evermore” simultaneously debuted at No. 1 on the Billboard 200.
“Red (Taylor’s Version)” was the second rerecorded album Swift released. It was accompanied by the long-awaited 10-minute version of “All Too Well,” a fan-favorite track from the original album.
“All Too Well (Taylor’s Version)” was promoted with a self-directed short film and plenty of theories about the song’s most likely muse.
It debuted at No. 1 on the Hot 100, becoming the longest song in history to top the chart. The record was previously held by Don McLean’s “American Pie (Parts I & II)” at 8 minutes and 37 seconds.
“Anti-Hero” was released alongside Swift’s 10th album, “Midnights,” and promoted as the lead single.
It dominated the Hot 100 for eight weeks, surpassing the high-water mark set by “Blank Space.”
The same week that “Anti-Hero” debuted at No. 1, Swift became the first and only artist in history to occupy the entire top 10 on the Hot 100. The hit single was flanked by “Lavender Haze” (No. 2), “Maroon” (No. 3), “Snow on the Beach” (No. 4), “Midnight Rain” (No. 5), “Bejeweled” (No. 6), “Question…?” (No. 7), “You’re On Your Own, Kid” (No. 8), “Karma” (No. 9), and “Vigilante Shit” (No. 10).
10. “Cruel Summer”
“Cruel Summer” hit No. 1 on the chart dated October 28, 2023. John Shearer/Getty Images for TAS Rights Management
Weeks at No. 1: Four
“Cruel Summer” was originally released as the second track on Swift’s 2019 album “Lover.”
Although it was identified early as a fan favorite, the song was never promoted as a single and debuted modestly at No. 29 on the Hot 100.
Four years later, Swift transformed “Cruel Summer” into a showstopping spectacle on the Eras Tour. Streams of the song began to surge, and it reigned atop Billboard’s Pop Airplay chart for two months. Swift’s label sent the song to pop radio in June 2023.
Finally, following the release of “The Cruelest Summer” EP — which includes a live version of the song and a remix by LP Giobbi — the song reached No. 1 on the Hot 100, marking Swift’s milestone 10th chart-topper.
11. “Is It Over Now?”
“Is It Over Now?” hit No. 1 on the chart dated November 11, 2023. Kevin Winter/Getty Images for TAS Rights Management
Weeks at No. 1: One
“Is It Over Now?” was released as the final vault track on “1989 (Taylor’s Version),” a rerecording of her beloved fifth album.
Although it wasn’t initially slated as a single, its enthusiastic reception from fans pushed Swift’s team to serve the song to pop radio.
“Is It Over Now?” debuted at No. 1 on the Hot 100, dethroning “Cruel Summer.” Swift remains the only woman in history to replace herself in the top spot, a feat she’s now achieved twice.
“Fortnight,” a duet with Post Malone, was released alongside “The Tortured Poets Department” and promoted as the album’s lead single.
The song debuted at No. 1 on the Hot 100 while “Poets” simultaneously debuted at No. 1 on the Billboard 200.
For the second time in her career, Swift managed to occupy the entire top 10 of the Hot 100. In fact, the top 14 positions on the chart were occupied by “Poets” tracks, including “Down Bad” (No. 2) and “I Can Do It With a Broken Heart” (No. 3), all the way through to “The Smallest Man Who Ever Lived” (No. 14).
“Fortnight” returned to No. 1 on the Hot 100 for a second consecutive week.
13. “The Fate of Ophelia”
“The Fate of Ophelia” hit No. 1 on the chart dated October 18, 2025.
Taylor Swift/YouTube
Weeks at No. 1: Nine
“The Fate of Ophelia” was released alongside Swift’s 12th studio album, “The Life of a Showgirl,” and promoted as the lead single.
The Shakespeare-inspired pop song debuted at No. 1 on the Hot 100, while “Showgirl” simultaneously debuted at No. 1 on the Billboard 200, breaking a record for the biggest sales week of all time.
All 12 tracks on the album debuted within the Hot 100’s top 12 spots, making Swift the first and only artist to dominate the chart’s top 10 on three separate occasions. “The Fate of Ophelia” was joined in the top five by “Opalite” (No. 2), “Elizabeth Taylor” (No. 3), “Father Figure” (No. 4), and “Wood” (No. 5).
“The Fate of Ophelia” remained atop the Hot 100 for eight straight weeks after its release. After falling to lower positions during the holiday season, it returned to No. 1 for its ninth week, surpassing “Anti-Hero” as Swift’s longest-leading hit to date.
