Publication Date: 7 October 2019 from original artwork published 12 September 2018 (Historical archive on archive.org)
After accomplishing remarkable feats and excellence in music and in being openly outspoken about crimes against humanity, and most specifically against black people who are most often dared to even speak up (Speak Now), Kanye West was publicly vilified at the VMAs in September 2009 for taking a stand--an emotional outburst--for a black woman's work which was competing against what was socially perceived as "good" and deserving of being lauded for its popularity in the Anglo, "virginal," and privileged country construct of Taylor Swift. Kanye was not only acutely aware of the socially-conditioned injustices and unaware opinions, but much further, he was aware of what was also happening behind the scenes, of what the public could not and did not want to see as they celebrated this "underdog," the innocent "victim," winning.
While Kanye had earned his way into the industry, not only had Taylor's family bought her way in at 15, but something even more insidious was happening of which Kanye was cognizant: Taylor's use and take down of true artists and the appropriation of their names to make her conquests appear even greater. After the commercial success of using Tim McGraw's name, Taylor was looking for stories to attach to her celebrity, and public romances were key--even if they were forced and fabricated. It was certainly not innocent: Taylor had already begun copying John Mayer's work, biography, and social media and using it almost verbatim as her own with not only no one in the media noticing, but instead, giving her glorious standing ovations at every move and offering her every possible award for ratings.
In 2009 Taylor was pressuring celebrity men for relationships, and had come to intensely track John Mayer, of which the details of 2010 can be seen here. When I came into John's life in writing him on Tumblr in April 2010 when he asked for responses on his blog, because she was closely following him on-line, close enough to read the comments, and because my writing was public, Taylor's crimes against me began immediately as she took my identity and writing and past and present works as her own and began selling it to the public, all the while the media and public endorsed and championed her with unrelenting celebration of her victimhood.
In this art detail from "Until Shiloh Comes Cosmic Flow Tapestry" is the statement of what happened in 2010 leading to these ten years of stolen identity and work, with her hiring my family's phones to be tapped, intercepting text messages, and infiltrating private on-line accounts from the beginning, all in Taylor's continued stalking of John Mayer, and all the while pretending to the public to be in relationships with other people.