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Is Olivia Rodrigo‘s “Vampire” about … Taylor Swift? Rodrigo commented on fan speculation that the lead ballad from Guts, on which she scathingly sings about an unnamed “bloodsucker, famef—er,” is somehow about one of her childhood idols.

“How do I answer this?” Rodrigo reportedly whispered to Guardian journalist Laura Snapes, when the question about “Vampire” arose during an interview ahead of the Sept. 8 release of Guts.

“I mean, I never want to say who any of my songs are about,” said Rodrigo. “I’ve never done that before in my career and probably won’t. I think it’s better to not pigeonhole a song to being about this one thing.”

“I was very surprised when people thought that,” she added in the article that was published on Saturday (Sept. 2).

Swift championed Rodrigo, who was a self-proclaimed Swiftie, very early on. “I say that’s my baby and I’m really proud,” she sweetly shared on social media when Rodrigo’s breakout smash “Drivers License” first started appearing on charts next to Swift’s music. Swift gifted her a ring like the one she wore when working on her Red album — “She is absolutely the kindest individual in the whole world,” Rodrigo gushed at the time — and the pair met in person and posed together for a cute photo at the 2021 Brit Awards.

After Rodrigo’s debut album, Sour, dropped, interpolations found in her work proved costly. Rodrigo ended up retroactively sharing songwriting credits for “deja vu” with Swift, Jack Antonoff, and Annie Clark (aka St. Vincent) for its reminiscence of Swift’s “Cruel Summer.” She also gave writing credits to Swift and Antonoff on “1 step forward, 3 steps back” before Sour‘s release for including an interpolation of Swift’s “New Year’s Day” on the song.

Rodrigo and Swift seemingly haven’t associated with each other since, at least publicly. In a recent New York Times profile, Rodrigo said she hasn’t seen a show on Swift’s Eras Tour.

Back to the song meaning of “Vampire”: To her point, Rodrigo’s lyrics could have been inspired by a number of personal experiences the singer-songwriter might have encountered since “Drivers License” made its mark in 2021 — so her answer to the question doesn’t really answer much at all.

“Hate to give the satisfaction, asking how you’re doing now/ How’s the castle built off people you pretend to care about?” she sings in the opening of the song.

Later in the profile about Rodrigo and her sophomore album, Guardian writer Snapes, in her own words, notes that “‘Vampire’ is primarily about a romantic relationship with an older guy.” Many of its lyrical barbs do point toward this interpretation: there’s a line directed at a “cool guy,” and one pointing out that “every girl I ever talked to told me you were bad, bad news.” In the track’s second verse, Rodrigo says, “Went for me, and not her/ ‘Cause girls your age know better.”

Read the full piece at The Guardian here.

Before Jimmy Buffett appeared on Billboard’s charts, he was writing about other artists who did.  

Buffett, who died Friday (Sept. 1) at age 76, worked as a Nashville reporter for Billboard from 1969 to 1970. He quit when his first album, Debut to Earth, was released because he was told that continuing, would be a conflict of interest. 

Among the concerts he reviewed was Isaac Hayes at Nashville’s Municipal Auditorium, writing, “The Hot Buttered Soul Man combined his songs and his keyboard work on both organ and piano with a full and powerful voice range that created a style [that] was truly his own.”

In 2021, Buffett revisited his time as a reporter, telling Billboard during an interview that as a burgeoning artist, he couldn’t bring himself to write anything negative about a fellow performer. 

“I can never give anybody a bad review because I knew how hard it was to get up there,” he said. “Now, there has to be something toxic that [a review] says, but I can never do it because I knew how hard it was. I know performers who are scared to death to get up there and still do it. And I go, “Why are you that scared to get up there?” I mean, you should be doing something else if you get scared to go up there. It’s one of the greatest joys you could ever have on planet earth to me.”

The best part of the job was the free music. Although unbylined, Buffett believed he reviewed Elton John’s 1970 album, Tumbleweed Connection, glowingly writing, “Although this is but his second LP, Elton John’s track record already speaks for itself and the album is sure to be one of the biggest of the new year.” 

Talking to Billboard again in 2022, Buffett recalled the thrill of getting John’s album in the mail while writing for the magazine. “People were sending me free albums because I was the reporter for Billboard, and that album came in a stack of records from I think it was MCA,” he said. “When I got [to Billboard], my editor told me, ‘Just let them know you’re a Billboard reporter and give them your address and they’ll give you records so hopefully you review them or you’ll say something about them.’ So I went ‘free albums? No sh—!’” 

He also wrote of his time at Billboard in his 1998 autobiography, A Pirate Looks at Fifty, calling it “the only real job I would have in my adult life.”

From the first day, he was wined and dined as he traveled with his boss, Bill Williams. “In twenty-four hours, I had gone from just another nobody songwriter who couldn’t get his foot into a music publisher’s door to the assistant Southern Editor of Billboard,” he wrote. “Hell, people took me to lunch. I had business cards. I flew to New York for editorial meetings. I had an expense account. I had a WATTS line at work on which I called all my friends after working hours, and I got free albums from the record companies. Not bad for a real job.” 

Buffett even managed to break some news, including bluegrass titans’ Lester Flatt and Earl Scruggs’ split. 

After switching from covering country music to pop, Buffett interviewed Otis Redding and James Brown, reviewed Led Zeppelin at the Palladium, and learned a little about the importance of taking care of business. “What I mainly saw were a lot of wonderfully talented artists and writers who let somebody else worry about ‘all that stuff,’ and I saw the trouble it got them into,” he wrote in the book. 

Billboard threw Buffett a going away party when his album came out, gifting him a guitar case. Even though that chapter of his life was over, it’s clear his time at Billboard remained a treasured memory and set him on his way: “One of the true joys of my later success was going back and sharing it with Bill,” he wrote in the autobiography. “He was as proud as a parent when I finally broke out.”