During a recent event hosted on Daily Wire+, Candace Owens, a prominent figure at the conservative media outlet, took a bold stance against pop icon Taylor Swift, labeling her as the “most toxic feminist that’s ever existed.”
The statement, which emerged amid discussions with colleagues including Matt Walsh, Ben Shapiro, and others, not only highlighted Owens’ disdain for Swift’s musical narratives and business maneuvers but also ignited a broader conversation about feminism and cultural influence.
Owens’ critique centered on Swift’s historical tendency to weave her personal experiences with ex-partners into her music, as well as her highly publicized struggle to reclaim her music rights from Scooter Braun, who acquired Big Machine Label Group in 2019. Owens accused Swift of manipulating her fanbase to navigate business disputes, stating, “She tries to manipulate her audiences to get out of deals and contracts, she’s totally insane.”
“She’s the most toxic feminist that’s ever existed,” Owens added.
The characterization of Swift’s relationship with Kansas City Chiefs tight end Travis Kelce as a mere “business move” further exemplified Owens’ skepticism towards Swift’s authenticity, both in her personal life and her feminist advocacy. Owens specifically took issue with Swift’s past acknowledgment of Lena Dunham’s influence on her understanding of feminism, suggesting that Swift has commodified the feminist movement for personal gain.
While Walsh, another Daily Wire host, concurred with Owens’ general sentiment towards Swift, he expressed reservations about labeling her the “most toxic feminist ever,” indicating the complexity and diversity of feminist discourse in contemporary culture. Walsh advocated for a more constructive approach from conservatives, suggesting the development of counter-cultural contributions rather than mere criticism.
The discussion also ventured into the realm of political influence, with conservatives expressing concern over Swift’s potential endorsement of President Joe Biden. Former President Donald Trump, in particular, claimed credit for legislation beneficial to artists like Swift, using it to argue against the possibility of Swift’s disloyalty in endorsing Biden.
Owens’ remarks reflect not only a personal critique of Swift but also underscore a broader cultural and political debate surrounding feminism, celebrity influence, and the role of artists in shaping public discourse. As the conversation unfolds, it highlights the polarizing nature of Swift’s public persona and the diverse interpretations of feminism in today’s society.
