On The Famous Feud

In this report I investigated the Famous feud between Kim Kardashian, Kanye West and Taylor Swift from 10 points of research. This report was born out of the urgent need to provide clearer, more transparent information and better-founded examples to explain the Famous feud in a different way than what Kim Kardashian, Kanye West and Taylor Swift offered through music, interviews and other media content. This report explored the background strategies of Kanye West, Kim Kardashian and Taylor Swift to maintain popularity and fame in an ever-changing world: sacrifices, intelligence, methods of communications, side effects and a minimal view of the efficiency of their strategies in the long term. I’m gonna let you finish reading it, but ‘On the Famous Feud’ it is a unique and original investigation, there is no other research which explores this feud on various levels; at the time of publishing, this report is the most advanced analysis of the Famous feud. Second Edition July 2023

In the history of human nature there are conflicts with a happy ending, or with a tragic ending. The Famous Feud, in general, seems to have a happy ending with one winner: Taylor Swift. From my point of view, the Famous Feud ended in July 2016. In June 2017 I was convinced that Taylor Swift was the victim (for the second time) of Kanye West. In October 2023, after I have updated the entire research on the Famous Feud, the original conclusion did not change. I created this edition to include everything I wrote about the Famous Feud. It is an edition for people interested in reading the entire Famous Feud story from A to Z. The Famous Feud Project report has two parts: Part 1. Music in Black and White: A Journey Behind the Musical Notes; Part 2. On the Famous Feud. Enjoy your reading!

In this report I investigated the Famous feud between Kim Kardashian, Kanye West and Taylor Swift. The mechanisms for interpreting the feud are multiple and there is still a great interest in debating the perpetrators and the victims of the feud. This report was born out of the urgent need to provide clearer, more transparent information and better-founded examples to explain the feud for the general public in a different way than what Kim Kardashian, Kanye West and Taylor Swift offered through music, interviews and other media content. This report exposes the background strategies of Kanye West, Kim Kardashian, Taylor Swift and Western mass-media to maintain popularity and fame in an ever-changing world: sacrifices, intelligence, methods of communications, side effects and a minimal view of the efficiency of their strategies in the long term. I'm gonna let you finish reading it, but 'On the Famous Feud' is a unique and original investigation, there is no other research that explores this conflict on various levels. This Paperback edition is black and white.

The Hatfield-McCoy feud, the entertaining subject of comic strips, popular songs, movies, and television, has long been a part of American folklore and legend. Ironically, the extraordinary endurance of the myth that has grown up around the Hatfields and McCoys has obscured the consideration of the feud as a serious historical event. In this study, Altina Waller tells the real story of the Hatfields and McCoys and the Tug Valley of West Virginia and Kentucky, placing the feud in the context of community and regional change in the era of industrialization. Waller argues that the legendary feud was not an outgrowth of an inherently violent mountain culture but rather one manifestation of a contest for social and economic control between local people and outside industrial capitalists -- the Hatfields were defending community autonomy while the McCoys were allied with the forces of industrial capitalism. Profiling the colorful feudists "Devil Anse" Hatfield, "Old Ranel" McCoy, "Bad" Frank Phillips, and the ill-fated lovers Roseanna McCoy and Johnse Hatfield, Waller illustrates how Appalachians both shaped and responded to the new economic and social order.

The Hatfield-McCoy feud has long been the most famous vendetta of the southern Appalachians. Over the years it has become encrusted with myth and error. Scores of writers have produced accounts of it, but few have made any real effort to separate fact from fiction. Novelists, motion picture producers, television script writers, and others have sensationalized events that needed no embellishment. Using court records, public documents, official correspondence, and other documentary evident, Otis K. Rice presents an account that frees, as much as possible, fact from fiction, event from legend. He weighs the evidence carefully, avoiding the partisanship and the attitude of condescension and condemnation that have characterized many of the writings concerning the feud. He sets the feud in the social, political, economic, and cultural context of eastern Kentucky and southwestern West Virginia in the late nineteenth and early twentieth centuries. By examining the legacy of the Civil War, the weakness of institutions such as the church and education system, the exaggerated importance of family, the impotence of the law, and the isolation of the mountain folk, Rice gives new meaning to the origins and progress of the feud. These conditions help explain why the Hatfield and McCoy families, which have produced so many fine citizens, could engage in such a bitter and prolonged vendetta

America’s most notorious family feud began in 1865 with the murder of a Union McCoy soldier by a Confederate Hatfield relative of "Devil Anse" Hatfield. More than a decade later, Ranel McCoy accused a Hatfield cousin of stealing one of his hogs, triggering years of violence and retribution, including a Romeo-and-Juliet interlude that eventually led to the death of one of McCoy’s daughters. In a drunken brawl, three of McCoy's sons killed Devil Anse Hatfield’s younger brother. Exacting vigilante vengeance, a group of Hatfields tied them up and shot them dead. McCoy posses hijacked part of the Hatfield firing squad across state lines to stand trial, while those still free burned down Ranel McCoy’s cabin and shot two of his children in a botched attempt to suppress the posses. Legal wrangling ensued until the US Supreme Court ruled that Kentucky could try the captured West Virginian Hatfields. Seven went to prison, and one, mentally disabled, yelled, “The Hatfields made me do it!” as he was hanged. But the feud didn’t end there. Its legend continues to have an enormous impact on the popular imagination and the region. With a charming voice, a wonderfully dry sense of humor, and an abiding gift for spinning a yarn, bestselling author Lisa Alther makes an impartial, comprehensive, and compelling investigation of what happened, masterfully setting the feud in its historical and cultural contexts, digging deep into the many causes and explanations of the fighting, and revealing surprising alliances and entanglements. Here is a fascinating new look at the infamous Hatfield-McCoy feud.

The citizens of Kentucky, a state already known as the Dark and Bloody Ground, did much to substantiate the state's reputation, judging from accounts of the region's violent feuds reported in the nation's newspapers of the late 1800s and early 1900s. The New York Times of July 26, 1885 stated, "The savages who inhabit this region are not manly enough to fight fairly, face to face. They lie in wait and shoot their enemies in the back ... One can hardly believe that any part of the United States is cursed with people so lawless and degraded." This book details some of the feuds that led to Kentucky's dubious reputation.

"In 1940 Edmund Wilson was the undisputed big dog of American letters. Vladimir Nabokov was a near-penniless Russian exile seeking asylum in the States. Wilson became a mentor to Nabokov, introducing him to every editor of note, assigning reviews for The New Republic, engineering a Guggenheim. Their intimate friendship blossomed over a shared interest in all things Russian, ruffled a bit by political disagreements. But then came Lolita, and suddenly Nabokov was the big (and very rich) dog. Finally the feud erupted in full when Nabokov published his hugely footnoted and virtually unreadable literal translation of Pushkin's famously untranslatable verse novel Eugene Onegin. Wilson attacked his friend's translation with hammer and tong in the New York Review of Books. Nabokov counterattacked in the same publication. Back and forth the increasingly aggressive letters volleyed until their friendship was reduced to ashes by the narcissism of small differences"--