Two-year-old Taylor tales. (CBS)

If anyone missed Lesley Stahl's segment this weekend on 60 Minutes (though come on, how unlikely is that?), you might not have noticed that her profile of Taylor Swift, "A Young Singer's Meteoric Rise," was actually just a re-aired interview from 2011.

Which is fine--Ms. Stahl tells the audience that "we first met Taylor Swift in 2011, during her Speak Now tour," and on the 60 Minutes website, they disclose "The following is a script of "Taylor Swift" which originally aired on Nov. 20, 2011 and was rebroadcast on May 19, 2013"--except that it says something about Taylor Swift's "meteoric rise" that most people would have no idea that this interview was two years old. Or that on Twitter, 60 Minutes gave no clue that this would be a rebroadcast episode.

Nor did her fans seem to notice, with the exception of a few eagle-eyed viewers. (Despite the fact that in the segment she refers to herself as 21-years-old.)

The segment seems to have been re-aired in conjunction with CBS' ACM Presents: Tim McGraw's Superstar Summer Night, which featured Ms. Swift. But Sunday was also the night of the Billboard Awards, where Ms. Swift performed and took home eight statuettes.

Sunday's 60 Minute segment:

Part Two, from November, 2011:

Why did 60 Minutes only choose to air half of the interview? Probably because the second half addresses issues that would have hilariously dated the segment--Ms. Swift refusing to comment on Kanye, or saying that she "okay being alone," and "doesn't want to be one of those people who need to have a boyfriend all of the time."

Even so, hearing Ms. Swift talk about what "thin skin" she has, and how she hates reading anything negative about herself is heartbreakingly prescient: It makes us wonder if 2013 has either toughened up, or has somehow managed to avoid reading 90 percent of the Internet on a given day.

Yes you are!

Updated: Tina Fey responds below!
Have you been reading all about Taylor Swift telling Amy Poehler and Tina Fey that they are going to hell for their Golden Globes jokes in the most recent issue of Vanity Fair? Or wait, was that Katie Couric who told Taylor Swift that, and the singer was just relating it back in an anecdote? Did Amy Poehler say she was actually going to hell? Did Couric totally rip off a very famous Madeleine Albright quote about a basketball?

If you are confused, don't worry. Here are some GIFs from Mean Girls to help explain.

Okay, so first of all there is Taylor Swift, who is a person who is not above mocking her ex at Grammys during her opening song, because:

And she is pissed because during the Golden Globes, Amy Poehler and Tina Fey were making some jokes, and one happened to land on her. Technically, Ms. Fey was the one who dug it to the singer about her relationship with Harry Styles, warning her not to go after Michael J. Fox's son.
"Or go for it!" Ms. Poehler said.
"No, she needs some me time, for herself," Ms. Fey countered. Remember, they were pretending to be drunk.

And then Taylor Swift, who never told Kanye West to go to hell BY THE WAY, was all:

So she waited until she was on the cover of Vanity Fair this month, so she could say this in a profile (re: the Golden Globes jokes):

"You know, Katie Couric is one of my favorite people, because she said to me she had heard a quote that she loved, that said, 'There’s a special place in hell for women who don’t help other women.'"

Because seriously, Amy and Tina, don't even try to mess with the girl who literally wrote a song called "Mean":

Unfortunately for Katie Couric, who you just know is feeling like:

Especially when it was Madeleine Albright who actually said that.

So right out the gate, we're pretty much feeling:

But luckily, Amy Poehler is a classy lady, and responded, "Aw, I feel bad if she was upset. I am a feminist and she is a young and talented girl. That being said, I do agree I am going to hell. But for other reasons. Mostly boring tax stuff."

Ms. Swift has not yet responded, nor has Tina Fey. But as it stands right now, we have Amy Poehler being all:

While a grown-ass 23-year-old is freaking out in a corner, like:

Update: On Wednesday, Ms. Fey joined the fracas, telling Us Weekly that Swift should just get over it."It was just a joke, and I think it was actually a very benign joke," said the comedian. To New York Magazine, she added that the young singer wasn't the only one who could take out her fury in verse:

"Me, too, though! Me, too. I could do a song. I could do a whole song about it."

Which, as much as we'd like to see, is also kind of defensive response for someone so much older, wiser, and cooler than Taylor Swift. Like, turn the other cheek, Tina Fey! You do not have to drag yourself down to "Dear John" levels! Be more like Poehler, who has a new social network for girls about self-esteem issues, instead of the woman thinking up satirical songs that rhyme "Swift" with "John Mayer's dick."

Conor Kennedy. (Getty Images)

Conor Kennedy, the 18-year-old son of Robert F. Kennedy Jr. and second-most-recent ex-boyfriend of Taylor Swift (right behind Harry Styles from One Direction), was arrested yesterday for protesting at the White House.

Along with his father and actress Daryl Hannah, Mr. Kennedy was seen marching outside 1600 Pennsylvania Avenue to protest the proposed Keystone XL tar sand pipeline. Both father and son were arrested for their part in the demonstration, which claimed that the proposed pipeline would "boost carbon pollution by triggering a boom of growth in the tar sands industry in Canada, and greatly increasing greenhouse gas emissions."

Meanwhile, his ex-girlfriend has been spending her time since the Grammys making fun of her ex-boyfriends in a new music video (as she is wont to do). Luckily, it might take her a while to work all the way back to the Kennedy--in part because his family was so nice to her, and in part because she seems hung up on mocking Styles--so he might actually escape the dreaded John Mayer curse.

He'll have more trouble, however, avoiding the court summons.

Rihanna, one album cycle and several hairstyles ago. (Getty Images)

Tonight at 10p.m., CBS airs the Grammy Awards Nomination Concert, a splashy special co-hosted by Taylor Swift (whose album Red, despite having come out in 2012, won't be recognized this year due to the eligibility calendar). So who will be nominated? We have a few minimally educated guesses:

Album of the Year

• Babel, Mumford and Sons
• El Camino, The Black Keys
• Kisses on the Bottom, Paul McCartney
• Take Care, Drake
• Talk That Talk, Rihanna

Mumford and Sons and the Black Keys, in varying ways, tie the Grammys into historically popular and nostalgic genres, while the kids are served by nods to Drake and Rihanna. Rihanna, whose album Loud also took what's become the pure-pop spot occupied previously by Katy Perry, seems like the safest way to honor the EDM vogue (and, yes, we know she's released an album since Talk That Talk). Drake is a young, sensitive rapper getting a nomination that could also go to young, sensitive R&B singer Frank Ocean for his risky Channel Orange, but it seems likely Mr. Ocean will get his due in the New Artist category. And, finally, you may have forgotten or never known perennial nominee Paul McCartney released an album called (ew) Kisses on the Bottom, but his Olympics performance and the fact that it's an album of standards (Grammy's favorite thing!) mean he could end up at the ceremony.

Record of the Year

• "Diamonds," Rihanna
• "I Will Wait," Mumford and Sons
• "Somebody That I Used to Know," Gotye feat. Kimbra
• "We Are Never Ever Getting Back Together," Taylor Swift
• "We Are Young," fun. feat. Janelle Monaé

Taylor Swift and Rihanna both scored #1 Hot 100 hits within the eligibility, and both sound pretty vanguard-y (Ms. Swift's record is as palatable for a non-country audience as anything she's ever recorded). Meanwhile, Gotye and fun. both came out of nowhere with comparable Billboard hits--inescapable through the summer months and yet seemingly more accessible to the fuddy-duddy Grammy voter than the airy (and perfectly so) "Call Me Maybe." And Mumford and Sons, given their commercial success and appeal to a traditional aesthetic that sounds nothing like EDM, will likely be the Adele of this year's Grammys once nods to Calvin Harris et al. are dispensed with. For Song of the Year, a category honoring songwriters, sub out "Diamonds" for Adele's "Set Fire to the Rain."

Best New Artist

• fun.
• Gotye
• Ellie Goulding
• Frank Ocean
• One Direction

Much as we hope the year's most forcefully debated singer, dead-eyed semiotic student Lana Del Rey, could snag a nod, this race is between fun. and Frank Ocean, with Gotye inducted for his inescapability, Ellie Goulding for her persistence (she was a "new artist" several years ago but only now getting her due), and One Direction because Justin Bieber and the Backstreet Boys were once nominated in this category, too.

Justin Timberlake has some jerk friends! (YouTube)

– How's this for a wedding present: Justin Timberlake's buddy, real estate agent Justin Huchel, filmed a bunch of homeless people wishing the best for the actor/singer and his new bride, Jessica Biel. See, it's funny because what could the homeless possibly offer Hollywood royalty except wishes? Not everyone thinks this joke is in good taste, but then they probably haven't seen Biel's wedding dress. (Video after the jump.)

http://youtu.be/DMHcGFmhB_s
– Taylor Swift and Conor Kennedy broke up. It's probably for the best, though we hope it doesn't end up with her writing a song called "Camelot."

– If we were sending out good vibes to a celebrity right now, it would be Diddy, who was in a serious car crash yesterday in L.A. No one was hospitalized, but seriously ... this is why we all take the subway.

– Last night was GQ’s Gentleman's Ball. Starring Adam Levine, Ted Danson and Willie Geist, the three biggest gentlemen in the biz.

"How presumptuous! I never disclose who my songs are about," Ms. Swift remarked to Glamour in an interview promoting her new album, which features a single rumored to be about another ex, actor Jake Gyllenhaal. Asked how she deals with criticism, Ms. Swift remarked, "I just kind of live a life, and I let all the gossip live somewhere else."

"Somewhere else" can be purchased at record stores near you, or on iTunes!

While we highly doubt that 51-year-old Mr. Boedecker is dating 22-year-old Taylor Swift, we also know that she has an attraction to bad boys (John Mayer) and men of a more advanced age (Jake Gyllenhaal was no spring chicken, and he wears Crocs...). Too, the timing of her new revenge single, "We Are Never Ever Getting Back Together," seems spurious. What could possibly have set the singer off so? We've reached out to Ms. Swift's publicist for comment!

Joni Mitchell reacts to news of Taylor Swift playing her in film (Getty Images)

This is why you don't get rid of gossip royalty! The New York Post must be hitting itself on the head for missing this scoop, which its former columnist/icon Liz Smith gave instead to New York Social Diary: the one and only Joni Mitchell might be performing a private concert in L.A. for the first time in years.

According to Ms. Smith's post on David Patrick Columbia's site,
David Geffen is trying to get the songbird to perform at the Geffen Playhouse in Los Angeles. "Those in the know and/or of a certain age, recall that Joni’s celebrated “Free Man in Paris” song was written with Geffen in mind," writes the grand dame of snooping.

She continues:

Another old pal of Joni’s Herbie Hancock, is also supposedly encouraging this venture, which could include some of the musicians who worked with Joni back in the day. If all that is planned and hoped for comes about, there will be a concert highlight sure to send Mitchell’s fans into delirium — a track by track recreation of the legendary Court and Spark album, which spawned such hits as “Help Me (I Think I’m Falling”) and “Raised on Robbery.”

Coincidentally (or not), this news breaks on the same day that it's announced that Taylor Swift has been sniffing around a bio-doc of the folk singer, Girls Like Us.

Adele at tonight's Grammys (Getty Images)

Tonight's Grammys are to feature a tribute to Whitney Houston and a comeback-from-surgery performance by heavily-favored multiple nominee Adele. We'll be watching closely to see if the British chanteuse can claim Record, Song, and Album of the Year--or if other big nominees like Bon Iver (for the song "Holocene") and Foo Fighters (for the album Wasting Light) can beat her out--though we may flip the channel when Chris Brown performs.

11:19. After another so, so-long commercial break, Diana Ross presents Album of the Year to Adele, who's crying and shouting out her mom and mentioning the "rubbish relationship" that inspired 21. Paul McCartney is said to be performing next but we're going to bed!

11:12. Adele's speeches have all been charming, brief, and gracious--she's like a model for how to accept an award you know you're going to win (which is always such a fraught thing).

11:10. Last year's Record of the Year winners Lady Antebellem present this year's award to an act without any slavery nostalgia in her name, Adele, for "Rolling in the Deep."

11:08. As much as her year was not as amazing as past years in her career, Lady Gaga is, I guess, pretty influential. This mess doesn't happen without her making it "okay." And, of course, the Opus Dei/exorcism stuff is a blatant swagger-jack from Madonna circa 1989.

11:07. Nicki Minaj does not seem to be lip-synching, per se, but some of the verses in the first minute of her performances were magically completed absent movement of the mouth.

11:06. Oh, okay, this whole thing is an Exorcist short film. I'm surprised they gave Minaj this much screentime and leeway?

11:05. Nicki Minaj redeems her sadness over losing Best New Artist by doing an apparent exorcism-themed "Roman's Revenge" takeoff, mashed-up with "I Feel Pretty."

10:57. Maybe television is not the best medium to watch a D.J.

10:55. There are so many musicians not performing at the Grammys that a second go-round for Chris Brown AND the Foo Fighters seems very odd.

10:52. I think I sat behind David Guetta on a Greyhound bus, unless it was the transient who looks just like him!

10:50. ?uestlove is presenting a tribute to Don Cornelius with LL Cool J, and then we're jump-cutting to some "Nokia dance club" with David Guetta and the Foo Fighters and Chris Brown and glowsticks and if this show is keeping me awake how am I having a nightmare.

10:45. Okay, that was really good--something that would have been too similar to Whitney Houston's performance would have been uncanny, and this was utterly tasteful and great. Too bad there's not a similar tribute to be launched in Amy Winehouse's honor but one cannot have everything.

10:43. Jennifer Hudson is less hit-you-like-a-truck powerful and goes into the  higher register more than Whitney, but she's clearly super-emotional now.

10:42. Oh, mercy, it's the Jennifer Hudson performance of "I Will Always Love You."

10:34. This speech is the longest of the night and it's just about how Bon Iver hates the Grammys.

10:33. Nicki Minaj IN NO WAY is willing to pretend to be pleased Bon Iver won the Best New Artist prize.

10:32. The pair are singing "It Had To Be You," as your blogger hums along, looking longingly at his bed.

10:30. Carrie Underwood claims that Tony Bennett is her favorite artist of all time, which seems unlikely. The pair are presenting Best New Artist. This crowd gives the MOST standing ovations.

10:20. The Shelton Blake and the Band Perry perform a tribute to the Campbell Glen.

10:10. Adele gets a long standing ovation, capped by a reaction shot of Rihanna holding her temples.

10:08. My favorite Grammy sweeps by ladies in the past, in order: Beyoncé (early-2000s), Lauryn Hill, Beyoncé (early-2010s), Amy Winehouse.

10:07. Adele's hair looks really, really lovely.

10:05. The possessor of the best voice in the world, Gwyneth Paltrow, introduces the second-best, Adele.

10:03. This CBS commercial is LL Cool J's most significant presence of the past two hours.

9:59. Best Country Album goes to last year's big victors in Record of the Year, Lady Antebellum.

9:57. This song is very designer-impostor Pat Benatar.

9:55. I am still not over how weird and abortive the "E.T." performance was. Was it some sort of symbolic thing about being a girl, interrupted?

9:54. It seemed that the sound mix totally flared out but in fact Katy Perry just migrated to the ceiling in order to sing a new breakup song about Russell Brand?

9:53. Okay, sorry, I like "E.T." way more than Taylor Swift talking in "Mean" about how great her career will be someday, mainly because Katy Perry's performance here, with lasers and a robot suit, is like what a child imagines being a pop star is like.

9:50. Song of the Year goes to Adele and her writing partner for "Rolling in the Deep." She's still chewing gum and gives like a 20-second speech.

9:44. Oh nooo, am I the subject of this song?

9:43. Somewhere, Frances Conroy's looking for the costumes she wore on Six Feet Under and just sees a note reading "I.O.U. one stage outfit --T.S."

9:42. This song is about how Taylor Swift had been criticized by... I think everyone?... after performing shakily with Stevie Nicks at the Grammys a few years back. The ouroboros of Taylor Swift is less interesting than she likely finds it.

9:41. "I just want to be okay again" is still the most therapy-speak lyric of all time.

9:40. It is really quite odd that Taylor Swift's follow-up to an Album of the Year winner didn't get any major nominations tonight, but it was nice of the Grammys to rebuild the garbage pile from Cats for her to dance on.

9:38. Chris says he's nervous and doesn't know what he should do. I hope he doesn't punch the mic stand!

9:36. Common and Taraji P. Henson salute Gil Scott-Heron and present Best R&B album to Chris Brown, who despite being the most famous person in the category by far, is just... okay (so hard, really, not to keep using that word). Thank everyone for not including a Rihanna reaction shot.

9:35. Oh, right, this song is about Nancy Shevell.

9:34. This song about Valentine's Day sounds like a wonderful song for a funeral scene in a film nominated for the Best Foreign Film Oscar.

9:32. Between Paul McCartney and the Beach Boys, tonight there have been a lot of elder statesmen plopped on the stage and seeming just so slightly shaky.

9:31. Stevie Wonder invokes Whitney Houston's name for what feels like the first time in about an hour.

9:26. The commercials during this show are notably musician-centric--e.g. Jennifer Lopez for some fancy speakers, Taylor Swift for Cover Girl--but Wiz Khalifa for Bing feels a little left-field, for so many reasons.

9:23. Oprah is Tweeting during the commercial breaks trying to get people to watch OWN.

9:22. Beach Boyz II Men. This sounds fine but like, at least three people onstage look like they were just forcibly awakened and they're not happy about it.

9:19. The lead singer of Foster the People has really mastered singing right through his nostrils.

9:17. Maroon 5 performs a tribute to the Beach Boys. It's so hard to think of things to say nearly 90 minutes into the Grammys other than just "okay!" over and over.

9:16. Dave Grohl's speech about the human element of music is drowned out by LMFAO and an announcement of Ryan Seacrest's appearance. Oxymorons: they're striking again!

9:14. The Foo Fighters win, which, after Coldplay's lackluster performance (thank God they had Rihanna on hand!) is welcome. It would have been fun if, like, The Decembrists won, just because "who is the arcade fire?" was a fun moment. Dave Grohl says this record was made in a garage and criticizes, implicitly, musicians who work in studios, and yet everyone cheers?

9:12. The "goth," or "indie," or whatever, NCIS star is with two of the New York Giants to present Best Rock Performance.

9:02. Let's play Coldplay/Rihanna's "Princess of China" and the Glenn Close-penned theme to Albert Nobbs back to back and see if the "la la la la la" parts are distinguishable.

9:00. "Make some noise for Whitney" during an onstage dance battle featuring vocals that hit three notes in toto may have, despite our love of Rihanna, have been one of the evening's odder moments.

8:58. After the orchestral, syrupy stuff dropped out, now she's just singing the normal disco version. Having a single go to number-one in Billboard and performing it competently tonight may be Rihanna's revenge against professional steampunk-robot middle-schooler Chris Brown.

8:56. Rihanna and Coldplay perform, but not before the best pop star of the decade, yup, performs a "sadcore" remix of "We Found Love."

8:54. It took the Target ad of a bus of schoolchildren singing "Rolling In the Deep" for me to accept that that song is actually a "new standard," or whatever.

8:51. After that performance, time for ten more minutes of commercials!

8:48. There's so little to say about the performances tonight. Dave Grohl is fine. Fine! But by this time last year we'd had a series of mini-costume dramas, if memory serves. Where is our Cee-Lo and Gwyneth this year? Dare we say it--where are the Grammy moments?

8:38. Jason Aldean and Kelly Clarkson looks like something from the Oscars. To wit: "Billy Crystal's Steampunk-Country Tribute to Hugo"

8:37. Reba McEntire, who looks the same today as she did in 1985, talks up the "Grammy moment" notion that no one has ever considered outside the Staples Center. Duet between Jason Aldean and Kelly Clarkson, whatever.

8:36. The award goes to Jay-Z and Kanye West for "Otis," who are in absentia. 36 minutes in and one acceptance speech!

8:35. Fergie and Marc Anthony are presenting the award for Best Rap Performance--she in a see-through red lance concoction, he in the open white Oxford he's been wearing constantly since the late 1990s.

8:28. The performance of Chris Brown is a good occasion to recall that the Grammys exist in staggeringly large part to promote the record industry's decadent and destructive system of exploitation of youth that ends up taking the lives of so many talented artists.

8:27. All I will say about the apparent culture-wide forgiveness of Chris Brown--who three years ago this weekend brutally beat up his girlfriend, an action for which he has never expressed much more than a "sorry you're mad" perfunctory attitude of penitence alternating with "poor-me" tirades--is astonishment that the artist whose every misdeed America can forgive is one in possession of such a weak, nasal voice. In the same way Jennifer Hudson once won an Oscar for singing, Chris Brown gets nominated for Grammys for jumping on scenery at awards shows.

8:26. Let's work as a society to prevent the "fake mad" reaction shot by an awards loser. Bruno Mars, with your jumping up in frustration whose fakeness itself might be fake, this is me shaming you in public.

8:25. I think Lil Wayne just found out who Adele was."

8:24. Best Pop Solo Performance (which is no longer separated by gender) goes, unsurprisingly, to Adele for "Someone Like You."

8:22. This performance is lovely, though Alicia Keys's front-facing bun will be unfortunately familiar to viewers of last night's Saturday Night Live performances by a band known as Karmin.

8:20. Bonnie Raitt and Alicia Keys are to present an award, but first they are singing in a tribute to Etta James.

8:19. The trailer for The Lorax uses Vampire Weekend! This is the best Grammy moment of the night.

8:16. "Coming up: more Grammy moments you won't want to miss: a performance by Chris Brown..." I am trying to remember what I learned in English class: Is that an oxymoron, a contradiction, or just a misunderstanding of my capacity for forgiveness?

8:15. Okay, FINE, all joking aside, Bruno Mars is probably more charismatic than 95% of the performers will be tonight.

8:13. Bruno Mars, after exhorting the audience to get off their "rich asses," shouted "James Brown" as many times as Bruce Springsteen said "we take care of our own." He's good at splits, though!

8:11. Continuing the theme of overselling the Grammys' importance, Bruno Mars is in an all-gold outfit with a sign about him reading "Live on Stage." We get it, TV show! You are the capital-G Grammys!

8:10. The host is now humorlessly shouting out Adele--tipping the show's hand a bit--and talking about "Grammy moments," a concept which has always seemed a bit overstated with regard to an awards ceremony people watch out of grim duty and February boredom.

8:08. LL Cool J announces that there have been moments in past Grammy ceremonies "we will remember for the rest of our lives," which is, well, I don't think the Grammys themselves are what people who like music remember! That may be overstating their centrality. That said, the clip of Whitney Houston singing "I Will Always Love You" is something else.

8:06. LL Cool J, who is hosting the show for CBS-synergy reasons (he's on the NCIS spinoff), engages the audience in a prayer. Nothing sarcastic to say!

8:05. There were just like eight reaction shots of under-25 pop singers, all of whom are completely encased in crystal.

8:03. Did you hear that? Somewhere in Manhattan, a New York Times editor just assigned a Sunday Review piece in the similarities between this song and Clint Eastwood's Chrysler ad.

8:02. "'We take care of our own' [repeat twelve times]" --sheet music to the chorus of Bruce Springsteen's new song

8:01. Why does Bruce Springsteen get a pass on the old-man earring look while Harrison Ford gets pilloried?

8:00. The show opens with Bruce Springsteen--while they're likely saving the Whitney tribute until later in the evening, this feels a bit random.