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Pirates are not just hunting oceans' floor but also the music industry. There's still no way she can pay record companies the $222,000 judgment she owes said the Minnesota woman at the center of a long-running court fight over the unauthorized downloading of copyrighted music after the U.S. Supreme Court declined to hear her appeal Monday. The justices did not give remark on their decision. The amount was excessive argued by the attorneys of Jammie Thomas-Rasset, of Brainerd. In the early to mid-2000s, the music industry filed thousands of lawsuits in opposition to people it charged of downloading music without authorization and without paying for it. Most of these cases were settled for about $3,500 apiece. Only two defendants refused to pay and went to trial one of them is Thomas-Rasset while the other was former Boston University student Joel Tenenbaum. The later also lost and was ordered to pay $675,000. Back in 2006, the initial case was file against Thomas-Rasset. Ever since the case was filed has gone through three trials and several appeals. According to the evidences presented by the industry, Thomas-Rasset made available over 1,700 songs to other computer uses via the file-sharing service Kazaa, though the lawsuit targeted only 24 songs. "I'm assuming that since they declined to hear the case it's probably done at this point," she said. But she also said she needed to consult with her attorneys to determine what happens next. Thomas-Rasset at the age of 35 and who works for the Mille Lacs Band of Ojibwe tribal government, maintained her claim that as she has all along can't afford to pay. "There's no way that they can collect," she said. "Right now, I get energy assistance because I have four kids. It's just the one income. My husband isn't working. It's not possible for them to collect even if they wanted to. I have no assets." She became a grandmother in June, Thomas-Rasset added. She refused

Taylor Swift walks around with a constant expression of shock at her swell luck and good fortune. As well she should, as the pitch-challenged, confessional sweetheart is doing phenomenally well in the singing business. She doesn't do as well in the relationship business, but her prolific taste in celebrity men has served her and supermarket magazines fine. "Love is a ruthless game, unless you play it good and right," she sings on State of Grace. I would argue that Swift plays the game ruthlessly - "good and right" being adverbs open to interpretation, or even meaningless to a doe-eyed pop careerist whose open-book romantic life is grist for the mill, an attention-getting supply of gotcha-good inspiration. Red, her fourth album, is full of big, errorless music - arena-pop that is just country enough to keep the CMT crowd happy. But even if there are very few missteps, excitement and soul are decidedly lacking. Swift's lyrical style lacks for ambition; someone like Canada's Liam Titcomb, a complete unknown in comparison, has much more of a clue how to write a poppy relationship song with wordy charisma. The pigtailed set will enjoy the 22-year-old woman-child who giggles at the end of the plucky-cute Stay, Stay, Stay. "Before you I only dated self-indulgent takers, who took all of their problems out on me," she sings, resisting the urge to rhyme "Jake Gyllenhaal" with "darn it all" or "John Mayer" with "hey, that's not fair." The album's catchy first single We Are Never Ever Getting Back Together is Avril-bratty, complete with a resolute girlie army on the chorus. But beyond the adolescent stuff, the platinum-selling Kennedy-clan befriender branches out - sometimes moving in less-than-mysterious U2 ways. While State of Grace uses chiming guitars and bold dynamics, All Too Well doesn't at all try to hide its With or Without You tension-building methods. Lyrically it represents Swift's best work, involving broken p