1. It’s me. I’m the Problem.The world is full of serious problems right now but I’m going to take a point of personal privilege to talk about Taylor Swift. I went to the Eras concert movie this weekend with my two daughters and it was great. And by “great” I mean supremely inspiring on an intellectual, emotional, and spiritual level. Let me explain. I like Swift as an artist. She’s an excellent songwriter and a gifted performer.¹ But what I love about her—what I find genuinely inspiring—is her approach to her career and her willingness to fight the larger forces in the music industry. Historically, the music industry is a wicked business. Record companies, agents, and producers use their standing as capital holders and middle-men to take advantage of the musicians who actually make the product: From “race records” and the exploitation of African-American musicians, to Col. Tom Parker’ sucking Elvis dry, to Epic Records not releasing Aimee Mann from her contract even though they didn’t want her albums, the story is always the same: An individual artist can make music for free. But if they want to turn their art into a career, then they have to relinquish control—and a great deal of the value they create—to the companies that own the infrastructure. Taylor Swift had the guts to challenge this system and beat it. Swift has wanted to be a musician pretty much her entire life. She was making demo tapes when she was 11; at 13 she signed a development deal with RCA. The idea was that she’d write songs and periodically RCA would check in to see if they liked her work enough to give her a recording contract. Here’s the story from a 2009 profile:
That line about “running out of time”—at 14—is absolute gold. Swift had an amazing sense of assurance and understanding that she was worth more than the record company was saying and that she didn’t need their permission to unlock it. One of my mantras is that There is no permission structure for entrepreneurialism. It took me a long time to see this truth, because I was a Company Kid—the kind of boy always worrying about what the teacher, or admissions officer, or other assorted gate-keeper would let me do with my life. Taylor Swift figured this all out at 14. Swift’s next big fight came in 2014. Streaming was changing the economics of the music industry so that another capital holder—this time the streaming platforms—was able to exploit artists, too. First, Swift pulled her entire catalogue from Spotify, because, as she explained,
A year later Apple Music offered a free three month trial to users in an attempt to get them to sign up for the service—but during this period it did not pay artists any royalties for their work. Apple’s view was: “We’re using your work to get them to pay us, but until we get paid, you don’t get paid.” Swift wrote an open letter telling Apple that she wouldn’t let her album 1989 be on the service because of this policy. Apple changed the policy the next day. In 2017 Swift allowed her music to come back to Spotify—but only after they created a new-release window that increased revenue for artists. The best Swift fight came in 2019. After she completed her original recording contract with Big Machine Records, Swift signed with another label, Republic Records.² By the terms of most recording contracts, the label owns the “masters”—the original studio master sessions—of music the artist recorded while under contract. After Swift left Big Machine, she attempted to buy back the masters of the five albums she had recorded while under contract with them. But the company wouldn’t sell. So Swift decided to re-record those albums as “Taylor’s Versions.” She would own these re-recordings completely. And by signaling to her audience that “Taylor’s Versions” were the preferred cannon, she destroyed the value of the original masters. It was an epic act of rebellion; pure Cersei Lannister. If you’re new here, this newsletter is usually just for members of Bulwark+. And usually it’s about politics. But we do lots of culture at The Bulwark and you can sign up to get nearly all of it for free—with no ads or anything—if you hit us up here. Okay, back to T-Swizzle. One of my favorite musical microgenres is songs about struggles with the recording industry. Aimee Mann is, obviously, the queen of this set. But the single best entry in the space might be Cypress Hill’s Rock Superstar: You should listen to the whole thing, because the underlying story is that being a rock star is just a job. As B-Real explains, it’s a fun job—but it’s still a job. There have been better musicians and song writers than Taylor Swift, but nobody has ever been better at the job of rock star than she is. That’s because she intuited that her recording industry “partners” were actually her enemies and that she needed to find a way to subjugate them. She accomplished this by taking ownership of her audience. Swift worked very hard to forge a deep connection with the people who buy her music. She wrote music that spoke to them, of course, but she also cultivated them and treated them like fellow passengers on her personal journey. She brought them inside—or at least inside a constructed a diorama of her life which her audience took to be the real thing. It’s a lot like kayfabe in professional wrestling: In Taylor Swift’s world it’s impossible to know what’s a work and what’s a shoot. This isn’t a criticism. Most of pop music involves myth-making.³ The difference is that nearly all of the time it’s the record companies who make up the backstories.⁴ Taylor Swift wrote her own script. Swift figured out that it isn’t enough to write catchy songs. If you’re only a good singer/songwriter, then you’ll be at the mercy of the larger forces in the industry. So while the first half of her job was art, the second half was commerce: She had to build her own audience and then forge a connection with it so strong that she could command it.⁵ Kind of like a cult? And if we’re being honest, the Swifties are cult-like. And that isn’t a criticism either! Because Swift has used her powers mostly for good. Even at the artistic level, Swift used her audience’s loyalty not to jam bland product down their throats, but to give herself the freedom to explore multiple genres and grow herself as an artist. It’s important to understand that she was only able to make that journey as an artist because she mastered the business side of her job. The Eras Tour is the culmination of Swift’s ownership of her career. She attempted to bend Ticketmaster—a notoriously rapacious company—to her will by having them use a “verified fan” program that would get tickets directly into the hands of end-users and put a cap on re-selling. It didn’t work. But this time, the fault was Swift’s: She simply had too many fans. On the day tickets went on sale, Ticketmaster prepared for 1.5 million people to hit their website. Instead, 14 million people tried to get in the door. The entire tour sold out in a day and in the end the resellers made a fortune, with the average ticket on the open market going for roughly $3,800.⁶ All told, Eras became the highest grossing tour in U.S. history, taking in $1.4 billion in ticket sales and generating an estimated $4.6 billion in excess consumer spending surrounding the shows. It’s like Swift ran her own private stimulus program for post-COVID America. In the end, that’s what I love about Taylor Swift. She believed in herself and she did the work. In a business full of sharks and bullies, she beat the house. And her success has turned out to be good for all of us. 2. Biden and IsraelThe Jerusalem Post says that Joe Biden has set a new standard for U.S. support of Israel. Across Israel billboards thanking Biden for his words and actions have popped up. And over the weekend a Marist poll showed two-thirds of Americans think it’s important for Biden to be publicly supporting Israel. That same poll also asked Americans how they think Biden is handling the crisis so far. Now, are you ready? Put your coffee down. In this poll 52 percent of respondents disapprove of Biden’s handling of the crisis. In sum:
Put this in the “What do you people want” file along with “it’s like the Great Depression but boat sales are through the roof” and “our schools are a disaster, but parents with kids like their schools.” 3. TexasThis is the story of two white men who go around Texas looking for defective property titles and then suing to acquire the land. Most of the titles they target are for what is known as “heirs’ property,” a particular form of real estate born in the South in the aftermath of the Civil War. These two men are so successful that they are able to find a piece of property on which the owner has paid taxes, every year, for decades, and then strip him of it for a few hundred dollars. It’s the kind of story that shows why we need magazines like Texas Monthly:
Read the whole thing. It’s one of the clearest accounts of structural racism—or legacy racism, or whatever you want to call it—that you’ll ever see. 1 My own preferences are slightly more obscure. My favorite band? You probably haven’t heard of them. 😉 2 Why did Swift sign with Republic? Because it’s a division of Universal and Universal owned a large stake in Spotify. Swift’s contract with Republic (1) gives her total ownership of her work, including her masters; and (2) required Universal to share with artists proceeds of any sale of their Spotify holdings. 3 The White Stripes, for instance, sold themselves as a brother-sister act, even though they were boyfriend and girlfriend. 4 If you have time, settle down and read the definitive story on this phenomenon in a 2003 New Yorker piece called “The Money Note.” 5 There’s a lesson in this for every creator, everywhere: The most important thing in the world is for you to own your audience. 6 I would not choose to spend $3,800 to attend a Taylor Swift concert. But having seen the concert film I can say with some confidence that in a world in which I had spent $3,800 to see the show, I would have come away feeling like I got my money’s worth. You’re a free subscriber to Bulwark+. For unfettered access to all our newsletters and ad-free and member-only podcasts, become a paying subscriber. Did you know? You can update your newsletter preferences as often as you like. To update the list of newsletter or alerts you received from The Bulwark, click here. |
Taylor Swift Is an Inspiration for Us All
October 16, 2023
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