"(T)o say that the individual is culturally constituted has become a truism. . . . We assume, almost without question, that a self belongs to a specific cultural world much as it speaks a native language." James Clifford
Showing posts with label Taylor Swift. Show all posts
Showing posts with label Taylor Swift. Show all posts

Tuesday, June 4, 2024

When Hollywood Gets Political: Partisan Profits

Entertainment celebrities and businesses alike risk losing customers and thus revenue by taking positions publicly on political issues. Fearing a surge from political parties on the far-right, some large businesses in the E.U. took the unusual step of coming out against those parties, labeling them as “extremist,” prior to the E.U. election in June, 2024. Typically, businesses there limit their political stances to particular issues that bear on core functions. This is a prudent policy, for human beings, being of bounded rationality, can easily translate ideological disagreement into switching brands. Even universities can get bruised by becoming embroiled in a domestic or international matter that is controversial. Hence after the contentious spring semester of pro-Palestine protests at Harvard (and other many other universities), the university’s administration enacted a policy not to take positions on issues in which the core functions of the university are only indirectly touched or are not affected at all. In creating a “marketplace” for academic freedom, universities themselves are best positioned by staying neutral. Although it is tempting for anyone (for oneself or one’s institution) who has access to media to sway public opinion on a political issue, I contend that the immediate self-gratification is usually outweighed by lost revenue and the reputation of being partisan. Applying strict scrutiny to one’s foray into controversial issues is harder to do if some vocal customers are demanding that a position be publicly taken. The silence of other customers, who would “vote with their purse or wallet” were an opposing position to be taken, should not be overlooked.  The singer Taylor Swift and the actor Robert De Niro provide us with two illustrations. Stepping out of their respective domains comes at a cost in those domains, and thus should, I submit, be done prudently and seldom.

As Israel was bombing Rafah in Gaza in 2024, contravening two rulings of the International Court of Justice (i.e., the UN’s court), a significant number of “Swifties,” that is, fans of the singer Taylor Swift, pleaded on social media for the international celebrity to take a position against Israel’s aggression. One fan wrote, “Taylor, please say something. Your silence is hurting us. We need you to stand with Palestine and condemn the Israeli occupation and aggression.”[1] I submit that the alleged hurt was exaggerated by the teenager. I sincerely doubt that Taylor’s silence kept many Swifties from buying Swift’s recently released album. Had the singer taken a stand, on the other hand, her fans on the other side might do more than block Swift on social media. That is to say, Swift’s financial bottom-line would be more impacted, and negatively so. It seems very improbably that increased purchases by Swifties in favor of Palestine would surpass the loss of revenue from Swifties on the other side of the issue “voting with their purses and wallets.” The lack of symmetry here is behind my advice to celebrities not to take a position on a controversial political issue, or to do so knowing that a financial cost will come with the exercise of political influence.

To be sure, exercising political influence on a societal and even world stage is tempting. As one Swiftie wrote on social media of Swift’s latent power, “if she can rally all of us to vote, she had the power to speak up about injustice.”[2] More bluntly stated, Taylor Swift had the power to significantly influence elections. The ideological benefit to her in doing so is not trivial; my point is that in accruing such a benefit, she should know that it comes with a financial cost in terms of her core function. By 2024, she had made so much money that not earning as much as she otherwise could by taking a position on Israel and Palestine could have made rational sense to her. Yet possible hits to her reputational capital could go beyond merely losing some customers of her music.

As Israel was bombing Gaza, former U.S. president Don Trump was on trial for criminal fraud in order to commit a political crime. Robert De Niro, a movie star, went to the courthouse and castigated Trump, calling him a monster.[3] As a result, the National Association of Broadcasters rescinded its Service to America Award, which the actor was to accept in just days. A spokesperson for the organization explained that it “is proudly bipartisan, uniting those from across the political spectrum to celebrate the impactful work of local broadcasters and our partners.”[4] De Niro would be a “distraction.”[5] Hence he was disinvited from even attending the event. De Niro took the high road and wished the organization well. For him, the loss of the award and even any loss at the box office if Trump supporters would then “vote with their purses and wallets” was worth it. Like Swift, De Niro had plenty of money, no doubt, and great star-power; he could take some of it out for a spin—like taking a new car out for a fast drive—without fear that he would end up in the poor house. Even so, the question of whether the hit to his personal “brand” was worth the financial and reputational cost is worth asking. Perhaps the answer is yes only if his public condemnation of Trump would end up making a difference in the election that was still half a year away. To De Niro, the answer could have been yes even if not because of the psychological reward that he felt from standing up for something important to him. Even so, rationally it would still be wise to keep an eye on the brand.

In short, it is human, all too human, to want to have political influence on a societal or even a global scale, and to enjoy the psychological pleasure that goes with the expenditure even though it could mean fewer sales than would otherwise be the case and a hit to one’s reputational capital, or brand. Generally speaking, though, such immediate gratification may not usually be worth the long-term costs, both tangible and intangible. Balancing the immediate with the long-term is not something that we humans are particularly good at, and natural selection in the process of evolution is to blame. The time-value of money, an economic concept, stems from the human preference for instant gratification. It is for this reason that I contend that celebrities should as a rule stick to their core functions—stick to the knitting in the words of the business book, In Search of Excellence—and only branch out to “cash in” to influence a political matter only rarely if at all. Taylor’s silence wasn’t actually hurting anyone; she was being an astute businesswoman and thus acting in her best interest.


1. David Mouriquand, “#SwiftiesForPalestine: Taylor Swift Urged to Speak Up on Gaza Conflict,” Euronews.com, May 29, 2024 (accessed June 3, 2024).
2. Ibid.
3. Dylan Donnelly, “Robert De Niro Has Award Withdrawn after Calling Donald Trump ‘Monster’ Outside Trial,” Sky News, June 2, 2024 (accessed June 3, 2024).
4. Ibid.
5. Ibid.

Wednesday, December 6, 2023

Time Magazine’s Person of the Year: Taylor Swift

Time magazine named the singer Taylor Swift as its person of the year for 2023. Such a force of nature were her stadium-filled concerts during that summer that they triggered economic booms in the respective host cities. In Pittsburgh, Pennsylvania, for example, hotel rooms went for as much as $2,500 downtown on the night of the concert. In terms of American culture, the analogy of gravity waves may fit. During an interview for television at her home (or one of her homes), Swift’s savvy business acumen was very evident; her marketing prowess was extraordinary. She even re-released her own songs, resulting in a huge financial windfall for what are really the same songs merely re-sung. It is not as if she had grown a new voice. Swift personifies American culture, whose “movers and shakers” seem “happy go lucky” on stage yet, behind the scenes, they tend to be lazar-focused on the business end. In short, considerable distance may exist between the societal image and the private business practitioner, and the ethical element can get lost in the shuffle and excitement.

To be sure, economics was evident in the “Swiftie” phenomenon during the summer of 2023. According to Time, Swift “achieved a kind of nuclear fusion: shooting art and commerce together to release an energy of historic force.”[1] Her Eras concert tour "brought in a whopping $1.04 billion with 4.35 million tickets sold across 60 tour dates."[2] Not just any singer can make such a haul and even trigger municipal economic booms and saturate the media’s attention worldwide simply by going on tour. Also, the magazine is clear that such a gargantuan amount of money brought in is not “something we often chalk up to the alignments of planets and fates,” for “giving too much credit to the stars ignores [Swift’s] skill and her power.”[3] In particular, her intense and sustained focus on every conceivable way, such as by re-recording existing songs and bundling them (admittedly with some songs from her vault) into albums in their own right, attending to merchandise and actively using the media for free publicity, to increase revenue leveraged, or made use of, her tremendous market power that was unrivaled; she dominated the airwaves during the summer of 2023. The “Taylor’s Version” albums provide us with an interesting case study wherein hype, money, and ethics are all in the mix.

According to Time, “Swift began releasing re-recordings of her back catalog in 2021 in an effort to reclaim her original music, after her initial label Big Machine Records sold her masters to Scooter Braun’s Ithaca Holdings in 2019. ‘Now Scooter has stripped me of my life’s work, that I wasn’t given an opportunity to buy,’ Swift wrote. . . . ‘Essentially, my musical legacy is about to lie in the hands of someone who tried to dismantle it.’”[4] I don’t doubt the authenticity of her emotive motivation here. In the vernacular, she was pissed.  Even so, if she had signed a contract with Big Machine Records giving it the unilateral right to sell the masters of her songs, and the purchaser has the legal right of use, then she had no legal or ethical claim to preempt the sale or be sold the masters outright. Of course, if labels write heavily unfair contracts essentially reflecting the commercial interests of the labels, taking advantage of the lack of bargaining power of new signers, ethical critique is fair game.

By its very nature, a contract is a coming together of (at least) two interests, with consideration (money) given by one party to the other. A residential lease, for instance, should reflect both interests. It should not restrict use of premises to be narrowed down to reflect only how the property owner would use the space or would like the space to be used. A property owner might prefer a “no guest” policy, but such as “policy”—the very word being presumptuous—violates reasonable use of premises. Furthermore, the property owner’s personal religious or moral lifestyle, for instance, should not bind the counterparty as long as the property itself is not damaged. “I don’t believe in eating meat, so you are not allowed to use the kitchen of your apartment to cook meat,” for instance, is presumptuous and dogmatic. More to the point, such a clause would violate or nullify the fact that in receiving rent, the property owner is selling the use of the space (as long as the property is not damaged). The mantra, “It’s my house,” taken as an absolute, is circumscribed when use is being sold for consideration (i.e., rent). Having it both ways is selfish and childish.

Whether or not Taylor Swift originally signed a one-sided contract is beyond my ability to investigate, given the information that I have. Her fans did not know either, and so, because of her emotional claim and her “star power,” her ethical cause resonated. Even so, it can be asked whether it is ethical to have hyped “Taylor’s Version” albums to the extent that buyers were willing to pay the full price of an album even if they had most of the songs already. To be sure, the “Taylor’s Versions” included “vault tracks”—songs not on the original albums. She also updated some lyrics. Even so, it can be asked whether the additional work justifies a full price of a new album. It can also be asked whether customers having receipts for the original albums, such as Fearless, should have been able to buy Taylor’s version at a discount. I submit that such a discount would be reasonable, given both the amount of additional work on Taylor’s part and the substance of the product (i.e., the extent to which it differs from the originals). A few songs from the vault and some new lyrics do not render the albums commensurate with albums filled with previously unreleased songs.

If Swift’s motivation was indeed to gain control of her songs, she should have agreed to a discount. Fearless (Taylor’s Version) had the biggest debut for any album in 2021, with 722.7 million on-demand streams in the U.S. that year.[5] Surely at least some of those customers already possessed the original album. Of course, the irrational exuberance that would cause such a customer to buy the same songs again can also be criticized, but many of her customers were teenagers and thus easily taken in even by orchestrated hype of good feeling seemingly aloft from the earthly taint of business strategizing. My point is that it is no accident that Taylor Swift made a lot of money essentially recycling songs ready for re-singing. She was not merely trying to regain control over her work. I submit that she was acting as a business woman, and a darn good one at that.  Her true identity—her driving financial ambition—was practically hidden under the blinding glitter of the “nuclear fusion” that Time magazine describes. My point is that the resulting sonic boom was orchestrated to coordinate and max out both the hype and the revenue. Behind the moral cause, behind the curtains, Swift’s financial acumen could be said to be a subterranean force of nature.

Such a force tends to be obscured, obfuscated, or, more often, intentionally hidden in the American entertainment industry. Similarly, elected representatives in Congress or the White House keep both their fowl tongues and their raw desire for power far away from the reach of microphones and cameras. In short, the sheer difference between private personas, including agendas, motivations, and even personalities, and the public images on the societal stage is astounding. Especially in politics in a representative democracy, this differential is a real problem that goes beyond the financial harm to young “Swifties” who have been subtly manipulated into buying (mostly recycled) songs at full price.


1. Jordan Valinsky, “Taylor Swift Named Time’s ‘Person of the Year,” CNN.com, December 6, 2023.
2. Maria Sherman, "Taylor Swift's Eras Tour Is the First Tour to Gross Over $1 Billion, Pollster Says," APNews.com, December 8, 2023.