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Taylor Swift changes the rules of the game and makes record labels tremble

Taylor Swift changes the rules of the game and makes record labels tremble

At this point, it goes without saying that Taylor Swift is one of the most important artists of her generation, but it is worth noting that behind that apparent naivety and even a certain fragility that emerges from her image, there is an artist strongly committed to defending her rights, to the point of having put part of the record industry in check.

The question has to do with the recent publication of the new version of his album Net, launch that is part of the artist’s decision to re-record her first albums after her catalog was caught in a commercial maneuver that left her out of any power to control her own work, which was left in the hands of someone completely unrelated to her career.

Faced with that situation, that assumed as a violation of their rightsThe singer used the networks as an amplifier of her anger and, also, of the management and mismanagement that in some cases involves the record companies. But also, by encouraging his followers to buy his new version of his first albums, the artist hit the industry’s most sensitive target: billing.

Winner Of The Grammy For Album Of The Year, With Folklore, Taylor Continues Her Crusade Against The Darkest Part Of The Industry.  Photo Efe / Epa / Kevin Mazur

Winner of the Grammy for Album of the Year, with Folklore, Taylor continues her crusade against the darkest part of the industry. Photo EFE / EPA / KEVIN MAZUR

Companies on alert

What Taylor has done has been to change the rules of the game, not only towards his fans but for other artists. He’s inspiring other artists to re-record their songs and take control of their music, “said Susan Genco, co-president of the Azoff Company and a member of the artist rights group at the Music Artists Coalition, in an interview with The Wall Street Journal. .

“Taylor is leading by example: he shows fans and artists that it is possible to be in control of your own future,” Genco explained, as quoted by La Vanguardia. To such an extent it is so, that record companies closed ranks so they don’t multiply Taylor Swifts in their ranks.

For that, according to the Spanish media, “the great majors have already set to work to modify their contracts and double the time in which the rights to the songs belong to them to stop future re-recordings.”

“Contractual restrictions – he adds – are a common practice in this sector, arguing that the time in which artists belong tied to record companies is in exchange for the investment they make to launch them to success, including the risk of the bet, the distribution and promotion, plus recording costs, “which is true; only it does not contemplate the counterpart.

A version without a corset

But for 31-year-old Taylor Swift, re-record Net It also meant addressing this material without adhering to the rules imposed by the marketing departments of the companies, and now he aims against machismo without half measures, proclaiming: “Fuck The Patriarchy” (“Fuck the patriarchy”), in his Net reworked.

That relief is part of the lyrics that contains the unpublished version of more than 10 minutes of his song All Too Well, with which the new full and extended recording of one of the most important albums of his career closes, the one with which he began to rebel against the most stale of old Nashville.

In the commercial, Net was a success, as it repeated for the third time in a row the feat of dispatching more than a million copies in its first week on the market, at the same time as through songs like I Know You Were Trouble they let a glimpse of their character for the first time, also their anger and helplessness, and revolted against conformity and modesty at the end of relationships.

Messages for various

Those emotions were present even in the first single, We Are Never Ever Getting Back Together, although the purpose of derision (allegedly against actor Jake Gyllenhaal) will be softened for the playful tone of the cut and the video clip with giant stuffed animal costumes.

A milestone of that transit was the complaint for 1 dollar that he won against an announcer who went too far by taking advantage of the capture of a photograph together and that, at first, was reported by a certain image of fussy and exaggerated, instead of being seen as a victim of the patriarchy she now cries out against.

Years would still go by in which she was reproached for being too lukewarm in condemning retrograde policies and attitudes that, with “Trumpism” in vogue, were preying on women and the LGTBQ + collective, their main breadbasket of followers.

On how she suffered those criticisms and why she decided to shake off the image of a good girl representative of conservatism the documentary was about Miss American (2020), which allowed us to better understand his prolific capacity for composition, endorsed in albums raised by critics such as 1989 (2014), Lover (2019) and, above all, Folklore (2020) and Evermore (2020).

It is from that freer and more empowered position that Swift edited the new Red (Taylor’s Version) (2021), which has its most recent allies of the “indie” sound in the production Aaron Dessner and Jack Antonoff.

Nine unreleased tracks and a strawberry for dessert

In front of the sixteen original cuts (in addition to the six extras of the “deluxe” version), Swift offers in this own version a total of thirty songs, nine of them unpublished, among which the danceable surprises Message In A Bottle.

Ed Sheeran also continues as fellow adventurer, this time in two cuts (Everything Has Changed and the new Run), as well as Gary Lightbody (Snow Patrol) in The last time. They are joined by Chris Stapleton in the most “country” I Bet You Think About Me and above all alternative artist Phoebe Bridgers to round out the message of Nothing new.

The icing on this multi-tiered cake is the aforementioned All Too Well, which comes accompanied by a short film titled in the same way, written and directed by Swift herself to show that she is not willing to rest on the honeys of success and that she has much to tell and sing

Source: EFE / Javier Herrero


Reference from clarin