The Victimization of Taylor Swift

It's a shame that Taylor Swift has had to build her career on victimization, because she doesn't deserve constant sympathy.

When Taylor Swift released an emotional statement regarding the sale of her music catalogue to the producer Scooter Braun, she detailed the events in a long, tearful Tumblr post.

Taylor Swift — For years I asked, pleaded for a chance to own my...

"I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future," she wrote. "I had to make the excruciating choice to leave behind my past. Music I wrote on my bedroom floor and videos I dreamed up and paid for from the money I earned playing in bars, then clubs, then arenas, then stadiums." She alleged that she learned of the sale right when it was announced to the rest of the world, and stated that "all I could think about was the incessant, manipulative bullying I've received at his hands for years."

"This is my worst case scenario," she continued. "This is what happens when you sign a deal at fifteen to someone for whom the term 'loyalty' is clearly just a contractual concept. And when that man says 'Music has value', he means its value is beholden to men who had no part in creating it."

"When I left my masters in Scott's hands, I made peace with the fact that eventually he would sell them. Never in my worst nightmares did I imagine the buyer would be Scooter. Any time Scott Borchetta has heard the words 'Scooter Braun' escape my lips, it was when I was either crying or trying not to. He knew what he was doing; they both did. Controlling a woman who didn't want to be associated with them. In perpetuity. That means forever."

Her allegations were met with immediate dissent from Borchetta, who claimed that Swift already knew about the sale before it happened and that she had a chance to buy back her music. Braun's wife, Yael, also responded to Swift's statement with an Instagram post:

Since then, Taylor Swift has received an outpouring of support from stars including Cara Delevigne, Halsey, Katy Perry, and more. On the other hand, Demi Lovato—who liked one of Braun's posts—has been the object of backlash from Twitter and the Internet alike. And for good reason: Powerful music industry executives have been screwing over artists, particularly female artists, since time immemorial, and the issue is a widespread problem that needs immediate recognition.

Let's get one thing straight: Braun's actions were and are unacceptable, and what happened to Taylor Swift is one incident of an epidemic, brutally real problem that so many artists in the music industry face. None of this, in any way, is meant to excuse Braun and Borchetta.

Then again, there's something familiar about this story, something slightly askew about all this. Maybe it's because this has happened before. Once again, it seems that Taylor Swift has been taken advantage of.

Coming from the majority of artists, these accusations would be shocking, but for Swift, they are run-of-the-mill. A glance back at the myriad headlines that have surrounded Swift for over a decade reveals that her career has been a long, repetitive sequence of getting into fights and then healing them, sewing everything back together into a neat, clean whole that places her at the center of the story, wronged but resilient, always with a new song to sell.

Compared to many of her contemporaries, Swift's music expresses little of the angst and pain that she expresses through her public persona. Even her last and arguably most emotive album, Reputation, was an empowered, declarative outcry against a press that she saw as hell-bent on personally attacking her. In some ways, she's the anti-Lana Del Rey: Never a sad girl, she's built her sonic brand on using her bullies and heartbreaks as rocket fuel. However, Swift's music and career echoes Del Rey's often submissive narratives in that things are always being done to Taylor Swift.

That narrative has been played out over and over. She built her career on songs that blamed other women for stealing her man and painted herself as the wronged angel, always seeking revenge.

Even then, she showed that she could not take the kind of criticism she unleashed on others. There was the time that Lorde criticized her for representing an unattainable ideal, and in response, Swift sent the singer flowers and befriended her.

Once she was called out on her music's internalized misogyny, she shifted her focus to female friendships in an effort to combat these accusations. 1989 brought Swift's "squad" into being—but it also rehashed Swift's victimized narrative. Hers is always a story about cheaters and liars, injustices and catastrophes that she had no control over but for which she always deserves our deepest sympathy.

After 1989, this pattern escalated. First, there was the beef between her and Katy Perry, which was apparently resolved during the creation of "You Need to Calm Down"; now, Swift is allegedly attending Perry's wedding. Then, of course, there was the legendary Kanye West drama. The seeds were planted at the 2009 VMA's, but everything fell apart when Swift released an emotional outcry against West's "Famous" song and video, in which he spoke about having sex with her. Later on, Kim Kardashian released a series of Snapchat videos that revealed that Swift had given West permission to do just that.

In that case, Swift's attempt to solidify her place as the victim backfired. Many noted the nature of the power imbalance between the white female victim and the black male oppressor, an old and deadly dichotomy rooted in historical injustice. Still, the incident got her name back into the press, and many still took her side.

These events led to an outpouring of thinkpieces and discussions that analyzed Swift's career-long positionality as an archetypally virginal, chaste damsel in distress, unearthing dozens of examples that saw her locate herself in a kind of classic, frail vulnerability that often disguised latent misogyny. "Her passivity and purity were the centrepiece of an appealing narrative constructed around traditional girlhood," writes Ellie Woodward—a narrative focused on denouncing an overly sexualized other woman (remember "she wears short skirts, I wear T-shirts"?) and idealizing fairy tale tropes. Some called her career a "professional victim act."

As Swift grew more infamous and controversial, her attempts to reestablish her own victimhood grew more desperate. She lashed out, constantly placing the blame on the others, never questioning her own culpability.

Only this time, the media wasn't having it. Following criticism of the whiteness and exclusivity of her "squad," as well as the feud with Katy Perry that she blew out of proportion with the violent "Bad Blood," Swift turned her focus to the media, blaming it for attacking her while also combatting any accusations that she was representing an archaic feminine ideal. Thus came Reputation, in which she lashed out at the press and killed off her old self.

Taylor Swift - Look What You Made Me Do

After Reputation, it became harder to accuse Swift of embodying fragile white femininity, so the press turned their attention to her then-apolitical stance. At first, Swift attempted to quell accusations that linked her to white supremacy: She threatened to sue a blogger for defamation over an article that linked her song "Look What You Made Me Do" to both Hitler and the KKK, a suit that was denounced as 'meritless' by the ACLU.

Perhaps realizing that silence was no longer an option, Swift quickly turned political, supporting a Democratic candidate in Tennessee and denouncing Trump. Following a misstep in which she seemingly copied Beyoncé's Coachella performance, she later releasing the well-intended but misguided "You Need to Calm Down."

Taylor Swift - You Need To Calm Down

Most likely, Swift is confused as to why her newly political persona has not been more widely celebrated and devastated when queer people were angry about that video. After all, she only wanted to support them—and it's true that support is better than silence. However, though a Tweet or speech in celebration of Pride would have sufficed, Swift's star power was also her downfall: She used queerness as a brand with her as its figurehead, and by capitalizing on the LGBTQ+ community and placing herself at the center of the narrative, she appeared to have appropriated a struggle that was not her own, rubbing quite a few people the wrong way.

In essence, the point is clear: Swift needs to be the star of every story, but even more acutely, she needs people to love her. Really, who can blame her? Don't we all want people to love us? It's difficult to be in the public eye, and even harder to try to please everyone in a media landscape that feeds on contention, cheap thrills, and drama.

But pleasing everyone is what Swift has built her entire career on—and that's not an easy state to maintain, especially when you're so squarely in the public eye. Still, she's kept at it. Through a career-long fight against criticism, Swift has proven that she is never going to give up the ghost of her own innocence.

With this latest revelation about Braun and Borchetta, she has cemented her position as a victim, expertly rehashing an old story but wearing a bullet-proof vest this time. Check-mate: Any protestations, any accusations that her actions are a publicity ploy will be met with outcries of misogyny. Still, it's a shame that Taylor Swift has had to build her career on this kind of victimization, because she doesn't deserve constant sympathy. She deserves respect and accountability for her actions as a public figure.

Swift's personal drama aside, it's painfully true that the recording industry has long cheated its artists, specifically its female artists, out of their profits and autonomy. It's true that what happened to Swift has happened to thousands, if not millions, of artists whose catalogs were overtaken by wealthy, powerful men, and who had no opportunity to achieve any public sympathy or personal autonomy over any of their creations.

Did Swift get the short end of the stick? Certainly. Do the presses hold an abnormally harsh vendetta against her when they allow other artists to get away with similar things? Possibly—because for all her brilliant marketing skills, Swift does seem less fluent in the language of social justice than many of her peers, and some of her initiatives that might come off as genuine if she were someone else feel saccharine and insubstantial when she delivers them. Admittedly, her poor delivery is not an excuse to denounce her as a person or as an artist, and she is certainly exceptional at what she does.

On the other hand, did Swift necessarily need to publish a message that was so clearly a cry for sympathy and that painted her as so completely helpless? Surely she knew that it would spark a wave of support, and for good reason. Her complaint touches a nerve, echoing a widespread and devastating phenomenon in the music industry, one that desperately needs to be brought to attention.

Of course, Braun and Borchetta have denied Swift's claims, arguing that she had the opportunity to buy back her catalog and that she knew about Braun's purchase before the general public. If either of these things are true, her outcry loses credibility and thus damages the credibility of other, more severe claims from artists with less money, power, and support.

Still, whether or not Swift's story holds up, it marks the beginning of an important conversation. She could use this opportunity to uplift the voices of other artists whose catalogs have been systematically stripped from them and who do not have the funds and power to create their own work like she does. She and her supporters might use this to spark a wider conversation—not about the validity of Swift's tragic story, but rather about the widespread, deep-rooted patterns of thievery, abuse, and destruction wrought by corrupt executives since the dawn of the recording industry.

For now, it seems like this is all about Swift. It seems that she has at last found the right niche, the one that will surround her with the maximum amount of love and compassion, sympathy and new album sales. There is no doubt that Swift was screwed over by Scooter Braun. She deserves support and compassion in these times. Whether or not she orchestrated this to help sell her new album and distract from the flop of "You Need to Calm Down" is irrelevant. The gravity of the issue outshines even Swift's questionable motives, and we should not let her past detract from the important conversations that it raises.

Taylor Swift, you win. We all feel sorry for you. This time.

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Taylor Swift dropped her LWYMMD music video and consider me shook

REVIEW | Love her or hate her, you can't deny that Taylor has a gift for theatrics.

"Honey I rose up from the dead, I do it all the time."

In Taylor Swift's new music video for her single "Look What You Made Me Do," her snake is serving the tea, but today I am. I was watching the VMA's Sunday night when I decided to check Twitter to see what people were saying about Lorde's unique performance, when I saw that the internet had exploded because T. Swift had released her LWYMMD music video. *Sigh* "Guess I'll watch it," I thought, mourning the old Taylor days when I was inspired by her, before all of the shady games with Kanye and petty clapbacks. Don't get me wrong the LWYMMD music video is incredibly petty, but you can't deny Taylor Swift for the theatrical genius she is after seeing it.

[rebelmouse-proxy-image photo_credit="" caption="Footwear News" pin_description="" image-library="0" crop_info="%7B%22image%22%3A%20%22https%3A//" expand=1]Footwear News

After watching it I stared at the screen for a while. "What did I just watch?" I thought. So, I watched it again and here's what I can say. The music video was shot by Joseph Kahn who also co-produced it. The quality is obviously impeccable. Kahn has been behind many other iconic videos like Taylor's very own "Bad Blood" and "Blank Space", Britney Spears' "Toxic", and Katy Perry's "Waking Up in Vegas" and many more. The lyric video's aesthetic was said to be based on the Alfred Hitchcock film, Vertigo also produced by Kahn. We can see traces of this in the music video as well, but with more nods toward pop culture from the past thirty years and definitely a lot of symbolic Swiftisms. It seems like the video is divided by four acts.

Act 1 | RIP Old Taylor

Zombie Taylor in LWYMMD (Elite Daily)

We all laughed over the weekend about the line, "Old Taylor can't come to the phone right now. Why? Oh. Cause she's dead," but Taylor was the one laughing when she showed up in the first few seconds of her music video as a literal zombie. She was noticeably wearing the dress she wore in her "Out of the Woods" music video, but looked, well- terrifying. She also lies in a grace wearing a dress she wore to one of her many awards ceremonies.

Taylor Swift in "Out of The Woods" (Celebrity Dresses)

Act 2 | Calling out her haters

We next saw her soaking in a tub of diamonds with one symbolic dollar bill said to represent the $1 she won in the case against the DJ who grabbed her butt.

[rebelmouse-proxy-image photo_credit="" caption="Swift lies in a tub of jewels. (Vevo)" pin_description="" image-library="0" crop_info="%7B%22image%22%3A%20%22https%3A//" expand=1]Swift lies in a tub of jewels. (Vevo)

She then sits on a golden throne flanked by snakes. One even serves her tea. Etched into her throne and the columns is famous Shakespeare line, "et tu brute" from when Julius Caesar's closest friend helps to murder him. Fans speculate that this is in reference to former gal pal Katy Perry. The snakes are in obvious reference to all of the hate mail Taylor got from Kim K fans during the Kimye conflict last year. All the while, Swift is adorned in snake jewelry and traded her wild curls for sleek, straight hair her signature cat eye and red lip exemplified.

[rebelmouse-proxy-image photo_credit="" caption="Swift is served tea by a serpent. (Vevo)" pin_description="" image-library="0" crop_info="%7B%22image%22%3A%20%22https%3A//" expand=1]Swift is served tea by a serpent. (Vevo)

Swift next crashes a really expensive looking car dressed eerily similar to Katy Perry in "Waking Up in Vegas," holding one of her ten Grammy's. While Perry has been nominated, but not yet taken one home. She has a pet cheetah with her that wears a "13" collar, why? 13 is Taylor's lucky number and she's been known to be a crazy cat lady, but this time, her cat is just as ferocious as she perhaps suggesting that Swift herself is no more a domestic house cat but a wild feline.

[rebelmouse-proxy-image photo_credit="" caption="Swift posing with one of her Grammy's (Vevo)" pin_description="" image-library="0" crop_info="%7B%22image%22%3A%20%22https%3A//" expand=1]Swift posing with one of her Grammy's (Vevo)

She then sat in a golden bird cage perhaps suggesting she's been trapped by the media.

[rebelmouse-proxy-image photo_credit="" caption="Swift eats lobster in a birdcage (Vevo)" pin_description="" image-library="0" crop_info="%7B%22image%22%3A%20%22https%3A//" expand=1]Swift eats lobster in a birdcage (Vevo)

Act 3 | Squad scrutinization

Swift then is seen hopping on a motorcycle with other gorgeous girls and robbing Stream Co. which is clearly a reference to her battle with streaming services in the past years. She's seen assembling an army of lifeless, mannequin looking gorgeous girls at "Squad U" which is probably a reference to Taylor's reputation for always having a squad of model friends. She then dances with a group of men with I heart TS crop tops. Fans have noticed there are eight which is the same number of known significant exes of the singer.

Taylor laying in a pile of her model army. (Vevo)

Swift with her I Heart TS boys. (Vevo)

Act 4 | New Taylor officially dominates Old Taylor

The video ends on an iconic note that people will no doubt be discussing for years. New Taylor dressed in out of character, dark clothing stands on top of a pile of people who as we zoom in, we recognize as all of the iconic past versions of Taylor Swift including her swan outfit in Shake it Off, her You Belong with Me Outfit, her Red Tour circus look, and many more. At the end of the video, New Taylor paints "Reputation" on an aircraft called TS6 (in reference to her next album), and the most prominent old Taylors stand in front of the aircraft and engage in a hilarious dialogue that references a lot of Taylor's most controversial moments in the media from her "annoying surprised face," at awards shows, to her being called fake, and more. Most notably, one Taylor calls another a "bitch" which is what caused the conflict with Kanye last year when he called her that in his song "Famous."

All of the Taylors (Vevo)

Love her or hate her, it's clear that Taylor is a master at what she does and the LWYMMD music video is petty, but a petty work of art. Honestly? I'm into it. While it's important to remember some of her actions in the past look incredibly questionable, celebrities are people and we don't know everything about them as much as we'd like to think that. This video is a clear representation than there is more than meets the eye, so I'm giving Taylor the benefit of the doubt and looking forward to Reputation on sale November 10th.

Watch the full LWYMMD video here.

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Taylor Swift is back with LP 6 and there are mixed feelings

Swifties everywhere are celebrating the announcement of a new album while critics are over Taylor and her "reputation".

Taylor doesn't give a damn about her bad Reputation

After wiping her social media clean this past week, Swift fans took to the internet with predictions that Taylor might be up to something big. As predicted, Taylor announced recently that her sixth album will be released in November and that we'd be getting a new single Thursday night. While there didn't seem to be a buzz from the anti-Swift community until the announcement, following the announcement many have stated they "just don't care anymore." Swift's critics claim they are tired of her playing victim to forward her career. This stigma she has, started with her feud with Kanye. Everyone remembers what happened between them at the VMA's...

Things were seemingly fine for a while until Kayne released his song "Famous" where he sings about Taylor Swift in what she calls a misogynistic manor. I don't disagree, nor would any women. The problem? After Taylor threw major shade at Kayne for the song, in an interview, Kanye's wife Kim Kardashian revealed that they ran the exact lyric by Taylor who initially said to go ahead and that she thought the lyric was "provocative". She later shared the video of their conversation on social media causing a lot of fans to lose faith in Taylor Swift assuming her pro-women, girl power brand was well, a brand and a way to get publicity rather than genuine feminism.

One's reaction to her new album announcement.

Most recently, Swift has won a case in which a radio host tried to sue her over her calling him out for grabbing her butt. Many fans celebrated her victory and her fighting back for the sake of women everywhere who have been victims of this kind of intrusive and unacceptable behavior and sexual abuse. I applaud her for this as well. Though she's had her moments, it's important for us to remember that celebrities and artists are still human. Have you ever done something questionable? Of course. While her position makes it way more important that she hold herself to a higher standard of self-representation, we all make mistakes, so while I keep in mind her very questionable past and do not celebrate her as feminist hero, I still value her for the great artist that she is and am SO excited to hear her new album.

Speaking of which, naysayers are scoffing at the name saying she built the Reputation for herself, while fans are virtually high-fiving her for the clever title and are ready for her to slay all of her naysayers doubts. Fans tweeted about their excitement in anticipation of the song release at midnight. Many fans have speculated what the song could be called based on the snake images that Taylor Swift shared on social media after allegedly being spammed with them after the Kanye incident last year. They believe that she is reclaiming the narrative once again. Other speculations insist that the song would be called "Timeless" because Genius, a lyrics resource online, released a new page for a song called Timeless by Taylor Swift that said the lyrics are not yet available.

Needless to say, it was a restless night for the internet and though her critics claimed that the #Taylorswiftisoverparty lives, the buzz still exists, her single came out, and it is interesting. Personally, I have mixed feelings and so do the very vocal people of the Internet. Half seem to applaud her for this major, sassy clap-back at Kanye. Taylor makes direct references to him saying, "I don't like your tilted stage." Fans also are freaking out about her clever line, "I'm sorry Taylor can't come to the phone right now. Why? Oh. She's dead." Some fans are disappointed in the sheer pettiness of the song claiming she's better than that. Others think it sounds just like "I'm too Sexy for my Shirt" meets Lorde meets Fergie which, I don't entirely disagree with. Though optimistic regardless of Taylor's past, I must say I was underwhelmed but maybe it'll grow on me. I am however loving her new dark look.

Check out the lyrics video here:

What do you think about the single? Let me know @anie_delgado.

We want to know what you think about Reputation. Tell us in a collaborative video.

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