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Taylor Swift, Philosopher of Forgiveness
The pop superstar offers genuine insight about “moving on.”
By Scott Hershovitz
Dr. Hershovitz is a philosopher.
Taylor Swift is on fire. She just dropped her seventh album, “Lover,” and it’s already the top seller of 2019. She also dropped some wisdom that deserves to be as widely appreciated as her music.
In an interview on Aug. 25 on “CBS Sunday Morning,” Ms. Swift spoke up about our culture’s obsession with forgiveness. “People go on and on about you have to forgive and forget to move past something,” she said. “No, you don’t.”
She’s right. You don’t have to forgive and forget to move on. And sometimes, you shouldn’t forgive or forget. You should resent.
To see why, imagine that you’ve been wronged. Let’s say Kanye West just busted up your big moment onstage at the MTV Video Music Awards. So what? Why not be Jay-Z and brush the dirt off your shoulder ? The reason — as many philosophers will tell you — is that wrongdoing sends a demeaning message that shouldn’t go unchallenged.
As the philosopher Jeffrie Murphy explains, that message is typically something like “I count, but you don’t.” Or “I am here up high, and you are there down below.” Or “I can use you for my purposes.”
Another philosopher, Pamela Hieronymi, teaches that the message implicit in wrongdoing poses a threat. The threat is that the message is true, that it’s O.K. for Kanye West to ruin your big moment, because you don’t matter as much as he does.
When you resent, Professor Hieronymi says, you protest that message. You insist, if only to yourself, that you do matter. The alternative is to acquiesce in your own mistreatment, to see yourself as less than Mr. West, as someone he can push offstage. And if you see yourself that way, other people might, too. Resentment is about self-respect — and self-protection.
Forgiveness is often understood as the release of resentment. That’s the source of the idea that you can’t move on without forgiveness. Resentment may be protective, the argument goes, but it can also be destructive. It eats you from the inside. So forgive and forget, some say. It’s the only way forward.
But forgiveness is a way forward only when it’s warranted, Professor Hieronymi suggests. If Mr. West sincerely apologizes, he rejects the message he sent when he pushed you offstage. And once he rejects the message, you can release your resentment, because your protest is no longer needed.
There are other paths to forgiveness. If you think Mr. West’s acts were out of character, or if he finds ways to affirm you, even without apologizing, you might not feel threatened. Ms. Swift said she believes in forgiveness for people “who have enriched your life and made it better.” But she doesn’t believe in forgiveness for everyone: “If something’s toxic and it’s only ever really been that, what are you going to do? Just move on.”
Some people think that moving on is forgiving. But Ms. Swift is right to insist that there’s a difference. To forgive, you must release your resentment for the right reasons . You must release your resentment because you see that you can repair your relationship.
What if you can’t? Ms. Swift advises that you don’t have to forgive and forget; instead, “you just become indifferent and then you move on.” This is sound advice. She is saying: Hold on to your resentment; just don’t let it hold on to you. Don’t let it consume you. Put it in perspective, and then … shake it off.
At least, that’s one way forward. There is another way, and again, Ms. Swift can light the path. In 2013, a radio host named David Mueller groped Ms. Swift as they posed for a photograph. She sued for battery, asking for a single dollar in damages, and she won .
What was the point? She hardly needed another dollar. But make no mistake, the verdict mattered.
Ms. Swift sued to make clear that her body was not public property, available to any man who wanted to touch it. In other words, she asked the court to reject the message Mr. Mueller’s groping sent. The verdict told Mr. Mueller — and every man listening — that no one had a right to her body but her. And because the court applied general principles of battery law, it sent a message about every woman’s backside: Hands off.
Litigation gets a bad rap. But courts give us a chance to call on our community to reject the messages that wrongdoing sends. A lawsuit can let us move forward, without forgiving or forgetting.
But doesn’t Christianity teach that people must forgive? Not exactly. My friend Len Niehoff, who’s a full-time lawyer and part-time pastor, recently gave a sermon on forgiveness, which invoked Luke 17:3. In it, Jesus says, “If your brother sins against you, rebuke him, and if he repents, forgive him.”
That’s the teaching of Taylor Swift too. Whatever you make of her music (and for the record, I’m a fan), she’s an astute philosopher of forgiveness.
Scott Hershovitz is a professor of law and a professor of philosophy at the University of Michigan.
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Know thyself − all too well: Why Taylor Swift’s songs are philosophy
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Taylor Swift isn’t just a billionaire songwriter and performer. She’s also a philosopher.
As a Swiftie and a philosopher , I’ve found that this claim surprises Swifties and philosophers alike. But once her fans learn a bit more about philosophy – and philosophers learn a bit more about Swift’s work – both groups can appreciate her songwriting in new ways.
Looking in the mirror
When one of the greatest philosophers, Socrates, famously said, “ The unexamined life is not worth living ,” he was arguing that people cannot even know whether they are living a meaningful life unless they subject their choices and their values to scrutiny.
Like other great writers, Swift’s songwriting consistently involves just the kind of introspective scrutiny about choices and values that Socrates had in mind. Several songs address the value of self-understanding, even when it’s difficult.
Amid a breakup, the narrator in “ Happiness ” sings, “Honey, when I’m above the trees I see this for what it is.” Yet she describes how it can be hard to maintain an objective perspective on a relationship while also navigating the end of it. “And in the disbelief I can’t face reinvention / I haven’t met the new me yet,” she sings. Her partner is looking for “the green light of forgiveness,” when she tells them that “You haven’t met the new me yet / And I think she’ll give you that.”
The Swift-like narrator in “ Anti-hero ” makes a similar point about the challenges of self-awareness. “I’ll stare directly at the sun, but never in the mirror,” she sings, referencing how it’s often easier to identify truths about the external world than to face facts about oneself, and that her tendency toward self-deception limits her ability to become wiser with age.
Everyone inherits a set of beliefs and assumptions from their parents, peers and culture, which can inhibit our ability to truly understand others and ourselves.
In Swift’s “ Daylight ,” she describes how she once viewed relationships as “black and white” or “burning red.” Letting go of those old, reductive narratives enabled her to see her relationships – and herself – more clearly. She’s emerged from what she describes as a “twenty-year dark night” to see the more complicated, liberating truth: daylight.
Argue toward truth
Socrates showed that the best way to scrutinize one’s choices and values is through sustained, sometimes argumentative, conversation with others. To a nonphilosopher, philosophy often looks like devil’s advocacy or trolling – arguing just for the sake of it. But to philosophers, disagreeableness is a virtue that helps counteract reflexive dogmatism and conformity.
Swift, too, is argumentative in her songwriting, often making a moral argument to an imagined listener – frequently, a romantic partner . In other lyrics, Swift rebuts unfair critics and record executives .
Recently, her lyrics have begun to address more public issues, like the promise and futility of politics. At first glance, “ Miss Americana & The Heartbreak Prince ,” released in 2019, is a coming-of-age song about teenage relationship drama. However, Swift is also describing her own political awakening and disillusionment when she writes, “My team is losing, battered and bruising.” Lyrics like, “American stories burning before me” and “You play stupid games, you win stupid prizes” further reinforce a parable about political despair.
At the same time, other songs develop arguments for the promise of advocating for political change. In “ Only The Young ” she addresses someone who sees that “The game was rigged,” reminding them “They aren’t gonna change this / We gotta do it ourselves … Only the young can run.”
Swift’s nonpolitical songwriting also has implications for long-standing ethical debates. In “Gorgias,” a dialogue written by Socrates’ student Plato , the philosopher asks whether it is better to suffer injustice than to commit it – a theme that appears in several Swift songs .
Socrates argued it is better to suffer injustice, because committing injustice is an affront to one’s own dignity and integrity. In her 2022 song “ Karma ,” Swift seemingly agrees: “Don’t you know that cash ain’t the only price?” of immorality, before she warns her listener that karma’s “coming back around.”
True − and false
For philosophers, every aspect of the human experience is fair game for further analysis. As the 20th century American philosopher Wilfrid Sellars wrote, the purpose of philosophy should be “to understand how things in the broadest possible sense of the term hang together in the broadest possible sense of the term.”
By holding people’s beliefs to logical standards of consistency and coherence, philosophical analysis reveals contradictions in an effort to discover what’s really true.
Swift’s songwriting addresses some of the trickiest paradoxes, such as whether there is even such a thing as a true, authentic self.
Tackling the question in “ Mirrorball ,” she seems to endorse the view that one’s sense of self is largely strategic, socially constructed to fit the situation. “I’m a mirrorball, I’ll show you every version of yourself,” she sings before stating, “I can change everything about me to fit in” and “I’ve never been a natural. All I do is try, try, try.”
Similarly, in “ Mastermind ,” Swift describes calculatedly trying to win someone’s affection when she sings, “I swear I’m only cryptic and Machiavellian ‘cause I care.” In both songs, Swift points out how authentic displays of vulnerability can also be a form of strategic speech, prompting the listener to wonder whether genuine authenticity is possible.
Another tricky paradox in philosophy involves the idea of supererogation , which refers to acts that are morally good but not morally required. This idea also allows that acts can be “suberogatory,” meaning that they are morally bad but nevertheless permissible.
Songs like “ Champagne Problems ” and “ Would’ve Could’ve Should’ve ” explore this paradoxical space, describing cases where someone made a morally criticizable choice that they were nevertheless entirely within their rights to make.
Relatedly, Swift is also interested in paradoxes of moral psychology. Songs like “ This Is Me Trying ,” “ Illicit Affairs ” and “ False God ” reflect on the philosophical concept of akrasia : cases where people seemingly know they shouldn’t do something but do it anyway.
A lot of the philosophical literature about akrasia asks whether it’s even possible: If someone believes their decision is wrong or bad for them, why would they do it? But through her lyrics, Swift sketches psychologically realistic vignettes that suggest genuine akrasia is at least possible and probably happening all the time – from sabotaging a loving relationship to pursuing one that “ we were crazy to think … could work .”
Philosophy uses the conventions of logic and poetry to help people see the world more clearly. A successful philosophical conversation will involve making rational appeals – logic – that are also emotionally resonant – poetry.
But academic philosophers cannot claim to be the only people who deploy logic and poetry to advance understanding of the human condition, the world around us and the nature of justice. Songwriters like Taylor Swift can be philosophers too.
- Taylor Swift
- Popular music
- Philosophers
- Song lyrics
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Taylor Swift’s Depiction in Genre, Culture, and Society Essay
Introduction, reference list.
Taylor Swift is one of today’s most well-known and influential people. As a singer-songwriter, fashion icon, and philanthropist, she has amassed millions of fans worldwide. This essay examines Taylor Swift’s depiction in the media and society and how her image has influenced how people see her. Taylor Swift is depicted in the media and everyday life as a personable, down-to-earth individual who connects with a diverse range of individuals (Aguirre, 2019). Her prominence bolsters this portrayal as a fashion icon and socially concerned advocate, which positions her as an inspiration to her fans.
Taylor Swift is typically regarded as a personable and genuine person who connects with many admirers, both young and elderly. She is well-known for her narrative songs, many of which are inspired by her own experiences and relationships (Jensen, 2019). Hence, she has earned a reputation as a musician who can connect and engage with her audience on a human level. For example, Taylor Swift’s image in the media includes her standing as a fashion star. Swift is well-known for her particular style, which combines old and new elements. She has worked with several fashion firms, including Louis Vuitton and Stella McCartney, and has appeared in several fashion magazines (BillboardStyle, 2022). This fashion icon portrayal has helped to cement her status as a likable personality who is not afraid to experiment with her appearance.
Taylor Swift’s advocacy and kindness are other examples of how she is regarded in society. Swift has been vocal about various social and political issues, including LGBTQ rights and education. She has also been involved in several charitable activities, such as attempts to alleviate hunger and assist disaster victims (Rice, 2020). This portrayal of her as a socially conscious and committed celebrity has contributed to her standing as an inspiration and role model for her fans.
In conclusion, in the media and society, Taylor Swift is portrayed as an approachable, genuine person who connects with various people. Her status as a fashion icon and socially conscious activist solidifies this portrayal and positions her as an inspiration to her followers. Taylor Swift has received recognition not only for her status as a socially conscious campaigner and fashion icon but also for her philanthropic activities and support of numerous non-profit organizations. Her dedication to using her position to improve the world has bolstered her reputation as a role model and an inspiration to her supporters.
Aguirre, A. (2019) ‘ Taylor Swift on sexism, scrutiny, and standing up for herself ‘, Vogue , Web.
BillboardStyle, B. (2022) ‘ Taylor Swift’s style evolution, from 2006 to now ‘, Billboard, Web.
Jensen, E. (2019) ‘ Dwayne Johnson, Taylor Swift, Gayle King, more cover time’s 100 most influential people issue ‘, USA Today: Time magazine. Gannett Satellite Information Network. Web.
Larocca, C. (2019) ‘ Taylor Swift is the artist of the Decade ‘ , Insider, Web.
Rice, N. (2020) ‘ Taylor Swift promises to ‘always advocate’ for rights of the LGBTQ community: I’m ‘grateful for this ‘, People, Web.
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IvyPanda. (2024, February 6). Taylor Swift’s Depiction in Genre, Culture, and Society. https://ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/
"Taylor Swift’s Depiction in Genre, Culture, and Society." IvyPanda , 6 Feb. 2024, ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/.
IvyPanda . (2024) 'Taylor Swift’s Depiction in Genre, Culture, and Society'. 6 February.
IvyPanda . 2024. "Taylor Swift’s Depiction in Genre, Culture, and Society." February 6, 2024. https://ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/.
1. IvyPanda . "Taylor Swift’s Depiction in Genre, Culture, and Society." February 6, 2024. https://ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/.
Bibliography
IvyPanda . "Taylor Swift’s Depiction in Genre, Culture, and Society." February 6, 2024. https://ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/.
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If I Was The Man, Then I’d Be The Man: An Essay Inspired by Taylor Swift
An analytical-but-personal essay inspired by Taylor Swift’s song “The Man” and navigating a seemingly male-dominated music industry.
I n 2019, one of the most successful female artists of the century, Taylor Swift, released her seventh studio album Lover . However, it was only Swift’s first record she owned the full rights to. While it is true that Swift is not the only major artist to not own control of her entire catalog of masters — unless she rerecords each album , — she was notably receiving little-to-no support from her male musical peers.
It was only the other current female artists in the industry using their voices and standing up for her, Halsey and Lily Allen being just a few of the women rallying for Swift. Yet, when looking around at the discourse on the internet, predominantly on Twitter between white cisgender men, it’s these three chart-topping female artists (of many) that endure a slew of hatred online.
You might be asking, well, what do they all have in common? The answer lies in tracks with similar themes that present themselves, with descriptions of toxicity still present in all aspects of the music industry today. Whether it’s occurring or noticeable to your eyes, doesn’t mean it’s not happening. Allen’s “URL Badman” was released in 2014, yet still rings true. Allen, while she does namecheck Pitchfork, speaks about a concept that expands to the music journalism field as a whole.
As Guardian journalist Laura Snapes recently shared, “The music industry is so profoundly toxic and resistant to change, it feels unethical to participate in it at all sometimes.” When even independent record labels are engaging in a toxic Twitter discourse through now-deleted tweets, that’s when we should all be aware that something seriously needs to change.
Speaking of Halsey, “929,” from her new album, includes the line, “ They said, ‘Don’t meet your heroes. They’re all fucking weirdos.’ God knows that they were right ,” which could arguably apply to a slew of bands in the #MeToo era being exposed for misconduct — some alleged, some confirmed. Nevertheless, accusations should be taken seriously, as the saying goes, “If a tree falls in the forest and no one is around to hear it, does it make a sound?” It still fell, even if you weren’t listening or don’t believe that it did.
As for Swift, she has been the recent example and arguably, the bluntest, at portraying this disparity in the music industry on her latest Lover single “The Man.”
Swift writes from the perspective of how her life would be incredibly different if she were a man in music.
I would be complex I would be cool They’d say I played the field before I found someone to commit to And that would be okay For me to do Every conquest I had made Would make me more of a boss to you I’d be a fearless leader I’d be an alpha type When everyone believes ya What’s that like?
Watch: “the man” – taylor swift.
She faces these double standards head-on in her self-directed music video for “The Man,” donning prosthetics to become the man. Swift, as an embodiment of male privilege in the video, manspreads on the subway, surrounds themselves with models on a yacht, and is literally high-fived after leaving a one night stand. The man, in his eyes, can do no wrong.
After all, she’s experienced these double standards firsthand. If you analyzed charting male songs about relationships to the backlash they received about writing them, it would be near to non-existent. However, if Swift, a woman in her 20s at the time of songs like “Dear John” and “Back To December,” dates a typical amount of men and writes songs, it becomes punchlines for award shows on national television.
They’d say I hustled, put in the work, They wouldn’t shake their heads and question how much of this I deserve What I was wearing, if I was rude, Could all be separated from my good ideas and power moves
Now slowly approaching my twentieth birthday, I have spent years working in various aspects of this industry since I was fifteen. Yes, it is true that there are a few good dudes out there that are focused on bettering the collective industry as a whole, compared to just the individual self. Notably, Ross Martin from the defunct UQ Music , Ariel Bitran, and Atwood Magazine ’s own Mitch Mosk.
However, there are other male peers I’ve encountered along the way, that as I’ve become more self-aware, I’ve become disillusioned by their inability to use their platforms to create change of any magnitude, especially if they have a large influence on social media. No matter what area of the music industry you work in, there is always room to grow and call for change, notably white cis males standing up and supporting those who are different than themselves.
Just last month, 98 KCQ, a Michigan-based country radio station, tweeted, “ We cannot play two females back to back. Not even Lady Antebellum or Little Big Town against another female .” This brought a larger conversation about women in the country music industry to the forefront, with heavy-hitters like Kacey Musgraves and Kelsea Ballerini joining in. This is best described in a brilliant and well-written article by Chris Willman about the situation. With a toxicity towards women in this musical subsection that’s been present long before the Dixie Chicks, it’s no wonder Swift made the switch to pop radio in an attempt to gain the respect she deserves.
Even with country radio being a smaller part of a current and relevant conversation about a woman’s place in the music industry, the men I knew who worked and performed in this specific subsection never said a word about it — neither for or against. Nor did they say a word in November of last year, when Jennifer Nettles arrived at the Country Music Awards with a cape that read, “ Play our f—-in records, please and thank you .”
Instead, they used their social platform and place in the industry to heavily promote their own record (a collaborative duet between two men), and I found myself increasingly disappointed and losing respect in them.
As Swift notes in her newly premiered Netflix documentary “Miss Americana,” she constantly was told regarding her place as, “A nice girl doesn’t force their opinions on people. A nice girl smiles and says thank you.” Yet, in an industry that as Swift describes as one that puts famous, yet successful, ladies in an “elephant graveyard by the time they’re 35,” when, in a career as a woman in music, do we cross the threshold of being “nice” and become someone worthy of respect?
I’ve urged other male writers I know to speak up about things that are happening, specifically the Reading and Leeds lineup debacle as one example. His response was one of, “Well, I support some women,” followed by a few paragraphs of mansplaining about money and indie publications, that I refused to open the can of worms into responding to before I could clearly articulate my thoughts.
If you are praising underground independent female artists, but tearing down chart-topping, mainstream ones, such as Swift, Halsey, and Allen from previous examples, in the same breath, that is not a pure and complete respect of women in the industry who went through consistent trials and tribulations to get to that success level. They tell us, “Respect your elders,” and in some exceptions, I do. Yet, at what point as a woman in music, do your elders start to respect you?
A few months ago, I attended a show for a New York-based band that I had been interested in working with and learning the business aspect of things. The members consisted of all men in their early twenties, older than myself, but not by much. Other attendees at the concert consisted of their manager and various attendees at the Bushwick venue that night. However, once their manager met a male music journalist from Kerrang! , he didn’t speak to me again.
The second red flag and reduction I felt from the group that helped me decide to officially cut ties, came from their lead singer, who texted me a few days after their show, inquiring if I could write a “pretty little article” for them. I suppose this is that article he wanted — not little, but hopefully he finds it pretty. As for the Kerrang! writer at this gig, I gave him my email when he asked. Needless to say, it’s been months of silence, so the disheartening feeling has subsided.
When it comes to the subsection of music journalism within the larger scheme of the industry, I am aware of the certain privileges I have operating the field as a white woman, however, it has still been a process filled with reductive experiences from men. While working as a booking intern at a New York concert venue, a drunk performer in a spin-off group, formed by a member of an iconic band, unaware of my internship status, inappropriately attempted to invite a clearly underage (X’s on each hand) girl to an “afterparty,” only to have his advances blatantly rejected.
If I was out flashing my dollars, I’d be a bitch, not a baller. They’d paint me out to be bad, So it’s okay that I’m mad
Swift’s lyricism within “the man” feels not only like a long time coming in terms of her personal experiences, but also a breath of fresh air..
It’s a spot-on description of how many women in this music industry — or any male-dominated industry, for that matter, feel. It’s a social commentary about double standards and working-hard-but-getting-nowhere, that makes it all the better option to become Lover ’s next single. It’s a song and a music video release that dig into something deeper than themselves. Not only does the song have an already universal relatability because of its themes, but as a single, “The Man” will hopefully, reach and inspire the young women in the next generation in the same way. It will also, hopefully, inspire at least some men in the music industry to make some serious changes within themselves. In the meantime, the rest of us ladies will keep on running as fast as we can…
Connect to Taylor Swift on Facebook , Twitter , Instagram
Discover new music on atwood magazine, roundtable discussion: a review of taylor swift’s ‘lover’, welcome to the new era of taylor swift, taylor swift’s “lover” is dramatic and dazzlingly romantic, “ the man “, a music video by taylor swift, an album by taylor swift.
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Taylor Swift’s Roots: Born and Raised in the Heart of Pennsylvania
This essay about Taylor Swift focuses on her early life and the profound influence of her upbringing in Pennsylvania. Born in Reading and raised in Wyomissing, Swift’s small-town background is portrayed as foundational to her musical style and lyrical themes. The essay details how the Americana landscapes, the community spirit of Wyomissing, and her activities during school years nurtured her creativity and storytelling ability. These elements from her childhood and teenage years are credited with shaping her into the relatable and internationally acclaimed artist she is today. The essay asserts that Swift’s Pennsylvania roots are integral to understanding her as an artist, blending small-town authenticity with universal appeal.
How it works
Taylor Swift, a name synonymous with genre-defining music and storytelling prowess, started her journey in the quiet corners of Pennsylvania. This post delves into the formative years of an artist whose influence now spans the globe, beginning in the place she called home during her early years—Reading, Pennsylvania.
Born on December 13, 1989, in the historic town of Reading, Swift’s early environment was as quintessentially Americana as it gets. The landscapes of Pennsylvania, with its sprawling farms and close-knit communities, played a significant role in shaping her musical style and lyrical themes.
The area is known for its rich history and traditional values, elements that can often be traced in Swift’s music, especially in her earlier country tracks.
Taylor Swift’s family moved to a Christmas tree farm in Wyomissing, PA, when she was still young. Growing up on a farm might seem quaint to some, but it was here that Swift’s imagination and creativity were nurtured. Wyomissing served as a backdrop for her childhood adventures and later, her teenage reflections, which she beautifully narrates in her songs. It’s not just the physical environment of Wyomissing that influenced her, but also the community spirit and the down-to-earth values she was surrounded by. These aspects of her upbringing are evident in the authenticity and emotional depth of her lyrics.
Swift’s education in Wyomissing Area Junior/Senior High School also played a crucial part in her development as an artist. It was during these formative school years that she started to hone her craft. Swift was involved in a variety of extracurricular activities, from drama club to choir, and it was during these years that her passion for storytelling truly blossomed. Her ability to connect with her audience through relatable themes of love, friendship, and self-discovery can be traced back to her introspective nature during her school years.
The small-town vibe of Wyomissing, where everyone knows your name and community events are a staple, provided Taylor with a stable and supportive environment. This tight-knit community atmosphere is often mirrored in her loyal and close connection with her fans. Moreover, the contrast between her small-town upbringing and the glamorous world of international pop music adds a layer of relatability that fans find endearing. Swift’s lyrics often weave tales that bring out the universal emotions hidden in personal anecdotes, making her music resonate with a broad audience.
Taylor Swift’s move to Nashville at the age of 14 marked the end of her upbringing in Pennsylvania but the influence of her early years continued to echo through her music. The values instilled in her, the landscapes that inspired her, and the people who supported her, all contributed to the artist she is today. As Swift herself has said, her songs are a reflection of her feelings and experiences—a musical journal of her life.
In conclusion, Taylor Swift’s Pennsylvania roots are more than just a geographical fact; they are integral to understanding the artist she has become. From the idyllic settings of her childhood to the values she carries in her music and public life, her early years in Reading and Wyomissing have left an indelible mark on her music and her persona. As she continues to evolve as an artist, the blend of small-town authenticity with universal appeal remains a testament to her background, making Taylor Swift not only a global icon but a hometown hero as well.
Her story is a reminder that no matter how far one goes, the foundations laid in the early years continue to influence and guide. Taylor Swift, with her roots firmly planted in the Pennsylvanian soil, exemplifies this beautifully, turning her heritage into a cornerstone of her global appeal.
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PapersOwl.com. (2024). Taylor Swift's Roots: Born and Raised in the Heart of Pennsylvania . [Online]. Available at: https://papersowl.com/examples/taylor-swifts-roots-born-and-raised-in-the-heart-of-pennsylvania/ [Accessed: 15 May. 2024]
"Taylor Swift's Roots: Born and Raised in the Heart of Pennsylvania." PapersOwl.com, May 12, 2024. Accessed May 15, 2024. https://papersowl.com/examples/taylor-swifts-roots-born-and-raised-in-the-heart-of-pennsylvania/
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So what exactly makes taylor swift so great.
Taylor Swift performs during the “Eras” tour.
AP Photo/George Walker IV
Christina Pazzanese
Harvard Staff Writer
Experts weigh in on her fanbase loyalty, skills as songwriter, businesswoman as her albums, tours break financial, popularity records
Whether you’re a fan of Taylor Swift or not, it’s hard to deny the cultural and financial juggernaut the pop superstar has become this year. Her album “Midnights,” released in late 2022, was the year’s top-seller at 1.8 million copies, twice that of the second-biggest by Harry Styles. Her latest, “Speak Now (Taylor’s Version),” debuted in July at No. 1, giving Swift her 12th in the top spot, surpassing Barbra Streisand for the most No. 1 albums by a woman artist.
Swift’s 131-date “Eras” world tour, currently packing stadiums across the U.S., is on track to be the highest-grossing concert tour of all time, at $1.4 billion, when it ends next year. Analysts estimate the tour will also have a total economic impact from tour-related spending of $5 billion on host cities. Even the Federal Reserve noted the effect her tour is having on regional economies.
To better understand the Swift phenomenon, the Gazette asked some Harvard and Berklee College of Music faculty to assess her artistry, fan base, the tour’s economic impact, and her place in the industry. Interviews have been edited for clarity and length.
‘Very few people have her songwriting talent’ Stephanie Burt, poet and Donald P. and Katherine B. Loker Professor of English
Gazette: How good is Swift as a songwriter?
Burt: She has a terrific ear in terms of how words fit together. She has a sense both of writing songs that convey a feeling that can make you imagine this is the songwriter’s own feelings, like in “We Are Never Ever Getting Back Together,” and a way of telling stories and creating characters. She can write songs that take place at one moment, and she can write songs where the successive verses give you a series of events, like in “Betty” or “Fifteen.”
She has a lot of different gifts as a songwriter, both at the macro level, how the song tells a story or presents an attitude, and at the micro level, how the vowels and consonants fit together, and she’s able to exercise that range, along with quite a lot of melodic gifts, and in a way that does not make her seem highbrow or alienate potential audience members. I would not be surprised to discover that her body of songwriting altogether had a larger number of words than any body of comparable hit songs by a comparable songwriter, except for someone like Bob Dylan.
One of the things that’s really remarkable for me about her is that harmonically, she’s not usually that interesting. It’s pretty normal pop chord progressions and pretty standard varieties of pop arrangement. Her great genius and her innovations and her brilliance as a songwriter is melodic and verbal. And, of course, she’s also very good at singing, which is not to be sneezed at. But she’s able to do that within the fairly tight constraints of existing, easily recognizable chord progressions and rhythmic setups.
She’s able to create verbal hooks, “I’m only 17. I don’t know anything, but I know I miss you.” They stick in your mind, and you spin stories out from them. That’s just being a good writer. She’s a celebrity with a complicated personal life that has been lived in the public eye for quite some time, and so, people speculate about the meanings of her songs, both because they are complex and meaningful works of art, and because some of them do speak to public facts about her life outside the songs.
“Fifteen,” which is a terrific song, gains resonance if you know that it’s about a real person and they’re still friends. But no one would care if it weren’t a brilliantly constructed song. Take something from “Speak Now”: It’s nice to know that “Dear John” is about John Mayer, who really had no business dating a 19-year-old, but it’s also a song about a pattern [of behavior], and it works in itself.
There’s all kinds of celebrity gossip about pop stars who maybe have her level of vocal talent and performing talent but happen not to have her level of songwriting talent. Very few people have her songwriting talent.
Gazette: Which songs would you count among your very favorites?
Burt: There’s so many good songs. I find the ones that speak to me the most are the ones whose topics are closest to my own life. I’m a queer lady. She writes wonderful songs about falling in love or falling out of love with various guys. Those are not, by and large, my favorites even though they’re some of her biggest hits. “Fifteen,” “Betty,” “seven,” “It’s Nice to Have a Friend.”
I actually really like “The Last Great American Dynasty.” The two indie folk albums [“Folklore” and “Evermore”], almost everything on them is amazing. It’s so hard to sustain that level of success artistically while changing that much. Few can do it. “Nothing New” is amazing. “Anti-Hero,” which is the big hit from “Midnights,” is an absolutely fantastic and extraordinarily self-conscious song about being the kind of celebrity that she’s become.
4 albums in Billboard top 10
Taylor Swift is the only living artist to have four albums in the Billboard top 10 at the same time since Herb Alpert in 1966. Following his death in 2016, Prince had five albums in the top 10. (Swift is the only woman with four albums in the top 10 at the same time since the Billboard 200 was combined from its previously separate mono and stereo album charts into one all-encompassing list in August of 1963.)
Source: Billboard
‘Strong social and emotional bond that people feel with her’ Alexandra Gold , clinical fellow in psychology at MGH and Harvard Medical School
Gazette: Swift appears to have a devoted fan base who feel intensely connected to her and her music. Why is that?
GOLD: There is a strong social and emotional bond that people feel with her. And in general, when people become super fans or part of the fandom, it’s often because there’s something about the object of that fandom, the public figure or celebrity, that does connect back to their identity in some way. That’s often the link.
In the case of Taylor, there’s a couple of things going on. The first piece is relatability. Even though there’s aspects of her that maybe don’t feel very relatable — she’s a celebrity and lives a very different life from her fans — what she is singing about — the lyrical content as well as the emotions that underlie the lyrical content — are very relatable to a lot of people. There’s something that is very common to the human experience.
Another piece is a lot of Millennials, as well as Gen Z now, are fans of Taylor Swift. With the Millennials, a lot of people grew up alongside her. When they were having some of these first experiences, maybe with relationships or entering adulthood, she was doing that at the same time and singing about that. Her life story mapped onto their life story, in some way.
For Gen Z, during the pandemic, there was a lot of TikTok content about her, she was putting out many albums, so a new generation discovered her, and they’re also having similar experiences. Overall, she’s been really important for identity development and growth for a lot of people.
@taylorswift That’s my whole world 💕 #tstheerastour #swifttok ♬ So it goes x Miss Americana – 🪩
A third piece is aspirational. She is a role model. She is a great example of someone who sticks to their values and shows their fan base that they can reach their goals, whatever those might be. For instance, she’s claiming ownership of her work and has been successful in putting out re-recordings [of her older albums] and doing that despite barriers or obstacles that might be in the way. Seeing someone do something like that could be inspiring for a lot of young people.
And then, lastly, the fan community is a big part of this. People often form their identity around relationships not just with a celebrity, but also with other fans. The fan community that Taylor has around her, people meet their friends through it and people become part of something bigger than themselves. That is really important for them as they grow up and as they go through life.
Gazette: Swift has had to tell some fans to stop harassing people she once dated. Where’s the line between fan and fanatic?
GOLD: I think fandoms are, overall, very positive. That is an important message, that being a fan is a very positive thing. It’s important to be aware of when it’s interfering in other aspects of one’s life — not engaging in other areas that might be important, other relationships, whether time spent online is causing anxiety or stress or negative feelings for people. Trying to defend Taylor against other celebrities, for instance, that’s when it maybe goes into a category of “OK, let’s take a step back and think about what we can do to bring this back to a place where it feels more positive.” Recognize while this is a relationship that’s important to you, it’s not a friendship. And so, if someone starts to feel like there’s a two-way relationship when there’s no evidence that’s happening, that’s also something to be aware of.
‘The kinds of gains you see in an event like a Super Bowl’ Matthew Andrews , Edward S. Mason Senior Lecturer in International Development at Harvard Kennedy School
GAZETTE: You and some colleagues examined the effects on cities and regions hosting mega events. The total economic impact to host cities of Swift concerts on her current tour is expected to hit $5 billion. Does that sound plausible?
ANDREWS: Those numbers, I think, are completely accurate. I would be in agreement with those numbers because those are the kinds of gains you see in an event like a Super Bowl. The thing that is so amazing about the Taylor Swift concert, in particular, is that it goes from city to city, and you see the same kind of impact in city after city. You do see it with some other musicians, as well. But this is something that’s on a scale and a consistency that we haven’t really seen before.
Swift’s 131-date “Eras” world tour, currently packing stadiums across the U.S., is on track to be the highest-grossing concert tour of all time. Pictured is a June show at Acrisure Stadium in Pittsburgh.
Benjamin B. Braun/Pittsburgh Post-Gazette via AP
Gazette: Which industries typically benefit when a major concert tour or sporting event takes place?
ANDREWS: The main beneficiaries in the private sector are people involved in tourism and the support network around the entertainment industry, so it is going to be hotels, restaurants, tourism agencies. It’s going to be anything to do with transportation hubs. They are going to be the primary beneficiaries.
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The costs to the public sector can be quite significant. And the cost for people in these areas who are not directly benefiting can be quite significant in terms of congestion, use of roads, just wear and tear, in terms of policing. This is a really important one — the cost of public order. Unless the government really thinks this through and charges for this as part of its permitting process, the government can end up on the short end after these kinds of events.
The other thing about these events that is increasingly attracting attention, from a public policy perspective, are climate change concerns. You have many, many people transporting themselves to a small area and a lot [are] coming through the air and through vehicles. This is something we worry about a lot more with prolonged mega events like a World Cup than with something like a Taylor Swift concert, but you do need to think about what those costs are.
‘Standing up for … rights and doing good business’ Ralph Jaccodine , assistant professor of music business/management, Berklee College of Music
GAZETTE: What are the factors that make Swift a successful performer from an industry perspective?
Jaccodine: First of all, if you’re going to talk about Taylor Swift, you’ve got to talk about the power of great songs. It all starts with the power of great songs. That’s why we’re still listening to The Beatles, and Bob Dylan, and Frank Sinatra. And like Bowie and Gaga and Dylan, she’s not afraid to stretch. She’s not afraid to bring her audience for a ride. We’ve seen her grow up in real life, from a young girl to a woman with power, and she’s owning it.
Number two, and this is really important: You’ve got to be great live. My students come to me and say, “We have 53 likes on this video, and we’re not selling tickets.” They don’t understand the power of going in front of people and blowing them away. In my business, as a manager, 80 percent of the income comes from live performances, so I want them to change lives live. I’m a massive Springsteen fan. I’m going to be seeing Springsteen at Gillette. I’ve seen him 12 times. I don’t need to see Bruce anymore. I’m an old guy, but I’m still going to rock concerts for artists to change my life. Taylor Swift’s songs, combined with how great she is live, is a powerful combination.
She’s always had a good team around her, smart people around her, good publicists, and good management. When you’re that good, you have the best in the industry. Her team is great: They build anticipation; they create a buzz about things. She’s imprinted her fans in such a way that they want everything about her. The day before a big stadium show, the T-shirt stand is open and there’s thousands of people in line. They hang on to every word of her social media posting, look at all the pictures. They share it; they talk about it; they have groups. That’s really hard to pull off.
GAZETTE: Has her advocacy for better artist compensation from streaming platforms and record labels and her fight to reclaim control of her back catalog made a difference?
Jaccodine: Absolutely. First, in the awareness of these topics. The general music fan isn’t aware of streaming revenues or master rights or re-recording rights. They don’t know or really care, but she shines a light on all these things. She shines a light on management contracts and what labels are or what labels aren’t. The whole master recordings topic has been spotlighted by Taylor. She had the budget and the resources and the talent to re-record things. The whole exercise was done in public; the whole exercise was reported on. So now, students are studying that, and they’re questioning that for the first time.
I do know she’s empowered and imprinted serious numbers of people that are fans of music or musicians themselves because of her influence. I look at Rihanna; I look at Beyoncé; I look at Taylor Swift. These are the biggest artists on the planet. They’re all women that are empowering girls and standing up for their rights and doing good business. I love it; I love it.
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Home / Essay Samples / Music / Musicians / Taylor Swift
Taylor Swift Essay Examples
Reflection on the song soon you’ll get better by taylor swift.
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Taylor Swift: a Journey Through Music and Influence
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Analyzing the Empowering Message of "The Man" by Taylor Swift
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Role and Impact of Social Media in PR: Taylor Swift
The use of social media is one of the best strategies to reach out to potential clients in the music industry. The case presented shows how Taylor Swift uses social media to remain relevant and competitive in the industry. She uses the media differently from...
Comparison of "The Scientist" by Coldplay and "Bad Blood" by Taylor Swift
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Taylor Swift Through the Lens of Semiotics and Marxism
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Exploring the Life Story: Taylor Swift and Her Rise to Fame
Stars don't come bigger than Taylor Swift who has since come a long way from her days as a little girl who had moved from her birthplace of Reading, Pennsylvania to Nashville, Tennessee to better her chances at succeeding at a musical career. That was...
Taylor Swift: Influencing Her Audience
Influencers today do not have a clue about what they convey to their audience, some do not realize that their immature messages can then affect adolescent teens. Taylor Swift is best known for her successful journey as a country/pop singer. Her powerful lyrics, messages, and...
The Peculiarities of Taylor Swift's 'Bad Blood'
‘Bad Blood’ is a music video produced by Taylor Swift. Taylor Swift is a multi-genre artist who started in country music and moved into mainstream pop. The main story line in the video is two teams preparing to go to fight. Throughout her music video...
The Similarities of the Four Seasons by Antonio Vivaldi and Shake It Off by Taylor Swift
The composition, “The Four Seasons,” by Antonio Vivaldi is a well-known composition in the 1700s. Today, the pop song, “Shake it off,” by Taylor Swift is a well-known song in the current generation. These two opposing styles of music conflict in this current time period...
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About Taylor Swift
Born December 13, 1989 (age 32), West Reading, Pennsylvania, U.S.
American singer-songwriter, she has been also referred to as one of the greatest songwriters of all time and the best of her generation by various publications and organizations.
Pop, country, folk, rock, alternative.
11 Grammy Awards, an Emmy Award, 34 American Music Awards, 29 Billboard Music Awards and 58 Guinness World Records.
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