66 1989 (Taylor’s Version) & Swiftie Consumerism
COMM 3P18 Final Paper
Caroline Candeloro
Never in my Wildest Dreams did I think Taylor Swift would be as big as she is today. As an active member of the Swiftie community for more than seven years now, I have never felt more connected and proud to express my love for Taylor Swift’s music and her accomplishments. She will Never Go Out of Style, especially as her passion for songwriting grows and she keeps releasing new music… or re-releasing old music.
Taylor Swift has been releasing music for 17 years now. Therefore, she has a good idea of how the industry works. With her debut album released in 2006, she continues to build an empire and has unequivocally become one of the most influential artists in history. Call It What You Want, but Swift’s success illustrates hard work and perseverance, even when rocky. Still, the power of her dedicated fanbase, the Swifties, has inherited her extreme global status. The Swifties bear as much power as Taylor Swift at this point.
I did not choose to write a paper on my evident End Game love for Taylor Swift just because I want to talk about her (which is ironic considering I keep using song puns), nor am I trying to start any Bad Blood with Swift and be critical of her career. Still, I am fascinated with Swift’s undeniable growth in the past couple of years, especially in 2023 due to her tremendous history-making tour, The Eras Tour (a concert I had to put blood, sweat, and tears into getting tickets for). However, with Swift’s superb success this past year, I wanted to talk about one of the biggest global fandoms right now as a compeer, Swiftie. Deconstructing a fanbase from someone who knows how the fanbase works might give a different insight that an outsider might never disclose.
However, besides the Eras Tour, another unique and unexpected element has brought the spotlight onto Swift: her decision to re-record and re-release her first six albums. This re-recording process for Swift has also garnered colossal success, especially her most recent re-release of her iconic and career-breaking album, 1989 (Taylor’s Version), the original album released in 2014. This album re-release has been Swift’s most successful re-release thus far, with this album breaking records and maintaining the Billboard charts. Like all other re-releasing of Swift’s albums, there is an extensive marketing plan consisting of social media posts and merchandise that come before and after the official release of the re-recorded album, which, in this case, the official re-release date was October 27, 2023. Like any other artist releasing a new album, Swift promotes her version of the re-recorded albums like all her other albums. A typical pattern for Swift’s re-release announcements has been noted for all four re-recorded albums (Fearless, RED, Speak Now and now 1989), and that usually starts with Swift dropping hints or ‘easter eggs’ in other projects or social media posts, leading her fans to speculate to a new re-release. The Swifties will start to build theories and guess when the ‘new’ album will be. Next, Swift will usually make a surprise announcement on social media, or in the case of her last two re-recorded album announcements, she reveals them on her tour (the announcement date for re-recorded 1989 was August 27, 2023). Next, everything shifts in Taylor Swift’s online presence and even her real-life presence. For example, her wardrobe matches the new era she is entering with the re-release. With the Speak Now re-release, Taylor Swift’s official website turned purple, her Instagram turned purple, she changed all her profile photos on all her platforms matching the new album cover, and new merchandise was available to purchase with a ‘Speak Now’ theme until the official re-release day of the re-recorded album. Until she announces another re-recorded album or a brand new album, Swift’s presence reflects the era in which she promotes her new music.
Therefore, I will analyze the 1989 (Taylor’s Version) album re-release, focusing on revealing the factors that impact the consumer behaviour of the Swifties for this ‘new’ album. Drawing on course themes on the audience commodity and consumer fandom, my goal for this study is to reveal why Taylor Swift fans resemble such capitalist behaviours for each new re-release by exploring four different Reddit pages, all created by Swifties after the official announcement of the album that all revolve around discourses on 1989 (Taylor’s Version). As a Swiftie, I have noticed a trend with each re-recorded album Swift releases. She treats these ‘new’ albums as new music by promoting special edition vinyls that are only sold in certain stores, selling cassettes and CDs, selling specific and unique merchandise for each album on her website and releasing different versions of the re-recorded album on platforms like Spotify or in stores adding small special features to them. Now, observing Swift’s fourth re-recording release, I have questioned Swift’s true motivations for these re-recordings. Is it because she wants to own her music, or is she taking advantage of her devoted fans, knowing they will purchase anything with her name? These questions have influenced my decision to explore a fandom I identify with and try to understand my own fandom’s behaviour about the most recent re-release album.
Nonetheless, I am not going to assume that the reader knows every single detail about Taylor Swift and understands why this whole re-recording process is even taking place; therefore, before I dive into the fan behaviour of the Swifties and their synergy with the re-recordings, I will like to give a comprehensive background dive into the whole re-recording process and highlight what I think are essential aspects to Swift’s career that would help the reader understand the Swiftie fandom better. So…. Are You Ready for it?
The Significance of “(Taylor’s Version)”
The whole re-recording process originated with Taylor Swift wanting control over her music. In 2019, Scooter Braun purchased the rights to the first six albums of Swift’s music without her knowing. Swift publicly voiced her concerns and was upset over losing the opportunity to buy her music. She stressed how Scooter Braun had bullied her for years and how angry she was now that he owned her music. At the time, the Swifties came in support of Swift, but not everyone loved the idea of Swift throwing Scooter Braun’s name in the media and bashing him for a deal he made. Many celebrities and ‘anti-fans’ of Swift argued that she was ‘victimizing’ herself and was acting like a ‘snake.’ Many thought Swift was dramatic and jumped onto the bandwagon of hating Taylor Swift. This whole affliction kickstarted the re-recording process because Swift wanted to own her music, so to stand up for what she believes in, Taylor Swift announced to the world that she would re-record her first six albums. So far, Swift has re-released four of the six albums with “Taylor’s Version” in parentheses next to each album and song title. As mentioned above, each new album re-release comes with a well-thought-out marketing plan, but the ‘new’ albums also hold a new feature: the ‘from the vault tracks.’ These tracks are songs that Swift wrote to be on the original album but ultimately chose to scrape them; therefore, Swift adds these 4-5 ‘from the vault tracks’ to the newly re-recorded album versions to add something new to the original record. The ‘from the vault tracks’ have become very popular within the Swiftie fandom and are something the Swifties look forward to with every re-recorded album. However, there has been a noticeable change in some of the discourse surrounding the latest re-release of 1989 (Taylor’s Version) compared to the others.
What does the term ‘Era’ mean to the fandom?
For your average non-swiftie, the term’ era’ might just mean a period of time, but for a Taylor Swift fan, the term’ era’ means a kick-ass album with themes, imagery, sparkles, a consecutive storyline, and essentially a whole new personality. Each Taylor Swift album is shaped around an ‘era.’ For example, 1989 is shaped around Swift’s choice to make the official shift from country to pop music. Initially created in 2014, the album was centred around being a young girl, having fun with friends, and living in New York City. Baby blue and white represented the colours of this era, and this era is known for some of Swift’s biggest songs and for being monumental to Swift’s career. Another era is Swift’s reputation era. Reputation was released in 2017; this album is dark and the opposite of 1989. There is a lot of snake and newspaper imagery, and Swift often incorporates themes of revenge and karma into this album. Black and White are the colours of this album, and every Swiftie knows that this album explores a darker side to Swift’s music and personal life.
The concept of the ‘era’ is a massive deal to the fandom because it is linked to the Swifties’ self-identification in the fandom. It is an unwritten rule that all Swifties have a favourite era that they relate and identify with; hence, when Swift announces a new re-release of one of her first six albums, it becomes a big deal for the Swifties that identify with that era due to the feeling of having a second chance to relive the original album era. In the case of the re-release of 1989 (Taylor’s Version), Swifties who love this era are fueling the most media content about it and producing the most influential labour surrounding the album re-release.
The Embodiment of The Audience Commodity in the Swifties
With all of Swift’s stardom, it is palpable that her fame is linked to her devoted fans, but her business standpoint has also brought her immense success. Théberge notes that “Taylor Swift is the music industry: in her rise to fame, she embodies, in various ways, the dynamics of the music industry – its opportunities, contradictions, strategies and negotiations – at this particular moment in history. As such, the term ‘celebrity’ describes who she is and how she operates within the music business” (Théberge, 2021, p. 43). Swift, without question, takes a business approach in the industry, ultimately resulting in the Swifties being the consumers. Arroyo notes in her study on the economic impact of women in the entertainment industry that it “was not just musical capabilities that propelled Taylor to such heights; she also demonstrated remarkable business acumen by strategically re-recording early works to regain control over them – thus bolstering artistic integrity and financial stability” (Arroyo, 2023, p. 1396).
The audience commodity is a term introduced by Dallas Smythe, who focused on Western Marxism’s concern with ideology (Dolber, 2016, p. 748). Dolber notes that Smythe believed “such a focus on ideology elided the industry’s productive role in the economy, and that the ‘audience commodity’ is a non-durable producers’ good which is bought and used in marketing the advertiser’s product. The audience then performs work for the advertiser by creating demand for advertisement goods” (Dolber, 2016, p. 748). Swifties resemble the audience commodity with their undisputed decision to purchase everything regarding the new 1989 album to show their support for Taylor Swift. Swifties, especially those who favour the 1989 era, create the demand for Swift’s products, which, in this case, mirrors the ‘affective labour’ or ‘brand advocate’ of the Swifties unintentionally effectuate free advertising whenever Swift announces a new project.
The 1989 re-release announcement fabricated a lot of discourse online by all Swifties. When Swift announced the album on August 10, 2023, platforms such as X, TikTok, and Instagram all adhered to diverse forms of fan participation. There was also discourse surrounding the announcement on Reddit, which was the platform I decided to explore regarding the engagement with this particular re-release. One Reddit page had many threads about different aspects revolving around the re-recorded album. Swifties were contributing their thoughts and excitement to the recent announcement. Here are some examples:
“Truly cannot wait for this (tv). 1989 isn’t one of my favorite albums, but it is so, so special to me because of the time I associate with it. I met my wife right after it came out and we listened to it so much that it feels like the soundtrack to our falling-in-love story. I also saw Taylor live for the first time during 1989” [ofnabzhsuwna]. (2023, October 7). 1989 (Taylor’s Version) [Online forum post].
This fan is expressing their evident excitement for the new version of 1989, expressing their association with the album in their personal life. This post exemplifies how Swift has left ‘lovemarks’ with her fans, a concept I will further develop later.
“I will be in the US when the album drops, what can I expect from stores? Will I be able to buy a CD or Vinyl or merch from Target/and such?” [tranzozo]. (2023, September 7). 1989 (Taylor’s Version) [Online forum post].
“Is anyone still in shock?? I have to keep reminding myself I didn’t dream the announcement, it’s real and it’s coming soon!!!” [Vivid_Singer_7617]. (2023, August 14). 1989 (Taylor’s Version) [Online forum post].
“Guys I’m dying, this TV can’t come soon enough. I keep thinking it’s so close, and I look at my calendar and it’s still so far 🥲🥲” [Joro1221]. (2023, October 9). 1989 (Taylor’s Version) [Online forum post].
When Swift announced the new album in August, Swifties quickly got on board, sharing their eagerness and excitement for this album and demonstrating their desire to purchase the vinyl and merchandise available with the new album, which can be seen in the few Reddit post examples above. Swift’s influence and brand rely on the love of her fans, which implies that Swift has effectively left a ‘lovemark.’ “A lovemark can be an object, a product, a service, an experience, a person, a company, even a country – just about anything that can generate emotional heat” (Pavel, 2013, p. 482). Kevin Robert invented the theoretical concept of the ‘lovemark’ and explains that “super-evolved brands deeply interact with consumers on an emotional level, inspire love and influence their choices” (Pavel, 2013, p. 484). The power Taylor Swift’s brand holds over the Swifties becomes even more evident during the release of a new album, and from what I’ve noticed from going through over 100 different Reddit posts regarding the latest version of 1989 is the ‘lovemark’ that Swift has over her fans is transactional. The main objective within the fandom is self-identification with a Taylor Swift ‘era,’ which is probably the most recognizable lovemark. Due to the Swifties’ intense feelings of attachment and devotion to a particular era, such as 1989, the Swifties feel even more obligated to support their need to fulfill the ‘era’ they identify with by purchasing the extra merchandise, the different vinyl colours, and the CDs all associated with that era which ultimately a subtle form of ‘everyday cosplay’ (a term associated with consumer fandom).
“Do we think she’ll be on Fallon on Friday? I got tickets, just in case. They have only announced one guest, and usually they have two” [nottricksillusions] (2023, October 18). 1989 (Taylor’s Version) [Online forum post].
This post from the same Reddit page is another example of how deliberate Swift’s fans are to support her and their need to feel that supporting Swift is by giving her their money, even if it’s indirectly. This Swiftie expresses their love for Swift by purchasing tickets to see Jimmy Fallon, hoping Swift might be a guest star. This post illustrates how eager her fans are to buy something related to Swift, even if that has yet to be officially confirmed to have ties with Swift. This fan bought tickets to a talk show (in hopes) that Swift would appear as the guest star. The lovemark the Swifties feel is powerful and even concerning with how fast Swifties invoke unnecessary capitalistic behaviours, such as buying Jimmy Fallon tickets in this case.
The “Capitalist Queen”
It is common in the fandom to call Taylor Swift a ‘Capitalist Queen’ ironically (or not so ironically anymore). Swift is a savvy businesswoman and hardworking when it comes to her craft. Therefore, I am not trying to discredit her hard work and passion for her music, but she knows how to make a good sale. Being a fan of Taylor Swift for a long time, I have noticed that Swift is traditional regarding her revenue with music. She likes her fans to purchase physical copies of her work, such as vinyl and CDs. Swift has a history of not enjoying streaming platforms such as Spotify and has claimed in the past that “music is art, and art is important and rare…important, rare things are valuable…valuable things should be paid for…it’s my opinion that music should not be free” (verge). Swift has always valued her work as something worth being paid for, and as a whole, the Swifties are the epitome of consumer fandom. The ‘Capitalist Queen’ is more of a Gen Z concept and, by observation, is used more lightheartedly by fans to describe Swift on platforms like X. Still, it raises awareness that not all Swifties are motivated by a transactional lovemark, and by observing Reddit pages dedicated to calling out Swift for her capitalistic behaviours, I can say that there is a consciousness within the fandom that Swift does resemble capitalism when it comes to promoting her music.
Do the Re-Recordings Embody A Consumer Fandom?
The Swifties are just as passionate about Taylor Swift’s music as Taylor Swift is herself, and we saw that with the Reddit post examples. As Brendam Canavan examples in his book, Contemporary Consumption Consumers and Marketing, he notes that “generation Y & Z are becoming increasingly powerful consumers in terms of their growing spending power…. And that todays children (born after 2012) will grow up and become consumers rapidly” (Canavan, 2020, p. 38). It is common knowledge that our economy is rooted in capitalism and is a primary driver of society. The Swifties are an exemplar of capitalistic tendencies, but not all Swifties. On a Reddit page called Taylor Swift-Capitalist Queen?, here are some posts that I believe resemble the overall discourse surrounding the topic:
“I’m a huge swiftie. I have been following this talented woman since her debut days and I know every lyric to every song. However, as her fame and fortune has grown I can’t help but see the greed” [YellowHoptimist]. (2023, October 14). Taylor Swift – Capitalist Queen? [Online forum post].
“I think the answer to your question about why she keeps putting out the same products is because people keeping buying it. Taylor Swift is a global corporation, she’s trying to maximize her sales in any way she can…” [iamharoldshipman]. (2023, November 15). Well, our Capitalist Queen did it – Taylor Swift is now a billionaire [Online forum post].
“Because Taylor Swift is a whole business and there are a ton of people who make money when she makes money. Look at what she does to local economies just by touring and not doing anything special” [Copperheadmedusa]. (2023, November 1). Well, our Capitalist Queen did it – Taylor Swift is now a billionaire [Online forum post].
“I’m a fan of her music, but….dozens of versions for the same album, not one version that includes all the songs (so you’re forced to buy multiple) and everything is limited either in time or supply (so you buy without thinking because you have to be quick)” [soundofisolation]. (2023, November 16). Taylor Swift – Capitalist Queen? [Online forum post].
I want to note that Swifties and fans of Taylor Swift created this Reddit page, so I am not labelling this as officially ‘anti-fan’ behaviour. Still, I am not discouraging that this discourse could eventually lead to an ‘anti-fan’ movement. “Conversely, when brands are perceived as the most unscrupulous expression of capitalism and consumerism, they can unleash anti-fan movements that work to boycott these brands” (Fuschillo, 2020, p. 4). Therefore, a sub-culture was created within the fandom that was not afraid to criticize and hold Swift accountable. These fans may not have the same transactional ‘lovemark’ that other Swifties uphold. However, they still enjoy her music while expressing their consciousness of the consumerism within the fandom, especially with the re-recorded albums, which could eventually lead to an anti-fandom movement, as Fuschillio suggests.
These fans resemble the concept of the ‘ideology of resistance.’ These fans may not be as hardcore as other Swifties, but they stress that they still enjoy Swift’s music, which resembles a subversion of mainstream Swiftie participation. I searched the internet for an exact definition of ‘ideology of resistance.’ Still, the concept appears to be undeveloped within fan studies, so I pieced together my own definition meaning of the concept, which includes resistance against the mainstream norms within a fandom that could take forms such as questioning power dynamics or subverting into a new subculture within that fandom. With Swift’s other re-releases, this kind of ‘resistance’ discourse needed to be expanded and existent. To connect this to the 1989 re-release, many Redditors criticized the number of different vinyl and album versions that Swift was releasing with her 1989 version. Remember, this is Swift’s fourth re-release album. So far, she has done the same things with the other three by producing different “limited edition’ albums in different colours and with surprise songs, so this can explain the more and more resistance discourse within the fandom. Also, more than ever, Swifties are more reluctant to call out the ‘Capitalist Queen’ now that Swift has been announced as a billionaire.
Returning to the concept of the ‘audience commodity,’ Swift’s limited edition types of vinyl and merchandise all resemble a concept that resonates most with me in this course: ‘ free lunch.’ The principal of this concept (which was initially linked to media content) can be connected to how Swift’s ‘limited edition’ types of vinyl, special edition albums, and merchandise resembles the idea of ‘free lunch’ because when a Swiftie buys one of the limited edition vinyl, they believe they are getting a ‘gift’ or something ‘speacial’ and ultimately ‘new.’ Still, in reality, nothing about the re-recording process resembles new work. Swifties are paying money for the same vinyl as the original, but now in a different colour or one extra song, with the same music as the original 1989 album, released in 2014. Even the ‘from the vault tracks’ (supposed to be the “new” element to the album) are not new songs. These songs are new to the public, but they were written to be on the original album back in 2014, like all the other songs and have been locked away in the ‘vault,’ which has now become another term that the Swifties have adopted just like ‘era.’ Besides going to the studio to record the new vocals and instrumentals, these re-releases are now just Swift’s old album with her ownership. Swift does an impeccable job of disgusting this and convincing her fans that these re-recorded albums are fresh bodies of work because she treats them like they are, ultimately resulting in the Swifties doing the same. The ‘free lunch’ concept mirrors the whole re-recording and re-release process that Swift has fabricated, which was initially meant for Swift to take back what is rightfully hers. Still, this entire process has just infused a fandom already highly consumerist to now being aware of how consumerist they are. Swift is just doing her job and selling her music as she has done for over ten years. Still, these re-recordings have heightened traditional fan behaviour of consumerism but have also sparked a new behaviour within the fandom about being critical of the consumerist behaviours and the amount of capitalism swifties are participating in.
Conclusion
In conclusion, in this essay, I analyzed the re-release of 1989 (Taylor’s Version) and focused on revealing the factors that impacted the Swifties’ consumer behaviour for this album. Drawing on course themes on the audience commodity and consumer fandom, my goal for this study is to reveal why Taylor Swift fans resemble such capitalist behaviours for each new re-release by exploring four different Reddit pages, all created by Swifties after the official announcement of the album that all revolve around discourses on 1989 (Taylor’s Version). The Swifties resemble both the ‘audience commodity’ and a ‘consumer fandom,’ and with an examination of all four different Reddit pages, well over 200 hundred posts in all the other threads, I’ve concluded that Taylor Swift has a transactional lovemark over many of the Swifties which feel that their version of supporting Swift includes buying all her extra ‘limited edition’ merchandise, Swift has fostered such consumerism behaviours based off her view of the music industry, she doesn’t believe that art should be accessible in any way, therefore, views all her work is precious, and the Swifties ultimately copy that. The ‘era’ concept, which has become deeply rooted within the fanbase, is a form of self-identification for the Swifties; therefore, they feel the need to fulfill the era they identify with by purchasing the merchandise that goes with that era, which can be categorized a subtle form of everyday cosplay. Swiftie’s behaviour is also divided or has more recently become resistant to the idea of participating in such capitalistic behaviours when it came to the 1989 re-recording, and this is partially due to Swift being an intelligent businesswoman but also a Mastermind in the way of disguises these records just like any new album on the market, resembling the ‘free lunch’ concept. Taylor Swift is exceptional and deserves all the recognition she has gotten in the past year; hence, I am not trying to toss her down the pop culture totem pole, but, as an active member of many fandoms, the Swifties are the most willing to throw away all the money they have in their pockets at Taylor Swift, but, as I mentioned above, Swift is just doing her job and selling her music like any other artists would… so is this something to be so concern about? This is her income and career, and it is unfair to expect anything less now that she is just becoming extremely popular. Still, I can give an insight into the Swiftie community that no outsider could not recognize. I believe now, more than ever, that there will be some crash or downfall within the fandom because of the already existing resistance and consciousness of consumerist behaviours, especially with the world knowing that Taylor Swift has become the first artist in history to become a billionaire based on music. This could easily change the public’s perception of Swift if she keeps up with the excessive merchandise and vinyl. As a Swiftie and a communication student, I am curious to see what the discourse surrounding the next era, which will be the reputation of Swift’s re-recording will entail, and if it will continue to resemble consumerism just like all the other re-recordings or be like 1989 and resemble consumerism engagement and criticizing the consumerism engagement, or will it bring out a new behaviour with the Swifties and new discourse and behaviour to the fandom? I guess we will have to wait until the next era.
References
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Reddit Pages:
[YellowHoptimist]. (2023, October 29). Taylor Swift – Capitalist Queen? [Online forum post]. https://www.reddit.com/r/popculturechat/comments/17j97yv/taylor_swift_capitalist_queen/
[madamedahlia]. (2023, October 27). Well, our Capitalist Queen did it – Taylor Swift is now a billionaire [Online forum post]/
https://www.reddit.com/r/Fauxmoi/comments/17hg6dp/well_our_capitalist_queen_did_it_taylor_swift_is/
[callicocallie]. (2023, September 20). The “speacil edition” ‘1989 (Taylor’s Version)’ vinyl records are restocked for 48 hours until September 22nd, 2023, at 4 PM ET [Online forum post].
[aran130711]. (2023, October 26). 1989 (Taylor’s Version) [Online forum post].
https://www.reddit.com/r/TaylorSwift/comments/17he0ir/1989_taylors_version_megathread/