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tswiftdaily · 5 years

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In the 2010s, she went from country superstar to pop titan and broke records with chart-topping albums and blockbuster tours. Now Swift is using her industry clout to fight for artists’ rights and foster the musical community she wished she had coming up.

One evening in late-October, before she performed at a benefit concert at the Hollywood Bowl in Los Angeles, Taylor Swift’s dressing room became -- as it often does -- an impromptu summit of music’s biggest names. Swift was there to take part in the American Cancer Society’s annual We Can Survive concert alongside Billie Eilish, Lizzo, Camila Cabello and others, and a few of the artists on the lineup came by to visit.

Eilish, along with her mother and her brother/collaborator, Finneas O’Connell, popped in to say hello -- the first time she and Swift had met. Later, Swift joined the exclusive club of people who have seen Marshmello without his signature helmet when the EDM star and his manager stopped by.

“Two dudes walked in -- I didn’t know which one was him,” recalls Swift a few weeks later, sitting on a lounge chair in the backyard of a private Beverly Hills residence following a photo shoot. Her momentary confusion turned into a pang of envy. “It’s really smart! Because he’s got a life, and he can get a house that doesn’t have to have a paparazzi-proof entrance.” She stops to adjust her gray sweatshirt dress and lets out a clipped laugh.

Swift, who will celebrate her 30th birthday on Dec. 13, has been impossibly famous for nearly half of her lifetime. She was 16 when she released her self-titled debut album in 2006, and 20 when her second album, Fearless, won the Grammy Award for album of the year in 2010, making her the youngest artist to ever receive the honor. As the decade comes to a close, Swift is one of the most accomplished musical acts of all time: 37.3 million albums sold, according to Nielsen Music; 95 entries on the Billboard Hot 100 (including five No. 1s); 23 Billboard Music Awards; 12 Country Music Association Awards; 10 Grammys; and five world tours.

She also finishes the decade in a totally different realm of the music world from where she started. Swift’s crossover from country to pop -- hinted at on 2012’s Red and fully embraced on 2014’s 1989 -- reflected a mainstream era in which genres were blended with little abandon, where artists with roots in country, folk and trap music could join forces without anyone raising eyebrows. (See: Swift’s top 20 hit “End Game,” from 2017’s reputation, which featured Ed Sheeran and Future.)

Swift’s new album, Lover, released in August, is both a warm break from the darkness of reputation -- which was created during a wave of negative press generated by Swift’s public clash with Kanye West and Kim Kardashian-West -- as well as an amalgam of all her stylistic explorations through the years, from dreamy synth-pop to hushed country. “The skies were opening up in my life,” says Swift of the album, which garnered three Grammy nominations, including song of the year for the title track.

She recorded Lover after the Reputation Stadium Tour broke the record for the highest-grossing U.S. tour late last year. In 2020, Swift will embark on Lover Fest, a run of stadium dates that will feature a hand-picked lineup of artists (as yet unannounced) and allow Swift more time off from the road. “This is a year where I have to be there for my family -- there’s a lot of question marks throughout the next year, so I wanted to make sure that I could go home,” says Swift, likely referencing her mother’s cancer diagnosis, which inspired the Lover heart-wrencher “Soon You’ll Get Better.”

Now, however, Swift finds herself in a different highly publicized dispute. This time it’s with Scott Borchetta, the head of her former label, Big Machine Records, and Scooter Braun, the manager-mogul whose Ithaca Holdings acquired Big Machine Label Group and its master recordings, which include Swift’s six pre-Lover albums, in June. Upon news of the sale, Swift wrote in a Tumblr post that it was her “worst case scenario,” accusing Braun of “bullying” her throughout her career due to his connections with West. She maintains today that she was never given the opportunity to buy her masters outright. (On Tumblr, she wrote that she was offered the chance to “earn” back the masters to one of her albums for each new album she turned in if she re-signed with Big Machine; Borchetta disputed this characterization, saying she had the opportunity to acquire her masters in exchange for re-signing with the label for a “length of time” -- 10 more years, according to screenshots of legal documents posted on the Big Machine website.)

Swift has said that she intends to rerecord her first six albums next year -- starting next November, when she says she’s contractually able to -- in order to regain control of her recordings. But the back-and-forth appears to be nowhere near over: Last month, Swift alleged that Borchetta and Braun were blocking her from performing her past hits at the American Music Awards or using them in an upcoming Netflix documentary -- claims Big Machine characterized as “false information” in a response that did not get into specifics. (Swift ultimately performed the medley she had planned.) In the weeks following this interview, Braun said he was open to “all possibilities” in finding a “resolution,” and Billboard sources say that includes negotiating a sale. Swift remains interested in buying her masters, though the price could be a sticking point, given her rerecording plans, the control she has over the licensing of her music for film and TV, and the market growth since Braun’s acquisition.

However it plays out, the battle over her masters is the latest in a series of moves that has turned Swift into something of an advocate for artists’ rights -- and made her a cause that everyone from Halsey to Elizabeth Warren has rallied behind. From 2014 to 2017, Swift withheld her catalog from Spotify to protest the streaming company’s compensation rates, saying in a 2014 interview, “There should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” In 2015, ahead of the launch of Apple Music, Swift wrote an open letter criticizing Apple for its plan to not pay royalties during the three-month free trial it was set to offer listeners; the company announced a new policy within 24 hours. Most recently, when she signed a new global deal with Universal Music Group in 2018, Swift (who is now on Republic Records) said one of the conditions of her contract was that UMG share proceeds from any sale of its Spotify equity with its roster of artists -- and make them nonrecoupable against those artists’ earnings.

During a wide-ranging conversation, Billboard’s Woman of the Decade expresses hope that she can help make the lives of creators a little easier in the years to come -- and a belief that her behind-the-scenes strides will be as integral to her legacy as her biggest singles. “New artists and producers and writers need work, and they need to be likable and get booked in sessions, and they can’t make noise -- but if I can, then I’m going to,” promises Swift. This is where being impossibly famous can be a very good thing. “I know that it seems like I’m very loud about this,” she says, “but it’s because someone has to be.”

While watching some of your performances this year -- like Saturday Night Live and NPR’s Tiny Desk Concert -- I was struck by how focused you seemed, like there were no distractions getting in the way of what you were trying to say.

That’s a really wonderful way of looking at this phase of my life and my music. I’ve spent a lot of time recalibrating my life to make it feel manageable. Because there were some years there where I felt like I didn’t quite know what exactly to give people and what to hold back, what to share and what to protect. I think a lot of people go through that, especially in the last decade. I broke through pre-social media, and then there was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music. I’m not really here to influence their fashion or their social lives. That has bled through into the live part of what I do.

Meanwhile, you’ve found a way to interact with your fans in this very pure way -- on your Tumblr page.

Tumblr is the last place on the internet where I feel like I can still make a joke because it feels small, like a neighborhood rather than an entire continent. We can kid around -- they literally drag me. It’s fun. That’s a real comfort zone for me. And just like anything else, I need breaks from it sometimes. But when I do participate in that space, it’s always in a very inside-joke, friend vibe. Sometimes, when I open Twitter, I get so overwhelmed that I just immediately close it. I haven’t had Twitter on my phone in a while because I don’t like to have too much news. Like, I follow politics, and that’s it. But I don’t like to follow who has broken up with who, or who wore an interesting pair of shoes. There’s only so much bandwidth my brain can really have.

It’s sort of an amalgamation of all of it. People who aren’t active fans of your music, who like one song but love to hear who has been canceled on Twitter. I’ve had several upheavals of somehow not being what I should be. And this happens to women in music way more than men. That’s why I get so many phone calls from new artists out of the blue -- like, “Hey, I’m getting my first wave of bad press, I’m freaking out, can I talk to you?” And the answer is always yes! I’m talking about more than 20 people who have randomly reached out to me. I take it as a compliment because it means that they see what has happened over the course of my career, over and over again.

Did you have someone like that to reach out to?

Not really, because my career has existed in lots of different neighborhoods of music. I had so many mentors in country music. Faith Hill was wonderful. She would reach out to me and invite me over and take me on tour, and I knew that I could talk to her. Crossing over to pop is a completely different world. Country music is a real community, and in pop I didn’t see that community as much. Now there is a bit of one between the girls in pop -- we all have each other’s numbers and text each other -- but when I first started out in pop it was very much you versus you versus you. We didn’t have a network, which is weird because we can help each other through these moments when you just feel completely isolated.

Do you feel like those barriers are actively being broken down now?

God, I hope so. I also hope people can call it out, [like] if you see a Grammy prediction article, and it’s just two women’s faces next to each other and feels a bit gratuitous. No one’s going to start out being perfectly educated on the intricacies of gender politics. The key is that people are trying to learn, and that’s great. No one’s going to get it perfect, but, God, please try.

At this point, who is your sounding board, creatively and professionally?

From a creative standpoint, I’ve been writing alone a lot more. I’m good with being alone, with thinking alone. When I come up with a marketing idea for the Lover tour, the album launch, the merch, I’ll go right to my management company that I’ve put together. I think a team is the best way to be managed. Just from my experience, I don’t think that this overarching, one-person-handles-my-career thing was ever going to work for me. Because that person ends up kind of being me who comes up with most of the ideas, and then I have an amazing team that facilitates those ideas.

The behind-the-scenes work is different for every phase of my career that I’m in. Putting together the festival shows that we’re doing for Lover is completely different than putting together the Reputation Stadium Tour. Putting together the reputation launch was so different than putting together the 1989 launch. So we really do attack things case by case, where the creative first informs everything else.

You’ve spoken before about how meaningful the reputation tour’s success was. What did it represent?

That tour was something that I wanted to immortalize in the Netflix special that we did because the album was a story, but it almost was like a story that wasn’t fully realized until you saw it live. It was so cool to hear people leaving the show being like, “I understand it now. I fully get it now.” There are a lot of red herrings and bait-and-switches in the choices that I’ll make with albums, because I want people to go and explore the body of work. You can never express how you feel over the course of an album in a single, so why try?

That seems especially true of your last three albums or so.

“Shake It Off” is nothing like the rest of 1989. It’s almost like I feel so much pressure with a first single that I don’t want the first single to be something that makes you feel like you’ve figured out what I’ve made on the rest of the project. I still truly believe in albums, whatever form you consume them in -- if you want to stream them or buy them or listen to them on vinyl. And I don’t think that makes me a staunch purist. I think that that is a strong feeling throughout the music industry. We’re running really fast toward a singles industry, but you got to believe in something. I still believe that albums are important.

The music industry has become increasingly global during the past decade. Is reaching new markets something you think about?

Yeah, and I’m always trying to learn. I’m learning from everyone. I’m learning when I go see Bruce Springsteen or Madonna do a theater show. And I’m learning from new artists who are coming out right now, just seeing what they’re doing and thinking, “That’s really cool.” You need to keep your influences broad and wide-ranging, and my favorite people who make music have always done that. I got to work with Andrew Lloyd Webber on the Cats movie, and Andrew will walk through the door and be like, “I’ve just seen this amazing thing on TikTok!” And I’m like, “You are it! You are it!” Because you cannot look at what quote-unquote “the kids are doing” and roll your eyes. You have to learn.

Have you explored TikTok at all?

I only see them when they’re posted to Tumblr, but I love them! I think that they’re hilarious and amazing. Andrew says that they’ve made musicals cool again, because there’s a huge musical facet to TikTok. [He’s] like, “Any way we can do that is good.”

How do you see your involvement in the business side of your career progressing in the next decade? You seem like someone who could eventually start a label or be more hands-on with signing artists.

I do think about it every once in a while, but if I was going to do it, I would need to do it with all of my energy. I know how important that is, when you’ve got someone else’s career in your hands, and I know how it feels when someone isn’t generous.

You’ve served as an ambassador of sorts for artists, especially recently -- staring down streaming services over payouts, increasing public awareness about the terms of record deals.

We have a long way to go. I think that we’re working off of an antiquated contractual system. We’re galloping toward a new industry but not thinking about recalibrating financial structures and compensation rates, taking care of producers and writers.

We need to think about how we handle master recordings, because this isn’t it. When I stood up and talked about this, I saw a lot of fans saying, “Wait, the creators of this work do not own their work, ever?” I spent 10 years of my life trying rigorously to purchase my masters outright and was then denied that opportunity, and I just don’t want that to happen to another artist if I can help it. I want to at least raise my hand and say, “This is something that an artist should be able to earn back over the course of their deal -- not as a renegotiation ploy -- and something that artists should maybe have the first right of refusal to buy.” God, I would have paid so much for them! Anything to own my work that was an actual sale option, but it wasn’t given to me.

Thankfully, there’s power in writing your music. Every week, we get a dozen synch requests to use “Shake It Off” in some advertisement or “Blank Space” in some movie trailer, and we say no to every single one of them. And the reason I’m rerecording my music next year is because I do want my music to live on. I do want it to be in movies, I do want it to be in commercials. But I only want that if I own it.

Do you know how long that rerecording process will take?

I don’t know! But it’s going to be fun, because it’ll feel like regaining a freedom and taking back what’s mine. When I created [these songs], I didn’t know what they would grow up to be. Going back in and knowing that it meant something to people is actually a really beautiful way to celebrate what the fans have done for my music.

Ten years ago, on the brink of the 2010s, you were about to turn 20. What advice would you give yourself if you could go back in time?

Oh, God -- I wouldn’t give myself any advice. I would have done everything exactly the same way. Because even the really tough things I’ve gone through taught me things that I never would have learned any other way. I really appreciate my experience, the ups and downs. And maybe that seems ridiculously Zen, but … I’ve got my friends, who like me for the right reasons. I’ve got my family. I’ve got my boyfriend. I’ve got my fans. I’ve got my cats.

#taylor swift #interview #billboard #women in music #woman of the decade

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path-of-my-childhood · 5 years

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Billboard Woman of the Decade Taylor Swift: 'I Do Want My Music to Live On'

By: Jason Lipshutz for Billboard Magazine Date: December 14th issue

One evening in late October, before she performed at a benefit concert at the Hollywood Bowl in Los Angeles, Taylor Swift’s dressing room became - as it often does - an impromptu summit of music’s biggest names. Swift was there to take part in the American Cancer Society’s annual We Can Survive concert alongside Billie Eilish, Lizzo, Camila Cabello and others, and a few of the artists on the lineup came by to visit.

Eilish, along with her mother and her brother/collaborator, Finneas O’Connell, popped in to say hello - the first time she and Swift had met. Later, Swift joined the exclusive club of people who have seen Marshmello without his signature helmet when the EDM star and his manager stopped by.

“Two dudes walked in - I didn’t know which one was him,” recalls Swift a few weeks later, sitting on a lounge chair in the backyard of a private Beverly Hills residence following a photo shoot. Her momentary confusion turned into a pang of envy. “It’s really smart! Because he’s got a life, and he can get a house that doesn’t have to have a paparazzi-proof entrance.” She stops to adjust her gray sweatshirt dress and lets out a clipped laugh.

She also finishes the decade in a totally different realm of the music world from where she started. Swift’s crossover from country to pop - hinted at on 2012’s Red and fully embraced on 2014’s 1989 - reflected a mainstream era in which genres were blended with little abandon, where artists with roots in country, folk and trap music could join forces without anyone raising eyebrows. (See: Swift’s top 20 hit “End Game,” from 2017’s reputation, which featured Ed Sheeran and Future.)

Swift’s new album, Lover, released in August, is both a warm break from the darkness of reputation - which was created during a wave of negative press generated by Swift’s public clash with Kanye West and Kim Kardashian-West - as well as an amalgam of all her stylistic explorations through the years, from dreamy synth-pop to hushed country. “The skies were opening up in my life,” says Swift of the album, which garnered three Grammy nominations, including song of the year for the title track.

She recorded Lover after the Reputation Stadium Tour broke the record for the highest-grossing U.S. tour late last year. In 2020, Swift will embark on Lover Fest, a run of stadium dates that will feature a hand-picked lineup of artists (as yet unannounced) and allow Swift more time off from the road. “This is a year where I have to be there for my family - there’s a lot of question marks throughout the next year, so I wanted to make sure that I could go home,” says Swift, likely referencing her mother’s cancer diagnosis, which inspired the Lover heart-wrencher “Soon You’ll Get Better.”

Now, however, Swift finds herself in a different highly publicized dispute. This time it’s with Scott Borchetta, the head of her former label, Big Machine Records, and Scooter Braun, the manager-mogul whose Ithaca Holdings acquired Big Machine Label Group and its master recordings, which include Swift’s six pre-Lover albums, in June. Upon news of the sale, Swift wrote in a Tumblr post that it was her “worst case scenario,” accusing Braun of “bullying” her throughout her career due to his connections with West. She maintains today that she was never given the opportunity to buy her masters outright. (On Tumblr, she wrote that she was offered the chance to “earn” back the masters to one of her albums for each new album she turned in if she re-signed with Big Machine; Borchetta disputed this characterization, saying she had the opportunity to acquire her masters in exchange for re-signing with the label for a “length of time” - 10 more years, according to screenshots of legal documents posted on the Big Machine website.)

Swift has said that she intends to rerecord her first six albums next year, starting next November, when she says she’s contractually able to - in order to regain control of her recordings. But the back-and-forth appears to be nowhere near over: Last month, Swift alleged that Borchetta and Braun were blocking her from performing her past hits at the American Music Awards or using them in an upcoming Netflix documentary - claims Big Machine characterized as “false information” in a response that did not get into specifics. (Swift ultimately performed the medley she had planned.) In the weeks following this interview, Braun said he was open to “all possibilities” in finding a “resolution,” and Billboard sources say that includes negotiating a sale. Swift remains interested in buying her masters, though the price could be a sticking point, given her rerecording plans, the control she has over the licensing of her music for film and TV, and the market growth since Braun’s acquisition.

However it plays out, the battle over her masters is the latest in a series of moves that has turned Swift into something of an advocate for artists’ rights, and made her a cause that everyone from Halsey to Elizabeth Warren has rallied behind. From 2014 to 2017, Swift withheld her catalog from Spotify to protest the streaming company’s compensation rates, saying in a 2014 interview, “There should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” In 2015, ahead of the launch of Apple Music, Swift wrote an open letter criticizing Apple for its plan to not pay royalties during the three-month free trial it was set to offer listeners; the company announced a new policy within 24 hours. Most recently, when she signed a new global deal with Universal Music Group in 2018, Swift (who is now on Republic Records) said one of the conditions of her contract was that UMG share proceeds from any sale of its Spotify equity with its roster of artists - and make them non-recoupable against those artists’ earnings.

During a wide-ranging conversation, Billboard’s Woman of the Decade expresses hope that she can help make the lives of creators a little easier in the years to come - and a belief that her behind-the-scenes strides will be as integral to her legacy as her biggest singles. “New artists and producers and writers need work, and they need to be likable and get booked in sessions, and they can’t make noise - but if I can, then I’m going to,” promises Swift. This is where being impossibly famous can be a very good thing. “I know that it seems like I’m very loud about this,” she says, “but it’s because someone has to be.”

While watching some of your performances this year - like SNL and NPR’s Tiny Desk Concert - I was struck by how focused you seemed, like there were no distractions getting in the way of what you were trying to say. That’s a really wonderful way of looking at this phase of my life and my music. I’ve spent a lot of time re-calibrating my life to make it feel manageable. Because there were some years there where I felt like I didn’t quite know what exactly to give people and what to hold back, what to share and what to protect. I think a lot of people go through that, especially in the last decade. I broke through pre-social media, and then there was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music. I’m not really here to influence their fashion or their social lives. That has bled through into the live part of what I do.

Meanwhile, you’ve found a way to interact with your fans in this very pure way - on your Tumblr page. Tumblr is the last place on the internet where I feel like I can still make a joke because it feels small, like a neighborhood rather than an entire continent. We can kid around - they literally drag me. It’s fun. That’s a real comfort zone for me. And just like anything else, I need breaks from it sometimes. But when I do participate in that space, it’s always in a very inside-joke, friend vibe. Sometimes, when I open Twitter, I get so overwhelmed that I just immediately close it. I haven’t had Twitter on my phone in a while because I don’t like to have too much news. Like, I follow politics, and that’s it. But I don’t like to follow who has broken up with who, or who wore an interesting pair of shoes. There’s only so much bandwidth my brain can really have.

You’ve spoken in recent interviews about the general expectations you’ve faced, using phrases like “They’ve wanted to see this” and “They hated me for this.” Who is “they”? Is it social media or disparaging think pieces or... It’s sort of an amalgamation of all of it. People who aren’t active fans of your music, who like one song but love to hear who has been canceled on Twitter. I’ve had several upheavals of somehow not being what I should be. And this happens to women in music way more than men. That’s why I get so many phone calls from new artists out of the blue - like, “Hey, I’m getting my first wave of bad press, I’m freaking out, can I talk to you?” And the answer is always yes! I’m talking about more than 20 people who have randomly reached out to me. I take it as a compliment because it means that they see what has happened over the course of my career, over and over again.

Did you have someone like that to reach out to? Not really, because my career has existed in lots of different neighborhoods of music. I had so many mentors in country music. Faith Hill was wonderful. She would reach out to me and invite me over and take me on tour, and I knew that I could talk to her. Crossing over to pop is a completely different world. Country music is a real community, and in pop I didn’t see that community as much. Now there is a bit of one between the girls in pop - we all have each other’s numbers and text each other - but when I first started out in pop it was very much you versus you versus you. We didn’t have a network, which is weird because we can help each other through these moments when you just feel completely isolated.

Do you feel like those barriers are actively being broken down now? God, I hope so. I also hope people can call it out, [like] if you see a Grammy prediction article, and it’s just two women’s faces next to each other and feels a bit gratuitous. No one’s going to start out being perfectly educated on the intricacies of gender politics. The key is that people are trying to learn, and that’s great. No one’s going to get it perfect, but, God, please try.

At this point, who is your sounding board, creatively and professionally From a creative standpoint, I’ve been writing alone a lot more. I’m good with being alone, with thinking alone. When I come up with a marketing idea for the Lover tour, the album launch, the merch, I’ll go right to my management company that I’ve put together. I think a team is the best way to be managed. Just from my experience, I don’t think that this overarching, one-person-handles-my-career thing was ever going to work for me. Because that person ends up kind of being me who comes up with most of the ideas, and then I have an amazing team that facilitates those ideas. The behind-the-scenes work is different for every phase of my career that I’m in. Putting together the festival shows that we’re doing for Lover is completely different than putting together the Reputation Stadium Tour. Putting together the reputation launch was so different than putting together the 1989 launch. So we really do attack things case by case, where the creative first informs everything else.

You’ve spoken before about how meaningful the reputation tour’s success was. What did it represent? That tour was something that I wanted to immortalize in the Netflix special that we did because the album was a story, but it almost was like a story that wasn’t fully realized until you saw it live. It was so cool to hear people leaving the show being like, “I understand it now. I fully get it now.” There are a lot of red herrings and bait-and-switches in the choices that I’ll make with albums, because I want people to go and explore the body of work. You can never express how you feel over the course of an album in a single, so why try?

That seems especially true of your last three albums or so. “Shake It Off” is nothing like the rest of 1989. It’s almost like I feel so much pressure with a first single that I don’t want the first single to be something that makes you feel like you’ve figured out what I’ve made on the rest of the project. I still truly believe in albums, whatever form you consume them in - if you want to stream them or buy them or listen to them on vinyl. And I don’t think that makes me a staunch purist. I think that that is a strong feeling throughout the music industry. We’re running really fast toward a singles industry, but you got to believe in something. I still believe that albums are important.

The music industry has become increasingly global during the past decade. Is reaching new markets something you think about? Yeah, and I’m always trying to learn. I’m learning from everyone. I’m learning when I go see Bruce Springsteen or Madonna do a theater show. And I’m learning from new artists who are coming out right now, just seeing what they’re doing and thinking, “That’s really cool.” You need to keep your influences broad and wide-ranging, and my favorite people who make music have always done that. I got to work with Andrew Lloyd Webber on the Cats movie, and Andrew will walk through the door and be like, “I’ve just seen this amazing thing on TikTok!” And I’m like, “You are it! You are it!” Because you cannot look at what quote-unquote “the kids are doing” and roll your eyes. You have to learn.

Have you explored TikTok at all? I only see them when they’re posted to Tumblr, but I love them! I think that they’re hilarious and amazing. Andrew says that they’ve made musicals cool again, because there’s a huge musical facet to TikTok. [He’s] like, “Any way we can do that is good.”

How do you see your involvement in the business side of your career progressing in the next decade? You seem like someone who could eventually start a label or be more hands-on with signing artists. I do think about it every once in a while, but if I was going to do it, I would need to do it with all of my energy. I know how important that is, when you’ve got someone else’s career in your hands, and I know how it feels when someone isn’t generous.

You’ve served as an ambassador of sorts for artists, especially recently - staring down streaming services over payouts, increasing public awareness about the terms of record deals. We have a long way to go. I think that we’re working off of an antiquated contractual system. We’re galloping toward a new industry but not thinking about re-calibrating financial structures and compensation rates, taking care of producers and writers. We need to think about how we handle master recordings, because this isn’t it. When I stood up and talked about this, I saw a lot of fans saying, “Wait, the creators of this work do not own their work, ever?” I spent 10 years of my life trying rigorously to purchase my masters outright and was then denied that opportunity, and I just don’t want that to happen to another artist if I can help it. I want to at least raise my hand and say, “This is something that an artist should be able to earn back over the course of their deal - not as a renegotiation ploy - and something that artists should maybe have the first right of refusal to buy.” God, I would have paid so much for them! Anything to own my work that was an actual sale option, but it wasn’t given to me. Thankfully, there’s power in writing your music. Every week, we get a dozen synch requests to use “Shake It Off” in some advertisement or “Blank Space” in some movie trailer, and we say no to every single one of them. And the reason I’m rerecording my music next year is because I do want my music to live on. I do want it to be in movies, I do want it to be in commercials. But I only want that if I own it.

Do you know how long that rerecording process will take? I don’t know! But it’s going to be fun, because it’ll feel like regaining a freedom and taking back what’s mine. When I created [these songs], I didn’t know what they would grow up to be. Going back in and knowing that it meant something to people is actually a really beautiful way to celebrate what the fans have done for my music.

Ten years ago, on the brink of the 2010s, you were about to turn 20. What advice would you give yourself if you could go back in time? Oh, God - I wouldn’t give myself any advice. I would have done everything exactly the same way. Because even the really tough things I’ve gone through taught me things that I never would have learned any other way. I really appreciate my experience, the ups and downs. And maybe that seems ridiculously Zen, but... I’ve got my friends, who like me for the right reasons. I’ve got my family. I’ve got my boyfriend. I’ve got my fans. I’ve got my cats.

Taylor Swift Discusses 'The Man' & 'It's Nice To Have a Friend' In Cover Story Outtakes

Billboard // by Jason Lipshutz // December 12th 2019

During her cover story interview for Billboard’s Women In Music issue, Taylor Swift discussed several aspects of her mega-selling seventh studio album Lover, including its creation after a personal “recalibrating” period, her stripped-down performances of its songs and her plans to showcase the full-length live with her Lover Fest shows next year. In two moments from the extended conversation that did not make the print story, Billboard’s Woman of the Decade also touched upon two of the album’s highlights, which double as a pair of the more interesting songs in her discography: “The Man” and “It’s Nice To Have A Friend.”

“The Man” imagines how Swift’s experience as a person, artist and figure within the music industry would have been different had she been a man, highlighting how much harder women have to work in order to succeed (“I’m so sick of running as fast as I can / Wondering if I’d get there quicker if I was a man,” she sings in the chorus). The song has become a fan favorite since the release of Lover, and Swift recently opened a career-spanning medley with the song at the 2019 American Music Awards.

When asked about “The Man,” Swift pointed out specific double standards that exist in everyday life and explained why she wanted to turn that frustration into a pop single. Read Swift’s full thoughts on “The Man” below:

“It was a song that I wrote from my personal experience, but also from a general experience that I’ve heard from women in all parts of our industry. And I think that, the more we can talk about it in a song like that, the better off we’ll be in a place to call it out when it’s happening. So many of these things are ingrained in even women, these perceptions, and it’s really about re-training your own brain to be less critical of women when we are not criticizing men for the same things. So many things that men do, you know, can be phoned-in that cannot be phoned-in for us. We have to really — God, we have to curate and cater everything, but we have to make it look like an accident. Because if we make a mistake, that’s our fault, but if we strategize so that we won’t make a mistake, we’re calculating.

“There is a bit of a damned-if-we-do, damned-if-we-don’t thing happening in music, and that’s why when I can, like, sit and talk and be like ‘Yeah, this sucks for me too,’ that feels good. When I go online and hear the stories of my fans talking about their experience in the working world, or even at school — the more we talk about it, the better off we’ll be. And I wanted to make it catchy for a reason — so that it would get stuck in people’s heads, [so] they would end up with a song about gender inequality stuck in their heads. And for me, that’s a good day.”

Meanwhile, the penultimate song on Lover, “It’s Nice To Have A Friend,” sounds unlike anything in Swift’s catalog thanks to its elliptical structure, lullaby-like tone and incorporation of steel drums and brass. When asked about the song, Swift talked about experimenting with her songwriting, as well as capturing a different angle of the emotional themes at the heart of Lover. Read Swift’s full thoughts on “It’s Nice To Have A Friend” below:

“It was fun to write a song that was just verses, because my whole body and soul wants to make a chorus — every time I sit down to write a song, I’m like, ‘Okay, chorus time, let’s get the chorus done.’ But with that song, it was more of like a poem, and a story and a vibe and a feeling of... I love metaphors that kind of have more than one meaning, and I think I loved the idea that, on an album called Lover, we all want love, we all want to find somebody to see our sights with and hear things with and experience things with.

“But at the end of the day we’ve been searching for that since we were kids! When you had a friend when you were nine years old, and that friend was all you talked about, and you wanted to have sleepovers and you wanted to walk down the street together and sit there drawing pictures together or be silent together, or be talking all night. We’re just looking for that, but endless sparks, as adults.”

Read the full Taylor Swift cover story here, and click here for more info on Billboard’s 2019 Women In Music event, during which Swift will be presented with the first-ever Woman of the Decade award.

[link to this tweet]

Was there ever a part of you that was like, “Oh shit, I like this darker vibe, let’s go even further down that path?” I really Loved Reputation because it felt like a rock opera, or a musical, doing it live. Doing that stadium show was so fun because it was so theatrical and so exciting to perform that, because it’s really cathartic! But I have to follow whatever direction my life is going in emotionally... The skies were opening up in my life. That’s what happened. But in a way that felt like a pink sky, a pink and purple sky, after a storm, and now it looks even more beautiful because it looked so stormy before. And that’s just like, I couldn't stop writing. I’ve never had an album with 18 songs on it before, and a lot of what I do is based on intuition. So, you know, I try not to overthink it. Who knows, there may be another dark album. I plan on doing lots of experimentation over the course of my career. Who knows? But it was a blast, I really loved it.

I mean, look, a Taylor Swift screamo album? I’ll be first in line. I’m so happy to hear that, because I think you might be the only one. Ha! I have a terrible scream. It’s obnoxious.

Why Taylor Swift's Lover Fest Will Be Her Next Big Step

Billboard // by Jason Lipshutz // December 11th 2019 - [Excerpt]

On why she chose to put together Lover fest: “I haven’t really done festivals in years - not since I was a teenager. That’s something that [the fans] don’t expect from me, so that’s why I wanted to do it. I want to challenge myself with new things and at the same time keep giving my fans something to connect to.”

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dansnaturepictures · 6 years

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20/08/18-Whinchat and more at Farlington Marshes

In what should be the last clearance of a bit of a picture and blog backlog this is the post about an impromptu trip to Farlington yesterday. With the Bird Fair posts I decided to not have a day’s blog posted the same night as a day’s photos were tweeted on Dans_Pictures as its a large amount of photos going onto Twitter at once and obviously the people who may pick up the links to my Tumblr posts generated when I do a post are a big part of my blog audience so I did not want to overload you too much. Therefore I am writing this yesterday so it reads like that.

So today amongst all the jobs to do at home after returning from Rutland and the project that is getting my Bird Fair pictures and blogs processed, finalised and posted which I made good progress on last night and this morning, I had time to head out to Farlington Marshes with a Cattle Egret reported there. We didn’t see the Cattle Egret on what was quite a gloomy affair, shown well by the only picture I took today attached to this photoset of the Starlings gathering. Its interesting I saw this behaviour which I associate with autumn today as yesterday at the Bird Fair during the ‘Ask The Experts’ piece Dominic Couzens enlightened us that a murmuration of Starlings basically can refer to any multiple gathering of them so whilst I’d usually be careful about using this word for a gathering like I saw its technically correct.

There was one bird I did need for my year list which my Mum had seen here this year already and I saw here last year, the Whinchat, and when walking round to the area we’d seen them in I was delighted to see one fly along and up onto a bush. This was my 180th bird of the year, this year tick complimenting the Bird Fair three well to get me to this amazing milestone for only the third time in a year which I am so honoured to do. This puts me just 1 behind my second highest ever total in 2016 and 10 behind last year. I didn’t get to 180 last year until about a month maybe more later as Curlew Sandpiper at Farlington did this and was my last September 2017 year tick. So on how many birds I have seen day by day nothing can overtake my year list until October and its looking increasingly likely only my 2017 record year list is gonna be in a position to do so.

The first bird itself, we saw one or two more Whinchats today, had a really nice coloured breast and looked well. The species was one that always really excites me as its one of my big success stories of the last three years. I had seen one once and then again here in 2012 but since 2015 they’ve become a year list regular with more than one sighting in a year at times too and I have had some big experiences seeing them whilst gaining confidence in seeing them so at this time of year its always a quiet target of mine and always one I really enjoy seeing.

Wildlife Sightings Summary: My first Whinchat of the year, two of my favourite birds the Shelduck and Little Egret, Goldfinch, Linnet, Wren, Meadow Pipit, Whitethroat, Blackbird, Starling, Kestrel, Black-headed Gull, Great Black Backed Gull, Mallard, Moorhen, Canada Goose, Black-tailed Godwit, Redshank and Small Heath and Common Blue butterflies.

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wildcrisis · 7 years

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Dadzawa and Shinson ficlet: In Your Image

So, I decided to write some Dadzawa and Shinson blurbs on tumblr that won’t be able to make it into Flourish (simply because I have way too many ideas and want/need the fic to flow well). I’ll post a few of those ideas that don’t make it into the fic here as little ficlets.

EDIT: SO MUCH FOR FICLET, THIS THING TURNED OUT HUGE, SORRY.

Summary: Celebrating Hero Day in 1st grade, Hitoshi wants to go to school dressed up as his favorite hero: Eraserhead. Aizawa, obviously very touched that his son looks up to him so much, can’t help but worry that Hitoshi will be picked on -- seeing as how he’s a relatively unknown, underground hero that avoids the media at all costs.

However, he simply can’t resist those pleading eyes that melt his heart.

(Under the cut, so I don’t clog anyone’s dash!)

When Aizawa arrived at the school, he released the sigh he didn’t even release he was holding in.

Hitoshi was quick to break away from the crowd of children and teachers, running as fast as his little feet would allow, practically throwing himself at his father. Shouta nearly found himself knocked off balance as Hitoshi tackled his abdomen in a tight hug, a large, happy grin on his face.

Amused, Aizawa quickly returned the hug, but peeled his son off of himself. It was always a coin flip, whether Hitoshi would be running to him happily, or upset. Whether he’d had a good, fun day learning in class and making friends, or had gotten picked on for his quirk, or hair or shoes or -- well, anything, really. Young children were merciless. However, today was clearly a good day, and Shouta was ready to hear all about it.

“Tell me about your day, Hitoshi.”

As Aizawa led his son to the train station, Hitoshi was quick to begin babbling about his day. They were learning so much these days, that even Shouta found it difficult to keep up with. How Hitoshi was beginning to learn how to write, how to read complicated sentences far beyond the one’s he’d learned at home, how to add and subtract -- it was mind boggling to believe that all children learned so much, all at once. And to Hitoshi, it seemed like nothing at all -- effortless. His teacher was always happy to report on his impressive progress.

But, as they took their seats for the quick train ride home, Aizawa could tell that there was something his son wasn’t saying. Hitoshi was quietly excited, still buzzing with pure energy, a big, happy smile on his face and pure, innocent hope in his eyes.

“Is there something else, kiddo?”

Shinsou eagerly nodded, clearly ready to spill the beans.

“Tomorrow is Hero Day, and Mrs. Hana said that we can dress up as a hero for class!”

Shouta smiled patiently (why was it that teachers always decided these things last minute? or was it just that kids never told their parents until the last second?), ruffling his son’s wild, purple locks, “Oh? And who do you want to dress up as?”

“You! You’re my favorite hero, dad.”

The conversation was vague enough that Aizawa didn’t worry much about being overheard. However, he waited until they were off the train to continue the conversation, holding his son’s hand as they made their way back home.

“Are you sure, Hitoshi? Remember, I’m an underground hero. That means that no one really knows who Eraserhead is.”

Hitoshi shook his head, undeterred, gripping his father’s hand as tightly as he could, “I’m sure! I don’t care if no one knows who I am. I want to be my favorite.”

Shinsou’s conviction was not one to be tested. After all, this was a child that went back to the same school, day by day, even when he was picked on. He chose to keep going back, to try and make other children see him differently. Aizawa had offered to let him transfer classes again, but Hitoshi had refused. He was stubborn, dead-set on getting people to see him for who he really was.

Wonder where he got that stubbornness from.

Internally, Aizawa struggled with the situation before him. On one hand, he could let Shinsou do as he pleased, dress up as the relatively-unknown Eraserhead, and potentially be picked on the next day at school, where his peers would definitely be dressed as well known pro heroes. On the other hand, he could encourage his son to choose one of his favorite pro heroes he saw on the news every night. Eraserhead wasn’t the only hero in Hitoshi’s eyes, but he was, obviously, the favorite.

Being a parent was full of difficult decisions. It always seemed like no option was the best one -- one was simply slightly better than the other.

Though, as Hitoshi chatted on about how to make his hair stand up and if they could make parts for the costume, Shouta quickly came to the conclusion that there would be no point in fighting it. His son was dead set on this plan. He’d probably been thinking about it all day long.

Well, if tomorrow turned out sour for Hitoshi, they’d take care of it. Together.

“Alright, alright, slow down,” Aizawa attempted to stem the flow of rambling words falling out of his son’s mouth at an alarming rate -- he’d lost track of their one-sided conversation, “I think we’d better stop at Uncle Mic’s place first. Something tells me he’ll be able to help us out.”

Yamada was, of course, ecstatic to have his friend and favorite nephew drop by. Once Aizawa explained what they were there for, Hizashi quickly threw himself to work.

“Right, I’ve got everything we’ll need!” Hizashi nearly screeched, clearly excited to dress Hitoshi up as his favorite hero, “Well, as far as your hair and goggles go! Your dad will have to help us with the rest, little listener.”

Shinsou’s face lit up at the thought, nearly bouncing off the wall with his unsurpassed energy, “Really!? Thanks Beebee!”

Aizawa chuckled, clearly amused that Hitoshi had never dropped his odd nickname for Yamada in all his years of learning how to talk. Hizashi, equally, didn’t seem bothered at all, laughing and pulling his young nephew into a tight hug before setting the excited, squirming child back down.

The trio made their way back to the Aizawa household, where the two adults began to conspire how to make this outfit a reality. Hitoshi, meanwhile, was playing hero on his own, pretending to rescue kitties from a dangerously high tree they’d climbed into.

“Well, I’ve got the gel for his hair,” Hizashi commented as he pulled out the supplies he was able to gather at his own home, “And remember those stunner shades we were giving out at the station? I kept a pair of yellow ones. I was gonna switch your goggles out with them for fun, but I guess this is a good use for them too.”

Shouta picked up the pair of cheap, yellow shades, putting them on non-ironically, “They’ll be too big for him. We’ll have to address that, somehow.”

“We could use some rubber bands, or string!”

“Right. He’s got enough black clothes to make the outfit work,” Shouta mused, taking a mental catalog of Hitoshi’s closet -- he doesn’t claim full responsibility for his son’s enormous amount of black clothing, “I’ve got an old scarf he can use. we just need to make him a belt..”.

To keep Hitoshi sated as they found the rest of the parts for his outfit, Aizawa and Yamada went ahead and fixed up the glasses to give to the rambunctious child. Shinsou was, clearly, beside himself with joy. He quickly put them on, having to constantly adjust them because of their size, and went back to playing hero for the kitties who constantly found themselves in trouble.

It took a couple of hours, and a break for dinner, but the two adults managed to construct an outfit for Hitoshi to show off at school the next day.

“Alright Hitoshi,” Aizawa calmly called out to his son, urging him to the bathroom so they didn’t make a complete mess with the hair gel, “Let’s put the whole thing together.”

Shinsou practically shredded his boring, regular clothes for the chance to dress like his favorite hero. Shouta smiled, amused and touched as Hitoshi became even more excited with each piece of the costume that adorned him. A fully black outfit, black shoes, a carefully wrapped scarf, a meticulously crafted utility belt, and the already fixed stunner shades to top it off. Yamada took the hair gel and quickly, expertly used it to make Shinsou’s hair stand completely on end.

Hitoshi stared in the mirror after all was said and done, completely transfixed by his appearance. His little fingers touched his reflection, briefly, before he turned to his father with a large, toothy smile.

“I look just like you! Thanks Dad, thanks Beebee!!”

Hizashi laughed, nudging Hitoshi towards his father, “You’re welcome! Though, to look just like your dad you’ll have to frown more. Now c’mon, it’s picture time!”

Aizawa, always good-naturedly annoyed by the impromptu picture sessions, picked up his son and put on his typical, I never agreed to this, scowl. Looking to mimic is idol, Hitoshi tried his best to put on the same face -- breaking character more than a few times to giggle and squirm happily. Yamada gleefully snapped a few photos, destined to end up in Aizawa’s treasured photo album, before they let Hitoshi loose to play hero once more -- as a real, bonafide hero.

“Hitoshi, you’ve got half an hour to play, then it’s bed time,” Aizawa called into the living area, rubbing a reddened eye before cutting off his son’s protests, “No but’s! Even Eraserhead has to sleep sometime.”

Strict parenting aside, Aizawa took time to relish the moment. Watching his son, decked out head to toe in his image, playing hero. It was Hitoshi’s dream to become a hero, just like his father. And watching him live in that excitement, in that dream, it just --

These were the moments Aizawa Shouta lived for.

Yamada stayed the night to help re-decorate Hitoshi in the morning. As Aizawa dropped his son off at school that day, Shinsou all put sprinted past the other children, also decked out in creative hero gear, to run inside and show off who and what he was, taking only a moment to turn and wave to his father before disappearing through the doors.

Aizawa smiled, watching the scene for a moment before turning to walk away, headed towards his own day of teaching would-be heroes.

Never able to shake the thought of Hitoshi dressed as Eraserhead from his mind.

#aizawa shouta #shinsou hitoshi #flourish fic #au #dadzawa and shinson #yamada hizashi #here have some CUTE #wilds fics

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makeitwithmike · 7 years

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10 of the Best Time-Saving Apps for Busy Content Marketers

By Vikas Agrawal

There are a lot of different ways to grow your business online. You could explore a new niche, launch a blogger outreach initiative, or invest in social media marketing.

But if you want to do something that is cost-effective and comes with minimal risk, then you can improve the efficiency of your content marketing through automation.

Wait, what is automation?

Put simply, automation allows content marketers to save time on repetitive tasks and focus on other priorities.

An example of automation in action is an automated email. So say if a prospective buyer leaves a site before checkout, autoresponder software sends an automated email that details everything the customer left in their shopping cart.

Nifty, huh?

One of the best and most flexible ways to leverage automation is through a platform like IFTTT – short for If This Then That. IFTTT allows you to connect up different services to create automated workflows or ‘applets’.

You can also use IFTTT to interconnect processes for more complex workflows – however, as this does require a deeper understanding of how the platform works and its most common uses, we won’t focus on that today.

Basics of time-saving apps from IFTTT

First of all, to search for an applet you need its ID. All you do is add this ID to the IFTTT applets URL.

For example, this applet’s ID is 299812p. It allows you to add new Trello cards to Google Calendar.

Once you find the app, all you need to do is to turn it on and you’re good to go!

Simple, right?

Here are some of the best time-saving apps for today’s content marketers and how they will save you time and energy.

1. Applet ID #10336p: Shares new WordPress posts on Facebook

Sharing your blog posts on social media is a surefire way to build web traffic. If you’re using WordPress, you can use this clever little applet to automate sharing across Facebook.

Aside from this applet, there are other applets within the IFTTT stable that you can use for different services. For example, one allows you to share WordPress posts on your LinkedIn account while another works well with other blogging platforms such as Weebly and Tumblr.

2. Applet ID #299812p: Add new Trello cards to Google Calendar

We all know juggling multiple tasks at once can be a nightmare without a good project management tool like Trello. It allows you to log tasks onto ‘cards’ as well as set due dates, assign team members, and organize them into lists.

Using this applet, new Trello cards that are created under a specific list are automatically added to Google Calendar, which means you can easily keep track of activities such as new content suggestions, copywriting assignments and so on.

3. Applet ID #337273p: Add notes from Evernote to a Trello board

If you’re not familiar with Evernote, it’s one of the best note-taking tools you can use. Not only is it cross-compatible with a wide range of devices, it also allows you to create different types of notes – including webcam notes, audio notes and web clippings.

With the help of this applet, your Evernote notes can be automatically translated onto Trello cards, which means you can capture content ideas and impromptu ideas on the fly.

4. Applet ID #34413p: Sync Buffer with Google Calendar

Often referred to as the Siri of social media, Buffer is a social media management tool which allows you to plan content and measure analytics. It also lets you set regular intervals for when new posts are shared.

It gets even easier with this applet which synchronizes your Buffer schedule with Google Calendar. That means you can stay ahead of your schedule just by monitoring one single tool.

5. Applet ID #DHFQvPEj: Share newsletter stats with your team

Sharing around newsletter stats is a tried-and-true method of forging closer relationships with your leads. If you use MailChimp for email marketing, then this applet will make your life easier by automatically sharing performance reports with your team via Google Drive, Slack or email.

6. Applet ID #37185p: Share Instagram photos on Facebook

Instagram is the go-to network for visual content marketers, thanks to its high brand interaction rate. But if you want to maximize the visibility of your posts, then you should promote them across other social media platforms as well.

This handy applet allows you to share selected Instagram posts on Facebook. It works by allowing you to specify a hashtag that must be added to the photos you wish to share.

7. Applet ID #307409p: Queue Instagram photos on Buffer

For an alternative to sharing your Instagram photos on Facebook, you could use this applet to add them to your Buffer queue.

Not only will this give you more control on when and where you promote your Instagram photos, it will increase your exposure to new touch points without lifting a finger.

8. Applet ID #260194p: Get notified when someone mentions you on Reddit

Q & A websites like Reddit present lots of different opportunities to connect with your target audience and increase brand awareness. You can use this applet to take the hard work out of getting notifications whenever someone mentions your brand.

As a bonus, doing so will help you to connect with prospective leads, clear up any misinformation or communication challenges, and provide information whenever someone asks about your company.

9. Applet ID #440501p: Monitor new responses on SurveyMonkey

Allowing your audience to have their own voice is a great way to win their trust and ensure your planned content fits their stated preferences. A typical management strategy is to launch a survey that extracts valuable insights from your target audience.

SurveyMonkey users can now use this applet to get notified whenever someone submits a new response. Rather than manually checking survey results at pre-arranged or sporadic times, you’ll receive a notification via email instead.

10. Custom time-saving apps

If you have an appetite for applets, you can also create your own customized versions! To get started, simply go to My Applets and click on New Applet.

With hundreds of integrations to play with, there are virtually endless ways to use applets for content marketing. It’s purely a matter of knowing what you want to do and which integrations to use.

If you still need convincing about how fun and time-saving apps can be, here’s an applet recipe you can try for yourself!

Creating Trello cards from client emails

This is an extremely valuable applet for content marketers who may receive instructions via email.

Here’s how to create it:

Search for the Gmail service on IFTTT.

Select the trigger ‘New email in inbox from’ and specify your client’s email address.

Click on the ‘That’ button to choose your desired action.

Look for Trello in the list of services and choose ‘Create a card’.

Fill in all the necessary details. Pick the board where you want to save new tasks, specify a list and customize the title. That’s it!

Wrap

Being a content marketer involves a ton of responsibilities, and if you automate repetitive tasks, you will save a heap of time to spend on the activities that truly make an impact.

The list above should give you a good understanding of how applets work, as well as how you can leverage IFTTT’s services to succeed as a content marketer. When it comes to applets, your imagination really is the limit.

Think of it like this: for every repetitive task, there’s probably an applet solution waiting.

Do you use applets? Would you recommend them as a good way to improve your workflow?

Guest Author: Vikas Agrawal

The post 10 of the Best Time-Saving Apps for Busy Content Marketers appeared first on Jeffbullas’s Blog.

The post 10 of the Best Time-Saving Apps for Busy Content Marketers appeared first on Make It With Michael.

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