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I wanted to write something about this, but old dickie Hanania beat me to it.
As a Republican, I’m amused and horrified. One common reaction was summed up by a tweet reading simply “We don’t deserve to win.” Just, what the fuck guys? Can’t we just be the normal ones? It shouldn’t be hard by comparison. But instead we’re attacking normality. We’re doing goofball shit.
Vivek, so recently a Republican candidate for President widely taken seriously, added to this genre tweeting out:
Such Texas Sharpshooter energy. I predict that the team that won last year’s Super Bowl will win this year’s super bowl, and that Taylor Swift will endorse the same person she endorsed in 2020 in the same race. But if the obvious happens, it’s a CONSPIRACY!
The problem is that even if you believe that Taylor Swift and Travis Kelce are artificially propped up, that Taylor is the result of media coverage and that the whole NFL is WWE with end zones, saying it doesn’t actually help you capture the millions of people who are fans of them. “Media Influence” is nearly always a Russell Conjugation: other people’s tastes are the result of media bias, my tastes are pure and formed entirely individually. People will almost never change their tastes as a result of being informed that they were “influenced” by the media, they will get angry. People will easily be convinced that other people are sheeple, they will almost never be convinced that they are. “Pop singers” Swifties will react angrily to this accusation, as will Chiefs fans. Neither will react kindly to the insinuation that their favorite thing is bullshit.
I can’t go through a week without hearing about Kelce from my mother or Swift from my wife. My wife is deep into the swiftie Gaylor conspiracy universe and asks my opinion on them when we’re stoned. My mother listens to every episode of the Kelce Brothers’ podcast, and gives me the highlights. Both are wealthy married white women, who own homes and cars, who value family and capitalism. My mother is not going to be convinced that she likes Travis Kelce because of the deep state and not because he is really good at getting open and he’s funny on mic. My wife is not going to be convinced that she doesn’t really like singing along to I Can See You. It’s a losing strategy to try to convince them that it’s all fake: most people start from the emotional opinion that everything is fake, they aren’t rationally convinced. Just as most atheists turn against the church for personal reasons and then become aware of all the rational arguments and contradictions involved.
The far better strategy by DR types would be to try to unwillingly recruit Swift and Kelce. The old “Aryan Princess” meme. Make them an icon of your side, and you make them problematic. Even when the inevitable Swift endorsement comes, it will feel hollow. Swift will be put in an uncomfortable position, weakened by being forced to deny being a white supremacist. Her fans will be offended by being called racists for liking the music they like, and start to turn against those calling them racists.
Of course, this isn’t happening because I doubt that Trump is declaring “Holy War” on Swift. That’s just a little unsourced TDS tidbit the liberal media couldn’t resist. This is just various hustling influencers seizing on a big name. But if you want to be an insurgent party, discipline is key, and this isn’t it.
AND YET
I find Hanania is being very uncharitable to the right, and buying into an essentially progressive framing of the world. The captured version of the NFL that we watch every week, with “STOP RACISM” written on helmets and in the end zones, with required interviews for minority coaching candidates*, with the mildly absurd farce of wildly-celebrated female coaches in minor functionary roles buried on the staff, with every ad break featuring female athletes (and especially the hypothetical female high school football player featured over and over). Equally, I saw the Eras Tour movie with my wife, and friends of ours went to the concert. It was clear that comparing what was on camera to the crowd at the actual concerts, they went out of their way to make it seem less white than it was. Prominent romantic roles were given to Black Male dancers on stage, despite Taylor herself dating only white men historically, prominent roles were given to flamboyantly gay and trans dancers. Taylor put in the effort in advance to make it a comfortable experience for liberals.
So when Richard says:
He’s ignoring the context. Liberals were “that guy” for years, and they were loudly whiny, and they succeeded. The NFL and pop culture and ordinary speech changed to accommodate liberals. And it seems to be working, with ratings rebounding from 2016 downtrends. But Hanania is praising liberals for being able to watch a football game telecast that has been designed to soothe them, while blaming Conservatives for being unable to watch a telecast that has been designed to soothe their enemies. It’s a trap Conservatives have fallen into, and they should be shamed for it! But it’s also the fruit of the Long March Through the Institutions.
*The Rooney Rule originally struck me as fairly decent, fairly fair: teams must interview one minority candidate for coaching positions. No requirement to hire, but you have to interview. The results have become increasingly absurd. The Eagles had black Offensive and Defensive Coordinators who had a terrible embarrassing end to the season, but had done well before. Both got a few token Head Coach interviews, to satisfy the Rooney Rule, and as a result the Eagles did not fire them, hanging onto them for way longer than anyone believed the Eagles would bring them back. Because if you get a black coach hired away, you get a compensatory draft pick for it. It was a silly spectacle to watch.
I wonder why Taylor Swift blew up over the past year despite having originally entered superstardom in 2010-2011. There was a decade cooling off period in which other singers like Lizzo, Katy Perry, and Beyonce held the mantle, and then she suddenly blew up. I think this shows again the power of Twitter to create superstars and affect news cycles. The Musk effect is real. Sure, Meta is a far bigger network of platforms and YouTube is bigger overall, but Twitter is where the discourse and culture are shaped.
I don't think Twitter has much to do with it. The night before Thanksgiving, I attended a Taylor Swift trivia night that my cousin's boyfriend convinced me to attend because it was at a local brewery. The vast majority of the attendees weren't the typical brewery clientele, but suburban moms and their young daughters. Not too many men. And the place was absolutely packed; there were at least 20 teams. I guarantee you very few of these people have Twitter accounts, or care too much about Elon Musk. I attribute Swift's sudden blowup to the following factors:
She was already very famous. This may seem obvious but it seems like there's more staying power when an already famous person reaches this level of popularity compared with the meteoric rise of an unknown. She's 34 years old and has been in the public eye for nearly 20 years; there's no sense that she's the flavor of the month.
She has a history of making risky professional moves that have the potential to wreck her career but end up bolstering it. In 2014 there was some serious discussion as to whether she'd be able to appeal to the pop market in the same way she appealed to the country market. There have long been country stars with crossover appeal, but most of them never stop ostensibly being country musicians, no matter how pop they get. The only other musician I can think of who pulled this off was Linda Ronstadt, but she gets an asterisk because she was at the fringes of the country world; she came out of the more rock-oriented Laurel Canyon scene rather than being a product of Nashville. I think a big part of the reason Nashville artists are hesitant to break out like this is because country is a sort of security blanket. The country world wants something that's ostensibly country, and they will loyally buy it if it's marketed as such. Making a full transition out of Nashville means casting off the last vestiges of this to make it in the wider world. You run the risk of losing your old audience and failing to find a new one. But she correctly calculated that the country fans who were buying her music were probably already buying pop records anyway, and that her pop audience was where all the growth was. And when I say she I mean whoever does her marketing. So she managed to get two audiences for the price of one, so to speak.
Then — and people often forget about this — she pulled her music off of streaming services because she didn't like the business model. For three years. I'm not going to attempt to quantize the impact this had, but I doubt it did her career any favors in the short-term. However, it probably helped her career long-term, because it encouraged people to buy her albums rather than stream them. This probably fostered a sense of loyalty that she wouldn't have had if she'd been available at the touch of a button to anyone with a Spotify account. And then it was a big deal when she got back on the streaming services, which again increased her audience.
So at this point she's been steadily consolidating her power for over a decade. This is important in and of itself because most pop stars don't stay on top for that long, especially just by being pop stars. Contrast this with Lady Gaga, who is still famous but more because she did things like movies and albums with Tony Bennett. No one has cared about her pop records since 2011. The fact that Swift is in her mid-30s and has been able to sustain a career since her days as a teen idol without making any major changes is an accomplishment in and of itself and probably feeds into our current moment. She's been around long enough that women who listened to her in high school can take their kids to her concerts.
Despite her fame, and her numerous celebrity relationships, she's managed to avoid the kind of scandals and tabloid gossip that surrounds other pop stars, especially ones who become famous at sixteen and have to navigate the transition to adulthood while in the public eye.
She has an uncanny knack for making decisions that are totally about money and convincing people that they're not about money. The whole "Taylor's Version" thing is a prime example. She didn't like the fact that she didn't own the rights to her old recordings. The main advantage of owning the rights to her recordings is that she can collect all the money they generate. Otherwise, there's no real advantage. This is a big deal for most people, but for someone like Swift, who has more money than she's ever going to be able to spend, the schlubs at whatever private equity firm owns the rights to them probably need the money more than she does. But she casts it as a matter of principle, rerecords new versions she owns the rights to, and convinces her fans to shell out money for five different collectors' editions of the same albums they already own. The whole thing was about as transparent a cash grab as you could find, yet she pulled it off in such a way that even people who could care less about her career thought it was a slick move to stick it to those fatcats. It got her the kind of publicity you can't buy while minting her a pretty penny.
And, finally, in the same vein, we have the Eras Tour. At some point in every pop star's life, there comes a point where they are no longer a "frontline artist", by which I mean a contemporary artist who makes contemporary music for a contemporary audience. At some point, people don't go to your concerts to hear the new album but to hear the old favorites. It's usually the obvious sign that a band is over the hill — there's a new album out and the kind of people who paid 70 bucks to hear you play don't give a fuck. And if your biggest fans no longer care... Becoming an oldies act is depressing. Bob Dylan and Neil Young have defiantly refused to go down that path, regardless of the crap they take for it, and insist on being contemporary musicians who will tour the new album and maybe throw in a few old favorites. Mike Love's insistence on the Beach Boys playing touring their 60s hits in the wake of the compilation album Endless Summer's success in the mid-1970s drove a wedge between the band that they never really recovered from. (And most of the band was younger then than Swift is now.) The huge appeal of the Eras Tour was that, for the first time, Swift would be taking listeners on a musical journey through her entire career. She was becoming an oldies act, proudly and deliberately. At a time when she was still viable as a frontline artist. This is almost unheard of. Sure, contemporary bands usually play some older material at all their shows, but it's unusual for someone to actively embrace what is usually the sure sign of a has-been. Because the dirty secret of oldies acts is that they're very profitable. People like hearing old favorites, even when they're still willing to pay good money for the new shit. And the whole Taylor's Version thing was perfect cover. Combine this with the fact that she hadn't toured in half a decade and the stage was set for all hell to break loose.
I wonder if the whole "lottery" aspect to the tickets also made this go crazy. They were so exclusive! I know people who couldn't get tickets. I know someone who bought tickets online (Stubhub maybe?) And flew to brazil and when they landed found out their tickets didn't exist! There were all these stories and tales of great sacrifice to go to these concerts.
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I think this is an often underappreciated aspect of an artist's career. Many of them just do not know when to throw in the towel on new stuff. Mad respect to Billy Joel who has not released new material in 30 years but still plays a few concerts (including Madison Square Garden) every month. He's someone who knew when he was done.
Or since yesterday:
https://www.rollingstone.com/music/music-news/billy-joels-turn-the-lights-back-on-1234958448/
How can you be a pessimist when life is this funny?
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great write up. nominated
Thank you for providing positive reinforcement.
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Doesn't require a comment.
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