T-Swizzle, Capitalist Titan

We know Taylor Swift all too well. Her ubiquity makes her familiar, and familiarity breeds merch, memes, and multipart documentaries such as NBC’s The Swift Effect, a sustained exercise in fake wonderment that is now in its second season and forever in the eighth circle of Dante’s hell, where flatterers are submerged in human excrement.

There’s a well-known line from Hunter S. Thompson: “The music business is a shallow money trench, a long plastic hallway where thieves and pimps run free and good men die like dogs. There’s also a negative side.” But Thompson was talking about the TV business. Other people changed the target of his contempt and desire, and then added the punchline. This is about as music business as it gets: a collective celebration of parasitism and copyright theft.

Taylor Swift is the apogee of both the old-time music business and its replacement. This gives people two reasons to resent her. Her success and wealth add two more. We live in a resentful age in which we are spoiled for choice. But T-Swift is generous. She has given her life to her art. A one-woman Brill Building, her product pours forth in cornucopian plenitude. Twelve hit albums in 19 years are the longest winning streak in the history of pop music.

Swift’s closest peer business-wise is J.K. Rowling. Each crawled up the ladder of a long-standing industry by the conventional method: advances and royalties, an album or book every year (every two years when you make it), and the face-aching grind of the endless promo. But as they climbed, digitization dissolved each rung of the ladder beneath their toes, as in a fairy tale or nightmare.

Swift and Rowling are now firmly lodged at the top of trees that no longer exist. They made it in the businesses of sounds and words, just ahead of the hostile takeover by the business of images. Harry, Hermione, and Ron, like Taylor Swift’s teenage persona, were child prodigies in an age of demographic decline. The marketing machinery threw them to us as throwbacks from the lost common culture of the 20th century, the age of J.R.R. Tolkien and C.S. Lewis, Johnny Cash and June Carter.

Harry lives forever in the neverland of childhood fantasy. In Potterland, a boy can swap his embarrassing suburban parents for a boarding school and acquire magical powers of social prestige, without getting molested by his housemaster. The Harry Potter franchise also developed, in the old-school manner, film adaptations and theme parks. When the stars of the movies disowned their lost selves by disowning Rowling for stating the adult obvious that a man is not a woman, they confirmed their unreality and their non-maturation into those familiar figures, child stars become childish adults.

Swift was smarter. The naïf behind the adult-sized acoustic always understood that in show business, show merely modifies business. Born with Swifty Lazar’s head on her young shoulders, she extracted her copyrights and then made an adult reckoning with her biographical “eras.” Five continents, 149 shows, and more than $2 billion later, the Eras tour confirmed Swift as the last of the old-time barnstormers and the pioneer of a new, personalized mode of show business.

The 20th-century teenager was just Swift 1.0. To find peers for the creative fury of full-strength Swift, the one who broke records and molds with the Eras tour, we must go further back, to the age of American giants. Swift is a titan of industry, one of the great American capitalists that Ralph Waldo Emerson called “monomaniacs,” the creative spirits whose “speculative genius is the madness of few for the gain of the world.”

“Whence came all these tools, inventions, books, laws, parties, kingdoms?” Emerson asked in Natural History of Intellect. “Out of the invisible world, through a few brains.” Out of the invisible world of her brain, Swift has conjured a drama of personal continuity amid epochal change, and biographical coherence in an age of broken images. When Bob Dylan did this in the 1960s, other men called him a genius and then gave him the Nobel Prize in Literature.

Emerson believed that “the supply in nature of railroad presidents, copper-miners, grand-junctioners, smoke-burners, fire-annihilators, etc., is limited by the same law which keeps the proportion in the supply of carbon, of alum, and of hydrogen.” Swift believes that “karma is my boyfriend,” and also a cat. T-Swizzle and the Sage of Concord both detect a cosmic balance. Perhaps they are trying to understand how it tipped in their favor. Regardless, they tell us something important about life, and American life in particular.

“Kings are said to have long arms, but every man should have long arms, and should pluck his living, his instruments, his power, and his knowing, from the sun, moon, and stars,” Emerson said. His musical and astrological motifs are Swiftian. And Swift’s long-armed defiance and instrument-plucking optimism are Emersonian: “We’re getting stronger now, found things they never found,” she sang on “Change” in 2008. “They might be bigger, but we’re faster and never scared.”

Swift rerecorded “Change” as “Change (Taylor’s Version)” in her campaign to recover copyright on her musical autobiography. Most big acts eventually pursue a Trumpian renegotiation of the bad deals that got their foot in the door. Swift’s 2005 terms with Big Machine Records, the sale in 2019 of her master tapes, artwork, and videos to Scooter Braun’s Ithaca Holdings, and Ithaca’s resale of them to Shamrock Capital in 2020, were typical of a predatory business that treats artists like sausage meat. Swift countered with a brilliant strategy. She retained the copyright to her songs. By rerecording her early albums, she ensured that the royalties went to “Taylor’s Version,” not Shamrock Capital, and depressed the value of the tapes that Shamrock held. In 2025, Swift bought back the masters of her first six albums from Shamrock for an undisclosed sum.

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Not all of Taylor’s versions are better than the originals. The band usually sounds better, but she no longer has the young girl’s voice of her early songs, which are about being a young girl. But this is not the most important thing about them.

When the media talk about “Swiftonomics,” they mean the dividend that local businesses gain when the Swift circus comes to town. These profits are part of Swift’s Emersonian generosity, and also epiphenomena of her core business. But Swiftonomics has also included Swift withholding her 1989 album from Apple Music when Apple wanted to give it away for free—and forcing Apple to surrender, to the benefit of all musicians. And when Swift regained control over her past, she acquired the rights to her present and her presentation. Emerson could have had Scooter Braun and the armies of music managers in mind when he wrote, “In a free and just commonwealth, property rushes from the idle and imbecile, to the industrious, brave, and persevering.” The music business is set up so that property usually rushes from the industrious and brave to the idle and imbecile. Swift’s perseverance sets a precedent for fairer terms.

In our age, we take everything personally. Swift’s lyrics are full of candid and ironic admissions that she will never forgive or forget. No other musical artist has cultivated such a sincere personal bond with her audience. Young men used to decode Bob Dylan’s lyrics for political pointers, but Dylan despised their literalism. John Lennon wrote “I Am the Walrus” to mock his interpreters by setting them a nonsense puzzle. “The men are all drugged with this liquor of thought and thereby secured by their several works,” Emerson wrote.

Meanwhile, in the 21st century, Taylor Swift avoids drugs and liquor and hides “Easter eggs” in her lyrics, videos, and social media posts as gifts for her fans—the legions of Swifties. These works have no pecuniary value, but they secure her and her fans in mutual affection. Never before in the history of the music business has its biggest star held all her own copyrights. Never before has a star held all her audience in such high regard.

Of course, the haters are gonna hate. Hating idols is part of the projection of passion. In a time when so many young people fail to launch, some are bound to resent an artist who launched like Artemis II and completed the great circle of career and life with impossible precision. Swift has restored unity amid pixelated images and fragmented micro-audiences. Emerson believed that “the interest of petty economy” is “the symbolization of the great economy.” When Swift affirms that romantic love and character arcs are still possible, she affirms the great economy of collective experience, too.