Taylor Swift's battle with Big Machine dominated headlines this week. A deep dive into the legalities and relationships at play:
— that “since Taylor’s decision to leave Big Machine last fall, we have continued to honor all of her requests to license her catalog,” though it is unspecific to the American Music Awards or the doc. In the case of the latter, it stands to reason that original master recordings would be needed if she wanted to play portions of music from her first six albums.
But aside from the legalities, Swift has been able to portray the situation as one of her as an artist who was betrayed by Borchetta, a mentor who nurtured her career for many years, by selling her creations to someone she accuses of “bullying” her. With that in mind, isn’t Swift’s beef more with Borchetta, the architect of her previous contracts, than with Braun? Whatever money is owed to Big Machine certainly came from a balance sheet that lived long before Braun’s arrival.
But there’s little question that Swift is winning the battle for public opinion here, and part of her strategy may be to mobilize her fans, other artists, and anyone she can into browbeating Braun and Borchetta so much that they simply give up and say “Just give her what she wants” — which may include many things, but is unlikely to include the asset she covets most: ownership of her masters. Only the U.S. government is willing to part with $300 million that cavalierly.
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