Taylor Swift and the Philosophy of Re-recording: The Art of Taylor's Versions

A lively and thorough exploration of the aesthetic, metaphysical, ethical, political, and legal implications of Taylor Swift’s ongoing project of re-recording her first six studio albums. When Taylor Swift’s record label was sold in 2019, the six studio albums she recorded for them came under the control of a person with whom she has had years of bad blood: Kanye West’s former manager Scooter Braun. But rather than move on, Swift chose to take the unprecedented step of re-recording duplicate versions of those albums. With all of the profits made from selling, streaming, and licensing these “Taylor’s Versions” going directly to Swift, she could deprive Braun of potentially hundreds of millions of dollars. The gambit has already paid off. The first two Taylor’s Versions (of Fearless and Red) debuted at Number 1 on the Billboard charts and have sold over one million copies so far; and four more are still on the way. In this book, ten philosophers, a music producer and a composer/music technologist explore the philosophical richness of Swift’s project and the questions it raises: Are Swift's re-recordings new works of art or mere copies of the originals? Do the Taylor’s Versions of the songs have the same meanings as the original versions, or do they now mean something different? Is her re-recording project genuinely artistic or merely commercial? Is Swift standing up for artists’ rights or looking out for herself? Does the music industry exploit artists, and, if so, how should it be reformed? Together they show the philosophical dividends one of the most famous and acclaimed recording artists of her generation is capable of producing. For anyone interested in the complicated relationship between popular art and commerce this book is a must-read.

Table of Contents:
Notes on Contributors Preface Acknowledgments Glossary Timeline of Taylor Swift’s Career Introduction: The Story of Taylor’s Versions Brandon Polite (Knox College, USA) 1 Taylor Swift, Justice, and the Fundamentals of Copyright Darren Hudson Hick (Furman University, USA) 2 Tell Me Why This Isn’t a Cover Cristyn Magnus, P.D. Magnus (University at Albany, USA), Christy Mag Uidhir (University of Houston, USA), and Ron McClamrock (University at Albany, USA) 3 Conceptual Art (Taylor’s Version) Sherri Irvin ((University of Oklahoma, USA) 4 The Art and Craft of (Re-) Recording Michael Thomas Connolly 5 Re-recording as Reclamation: Metaphysics, Metaphor, and Taylor's Versions Brandon Polite (Knox College, USA) 6 Meaning and Moral in Taylor’s Versions Alex King (Simon Fraser University, USA) 7 Appreciating Taylor’s Version: An Aesthetic Love Story Irene Martínez Marín (Uppsala University, Sweden) 8 Taylor’s Versions and Versions of Taylor Ley David Elliette Cray (Independent Scholar, USA) 9 The Rights of the Living Dead: Taylor Swift’s Zombie Army Elizabeth Cantalamessa (St. Bonaventure University, USA) Bibliography Index

About the Author :
Brandon Polite is Associate Professor of Philosophy and Chair of the Philosophy Department at Knox College, USA.

Review :
[A] thoughtful yet lighthearted anthology, which embraces both philosophers and general readers. Taylor Swift is one of the defining artists of our time – a pop music titan, singer, songwriter, producer, director and business mogul – who is practically an industry in her own right. This is a fascinating and timely collection of essays that pose important questions on themes of artistic identity, ownership, industry mechanics, and how we interpret, understand and experience music in the 21st century. Examines today’s biggest musical superstar and the most exciting project of her historic career through a unique lens. A rare, thoughtful, and insightful study of the most successful artist of our time – one which will help superfans and casual listeners alike think about her work in entirely new ways. The perfect book for those who want to set aside the hype and the gossip in order to think about the artistry of Taylor Swift. In nine accessible essays, philosophers explore the neglected side of Swift: her status as a recording artist who infuses popular music with artworld complexities. Like Taylor’s Versions themselves, these essays are smart, provocative, and fun. Swifties and non-Swifties alike have been enthralled by Taylor’s Versions since they were first announced. This is a fascinating exploration of the big questions behind the music. It encourages fans to think deeply about copyright, personas, meaning, and the music industry itself. It is a must-read not just for scholars interested in the phenomenon that is Taylor Swift, but for anyone interested in music, entertainment, and culture itself.