The Originality of Taylor Swift By Elizabeth Elton

mythical “icon” of tabloid glory, the “real Taylor Swift,” as Sheffield explains, is the “genius” songwriter behind the fame. I’ve been a fan of Taylor Swift since sometime between her Fearless Tour and her Speak Now Era in 2010. Countless times, I have experienced in all the memorized lyrics what one might call her “originality.” Her music is in constant discussion among magazines, online news sites, and blogs about her ability to reach her millennial fans with relatable lyrics. Seriously, just google “Taylor Swift relatable music” and nearly two million results pop up discussing her “most relatable lyrics” or contrasting her most

TAYLOR SWIFT by Eva Rinaldi from Sydney Australia recent album, Reputation, with previous ones. While her relatability is an Nearly 3 months ago, Rob important aspect of her originality, there Sheffield of Rolling Stone wrote a piece are certainly more points to consider. that distinguished between Taylor Swift, Fewer online presences mention the the celebrity, and Taylor Swift, the artist. originality, itself, of Swift’s music. In my His aim of the article for Rolling Stone was searches, I found her music was described to rank Swift’s songs (all 115 of them, as original in song titles by one site, but which included her tour mashups and this only related to her newest album. In early Christmas album). In the first breath fact, barely any site or journal article of the article, though, he makes a point endeavors to discuss Swift’s originality. that “[Taylor] Swift was a songwriter Some articles dance around the idea. before she was a star” and that it is her Currently, Reputation is being bashed as “music where she’s made her mark on ashamedly unoriginal. In a since history.” So, despite Taylor Swift, the unlocatable article I discovered long before beginning this piece, the author words, was the key to establishing claimed Swift had little originality mostly authorship and creating a new copyright due to her use of references and the law that put the power of the copyright in overdone language employed in her lyrics. the hands of the author and not the And in this article, two Taylor Swift bookseller (Rose). Since originality was critics debate the originality of her music used as the argument for a new copyright which supports, to some degree, the law, the concept of originality or “genius” viewpoint of the unknown article. They as described by Joseph Addison popped claim that her music and lyrics are up everywhere. Addison, himself a writer “basic,” meaning uncreative and a dime a of the 18th century, describes genius as dozen. Indeed, this is the very claim I seek “prodigies of mankind” who had simply to argue against here: Taylor Swift’s “the mere strength of natural parts “genius” is not in the originality of her without any assistance of art or learning” lyrics per sé, but rather that her originality (200). This was the definition behind derives from the unique ways in which she originality in the 1700s when these new

Copyright protection exists for “original works of authorship,” demonstrating that originality is expected, uncontested, and that the law has not caught up with more modern theories of originality

approaches typical music, lyrics, and copyright laws were being established. videos in her own artistry. The very synonymous usage of Originality is a tricky concept with “genius” to originality exposes an a long history related to copyright law. underlying thought process of that time. Back in the 1700s, the first set of copyright Proponents of authors-as-copyright- laws as known today were established holders needed something grand to make through a set of court decisions. The most the case that authors deserved their own crucial case was Donaldson vs. Becket. Mark copyrights rather than the booksellers. Rose, a Harvard University graduate of Claiming originality as “genius” made English, explains that this case, in that case nicely. If “original” works are particular, “was important in the influential and powerful works that no development of the modern idea of the other person could ever reproduce without author as the creative originator of a work imitation – when imitation was popularly that [has]… his or her unique personality” viewed as nothing more than a ghost of (32). This idea of originality, in other where it came from – then authors’ works were special (Howard). Further, they were from the exact language of the law, this special because they infused the “genius” unwitting use of “original” captures the of the author into their work (Addison). current view of what constitutes a This, according to courts at the time, is valuable work. Further, the actual law what permitted copyrights to the author states that copyright protection exists for and not the patrons of that author without “original works of authorship,” due compensation (Rose). In other words, demonstrating that originality is expected, it gave the authors more autonomy to uncontested, and that the law has not decide what to do with their works caught up with more modern theories of because they were seen as “original.” originality (8). This myth of legendary originality Current theories are described best persisted throughout the years even after by the writer, Johnathon Lethem. In the landmark case of Donaldson vs. Becket. February of 2007, Lethem wrote an article For instance, nearly 100 years later in for Harper’s Magazine called “The Ecstasy 1840, this idea still stubbornly persevered, of Influence: A Plagiarism.” The article as evident by Thomas Carlyle, a writer of itself discussed the issue of originality by the time. He described a true author as not delving into the many ways in which just original, sincere, and a genius, but writers of all kinds are fundamentally also as a “Hero.” “The Hero as Man of incapable of composing the kind of Letters” was a person literally defined as “genius” described by Addison and one who “lives in the inward sphere of Carlyle. In a summarizing statement things, in the True, Divine, and Eternal” towards the conclusion of the piece, and the original author would then bring Lethem explains that “any text is woven that light learned from the Divine into entirely with citations, references, echoes, their works (139). This, in then-popular [and] cultural language which cut across it opinion, is what made an original author. [the written work] through and through” In this way, the “genius” could only be (68). He extrapolates on this idea further made from birth. Even modern copyright by saying “the soul” or rather “the actual laws underlyingly value this idea of and valuable material of all human mythical originality. For instance, in Siva utterances… is plagiarism” (68). His point Vaidhyanathan’s Intellectual Property: A is that people are built from the “citations, Very Short Introduction, Vaidhyanathan’s references, echoes, [and] cultural second chapter focuses on defining language” that they experience. No copyright generally, but mostly in terms of person can be original or have an its benefits and limitations. Towards the “original” soul because we are all beginning of the chapter, Vaidhyanathan compilations of our experiences and says “once an original work is fixed in a influences. Furthermore, Lethem ended tangible medium of expression,” it is the piece ingeniously by tracing his own automatically copyrighted (emphasis influences and ideas to the sources from added, 20). While this quote is not taken which he was inspired. This tactic works as a demonstration of what Lethem is in Dev Hynes’ band, Blood Orange on the fact analyzing and it is incredibly effective most recent album Freetown Sound, Hynes because his work is powerful and samples numerous artists, activists, seemingly “genius” (Howard). But he movies, songs, and so much more. In this proves, himself, that the article is not the article from Faber, the author traces each kind of “genius” as defined by Addison. one of these samples. In the case of Ed Within the article, Lethem draws Sheeran’s song “Shape of You” released on numerous examples to exhibit his earlier this year, Elite Daily compiled analysis. Of the numerous examples, one evidence suggesting Sheeran plagiarized at the beginning cites a songwriter. the melody from TLC’s song “No Muddy Waters, a musician and Scrubs.” While Sheeran’s move to add the songwriter of the 40s to the 80s, wrote a songwriters of “No Scrubs” to the credits song in the beginning of his career for a for his song suggests that he recognized folk singer. When describing the song, he the similarity of the songs, it does not recounted that it “fell into…[his] head” prove that he knowingly lifted the melody (Lethem 60). On first read, this sounds as for his track. There is no doubt that

Taylor Swift and the complexity of her “originality”

though Waters is claiming originality of songwriters occasionally attempt to sneak the song. Later, however, he admitted that previously-heard melodies and lyrics into the song came “from the cotton field” and their own creations as a way of avoiding that a Blue’s artist had already produced a royalty pay outs. However, as a record with the same sound; however, songwriter myself of more than 100 songs, Waters explained that he had heard it I can vouge as an example with my own from his mentor years prior to the record’s music, that any comparable lyrics or debut (Lethem). This is hardly uncommon melodies are usually not intentional. in modern music, and specifically in Pop. This leads back to Taylor Swift and There are entire articles, blogs, the complexity of her “originality.” If it YouTube videos and more devoted to the can be agreed upon that the kind of simple task of pointing out current hit originality perpetuated by authors, writers, songs that sound just like other songs. At and publishers since the 18th century is times, these comparable texts are outward rather impossible, then what is the appeal in their admittance of influence and at of Swift’s music as novel? In truth, there other times they are not. In the case of are probably as many critics ranting about Swift’s music as nothing special as there track “This is Why We Can’t Have Nice are critics raving about its uniqueness. Things” that she felt “Gatsby for that Why would Rob Sheffield – a rock critic whole year.” She is of course referring to who went to Yale who has several books the eponymous, The Great Gatsby by F. to his name (one being about the iconic Scott Fitzgerald. group, The Beatles) – regard Swift so The common thread with all these highly as a songwriter and describe her as and other literature that Swift alludes to in an “icon” in modern music if there was her songs is their value as classical works not something about her as a musician? In of fiction that are fairly ubiquitous in their analyzing what critics have written about recognition. Even if listeners have not Swift, as well as examining her lyrics read these iconic works, most will have at myself, I will attempt to answer this least heard of them and their plots. question. Everyone knows Romeo and Juliet. Nearly Let’s start with Swift’s copious, everyone knows of Alice in Wonderland. though inconsistent, use of literature And I would guess that most people, throughout her career. The most infamous especially with the release of the modern and first of Swift’s songs to include adaption, know of The Great Gatsby. The literature in her lyrics was her 2008 initial use of these devices allows listeners to single for the album Fearless called “Love experience the emotion Swift wants them Story.” The whole song alludes to Romeo to access. She is familiar enough with and Juliet with verses like “Little did I them to know how they affect audiences. know/That you were Romeo/You were In “Love Story,” Swift wants her audience throwing pebbles/And my daddy said stay to feel what she felt. In an article, Swift away from Juliet” and more subtle lines describes her story behind the song. She like “See the lights/See the party, the explains that she wrote the lyrics about a ballgowns” which are indicative of the guy who her family and friends did not ball scene of Romeo and Juliet in Act 1 like. She said that she, herself, related to scene 5 of the play (Shakespeare). The the play in that moment. What better way next most noticeable reference, though I to relay the real intensity of her feelings suspect hidden ones in prior records, than relate the song to the story she comes on Swift’s deluxe album of 1989 connected with? Through this songwriting released in 2014. On the track list is a song tactic, Swift reveals how she uses entitled “Wonderland,” which is another influence as her greatest tool for that alludes to a work of literature. In this songwriting. By drawing on works of case, she drew from Lewis Carrol’s Alice in literature that have preestablished Wonderland. Lines like “We fell down a emotions, dramatics, and intensity that rabbit hole” and the erratic, bouncing make their audiences feel a certain way, music of the chorus relate very well to Swift is able to capture the grandiose Carrol’s work. Finally, in Swift’s newest feelings in a shorter space. It is her very album Reputation, the singer croons on the use of influence and lack of Addison’s “genius” that made “Love Story” her first Swift. Besides her marketing techniques, “number one, world-wide hit.” Swift though, the pop culture references allow manages these same tactics through pop Swift to capitalize on emotions typically culture references as well. associated with those references. Taylor Swift, since the beginning Even now, Swift relies on it. of her career, has used pop culture Consider a new song off her album called references in her music. In fact her very “New Year’s Day.” In this song, Swift first single is called “Tim McGraw,” sings “There’s glitter on the floor after the named after the country singer, himself. party/…Candlewax and Polaroids on the The use of a big country name at the time hardwood floor.” In this line she sets the was an ingenious tactic. Swift was scene for a typical millennial event. She is targeting a country audience, as evidenced telling her audience that she hosted a New by the album being labeled under the Year’s Eve party and that this is the day country genre on iTunes. In making this after. This detail seems almost move, Swift assessed her audience and insignificant in comparison to her determined that the people she was trying masterful use of Tim McGraw. But it has

Swift has a seemingly instinctual command of her audience’s linguistic inclinations.

to draw to her music would know Tim a purpose. At the end of the chorus she McGraw. They would be familiar with his sings one line that puts the whole song songs and how the lyrics and music make into perspective. She sing-talks in a sweet them feel. For Swift, then, half the battle kind of voice that “I’ll be picking up is won. It’s not like any other sad love bottles with you on New Year’s Day.” song because she starts the audience with The tactic is brilliant. Swift is fully aware the background of every Tim McGraw of her audience. Many, many, many song that came before it. Moreover, when articles are out there about the fast-paced she croons “when you think Tim world of millennial dating. Young adults McGraw, I hope you think of me” the are constantly meeting and sharing their character of the song is not just speaking lives with new people. Swift knows this to the love interest; Taylor Swift, the personally as evident by her wide-ranging songwriter, is speaking to her audience. At songs related to different love interests. this point, when any of Swift’s audience New Year’s Eve parties are also quite listens to a Tim McGraw song after common for millennials, but with the hearing hers, most likely they’ll think of pressure and mystique of New Year’s Eve kisses, sometimes the person kissed will slang is primarily used by youths. In other not be there in the morning to help clean words, millennials are currently the most up. By using that single lyric mentioned voracious users of slang, a colloquial and above, Swift signals to her whole more conversational version of Standard generation that this is a lasting romance, American English. Given that Swift is that this is special. Only Swift’s target part of the millennial generation, it audience, or those familiar enough with follows that she would have a shared millennial habits, could identify this lyric linguistic code with a target audience of as the most romantic one of the song listeners her age. She uses this tactic, because of its intensely woven infrequently, but when she does it is a background. These are not isolated clear signal to her millennial fan base. For incidents either. Swift has plenty of pop instance, in her song “…Ready for It?,” culture references across albums the first line states “Knew he was a killer.” throughout her career, but her use of The word “killer” here carries a new language is what ultimately connects her connotation from the typical definition of with her millennial fan base, specifically. someone who kills another. In this case, killer can be described as someone who is amazing and brilliant, a person who makes everyone else seem lifeless in comparison. Urban Dictionary backs this definition in its description of the word as an adjective. Another instance of this comes off her newest album as well. The music video for “Look What You Made Me Do,” witnesses Swift at the end of the video claiming that she is taking pictures for “receipts.” In this case, “receipts” refers to a kind of proof in the form of pictures or screenshots. These references have been useful throughout her career. Taylor Swift by Jana Beamer In past albums, Swift has also Swift has a seemingly instinctual connected with her fan base through command of her audience’s linguistic linguistics means. With – admittedly inclinations. Slang is a common change to regrettable – lines from her debut album language that is as ephemeral as the years like “That’s fine. I’ll tell mine (friends) that pass from one generation to the next that your gay,” Swift shows even then that (Zhou and Fan). In an article that came she understood the language of her peers out of the journal Theory and Practice in and teenage cohorts. Unfortunately, at Language Studies in 2013, Yanchun Zhou that time, it was rather commonplace to and Yanhong Fan describe that American reference the LGBTQ+ community in such a disparaging way. PSAs like Hillary popular references, and well-known Duff’s from the late 2000s appeared two literature is not original at all. In fact, it is years after Taylor Swift’s debut album was exactly the kind of unoriginality that released in 2006; as the writer of this Lethem refers to in his article. Indeed, article explains, it was as common a plenty of other modern musicians and phrase in high schools as “you run like a other artists rely on past material for girl” was in any elementary school’s P.E. crafting their music. Look up “literature program. Still, despite her early, references in music” and plenty of results regrettable use of language, Swift will show up describing songs from the continued to use this tactic, throughout 1960s to present. Pop culture references, her career and prior to her most recent too, are literally everywhere in pop music, album, as exemplified by lyrics like some more subtle than others. While they “Players gonna play” from 1989. are difficult to find in some cases, they do Linguistically, this is firmly placed in the exist. In fact, Kanye West has a whole millennial dialect. While previous article from Vulture devoted to his pop generations are more likely to say “going culture references. In terms of common

Swift, on the other hand, uses these references as a tactic to pull her audience into her emotional world quickly.

to” rather than “gonna,” this reiteration is phrases and millennial slang, many artists definitely millennial slang. This use of use this tactic too. Imagine Dragons, for syntax and diction allows Swift, as with instance, uses the term “basic” in this lyric literature and pop culture references, to from their current chart topper instantly connect her audience to the “Thunder:” “they say your basic, they say message she wants to send. your easy.” This use of “basic” refers to Through these various ways, Swift the connotative meaning that someone is reveals entirely unoriginal music and “only interested in… mainstream” borrowed lyrics. In fact, she specifically material. It is a common slang term used relies on the audience’s ability to by millennials. recognize these references as a kind of Clearly, Swift does not have a shared-commons. This is how she monopoly on using these common source establishes a baseline as a way of materials. However, it is the way in which describing the feelings and emotions she she uses them that makes her original. wants her audience to experience. In this Artists most definitely use literature as way, Swift’s use of common phrases, previously exampled. But Swift is different. I poured over those lists, looking her music. This leaves her music available through their various references and found to everyone that can generally engage any none that capitalized on the emotions of listener. While at first it may seem as the literature as Swift did. Consider the though her literature and pop culture well known “Don’t Stand So Close To references are, then, defined as Me” by The Police. By the time the artists exclusionary, they are not. Swift uses sing their Lolita reference, half the song is literature, like Shakespeare, and pop over and they already established the culture references, like Tim McGraw or emotions and the point of the song. Swift, New Year’s Day, that are fairly accessible on the other hand, uses these references as to anyone. Even if someone has not had a a tactic to pull her audience into her New Year’s Day party, for instance, they emotional world quickly. She sets the will have some concept of cleaning up scene by using literature and not the other after an event. Additionally, even though way around. the fast-paced dating world is somewhat With pop culture references, Swift unique to this current generation, people uses them the same way. In an example can still identify with the importance of from Kanye West, he uses the lyric someone staying to clean up, especially in “I'mma need a day off, I think I'll call this day and age. Ferris up” from his song “Gotta Have It,” This accessibility is part of Swift’s released in 2011. Here, he shouts out to genius. Plenty of artists use these tactics, his millennial fans by referencing Ferris but many of their references are designed Beuller’s Day Off, and it does make a point to be exclusionary. Consider Led about needing an escape, but the reference Zeppelin’s song “Ramble On,” which is not used as a baseline like Swift uses references J.R.R. Tolkien’s famed work, “Tim McGraw.” In that case, specifically, The Lord of the Rings. It recounts a portion Swift targets her audience in the very title of of the story in its lyrics “Twas in the the song. Moreover, it was her very first darkest depth of Mordor/ I met a girl so single, the first song the world would hear fair/ But Gollum and the evil one crept from her and it does more than pack a up.” This song was written in 1969, long simple punch as a way of reaching them before the movies based on Tolkien’s emotionally. work were released and attracted a wider Finally, her use of slang is audience. Anyone listening to this would unparalleled. Many artists leave out slang have, first, needed to be a book lover. words almost entirely or fill their lyrics More specifically, though, they would with so much of it that the song becomes have had to have been interested in comprehensible only to the intended reading fantasy. This excludes a lot of audience. Swift seems to balance this line. people from this song. Unlike Swift, this Her brief use of slang allows a kind inside use of insider knowledge actually inhibits knowledge to those who are aware of it, the meaning of the verse if a listener was but it hardly inhibits the understanding of unfamiliar with the reference. The core meaning of that verse is to describe his tapping on your window/ When we're on “tale” or his personal story as something the phone and you talk real slow.” Such legendary. The example taken from ordinary teenage things Swift alludes to in Tolkien’s work definitely provides the this song. But to make these ordinary acts impression of a legendary, mythical, and the “our song” of a couple was “genius.” magical life. However, if the reference is Furthermore, to name the song “Our unknown to the listener then that baseline Song,” was “genius.” This is what attracts is lost in translation. In contrast, Swift’s so many people to Swift’s music whether references to Shakespeare and Lewis they like it or not. In fact, this very song is Carrol are well known enough to reach a what made Sheffeld a fan in the first place. wider audience. This is important to her Taylor Swift is not Addison’s “genius,” ability to be accessible and, incidentally, but she is original – in her own way. And part of her genius and originality as well. isn’t that a kind of “genius” in and of All in all, Swift’s “genius” comes itself? € from her ability to use these methods as tools to reach an audience. While it makes her music more general, more accessible, and quite frankly unoriginal (due to its frequent reliance on other source material), it her use of these unexemplary references that make her work novel. Other artists do not use Lewis Carrol as a baseline to describe intense, young adult love affairs. Other artists do not use the names of other artists or holidays to describe the strength of a relationship. Other artists do not use slang as a way of brevity to pinpoint exact emotions, but this is what Taylor Swift does. Her genius is not what Carlyle or Addison ever described as “genius.” Her originality could never be the kind of originality Lethem explains as illusionary. Her originality is in her tactics. It is in her methods of songwriting. 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