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They Belong with Taylor Swift™: Applying Trademark Law and Textual Analysis to the Branding of Love Song Lyrics

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They Belong with Taylor Swift™: Applying Trademark Law and Textual Analysis to the Branding of Love Song Lyrics THEY BELONG WITH TAYLOR SWIFT™: APPLYING TRADEMARK LAW AND TEXTUAL ANALYSIS TO THE BRANDING OF LOVE SONG LYRICS April Xiaoyi Xu* “Music is art, and art is important and rare. Important, rare things are val- uable. Valuable things should be paid for.” 1 — Taylor Alison Swift I. TRADEMARKS: BRANDING LOVE SONG LYRICS THE TAYLOR SWIFT™ WAY American singer-songwriter Taylor Swift has always been a phenomenon, from becoming the youngest artist to be signed by Sony/ATV Music, to main- taining her status as one of the world’s most popular singers for more than 10 years consistently, to frequently receiving top music awards, to developing a rep- utation for serial-dating famous men, to audaciously taking her entire catalog off Spotify to protect her copyrights,2 to being openly vocal about politics despite previously insisting on being “a good girl” who does “what everyone else wants” * J.D. Candidate, Class of 2021, Harvard Law School. The author would like to thank her family and friends for their love and support, especially during the COVID-19 pandemic; Professor Christopher T. Bavitz at Harvard Law School for the thought-provoking “Music and Digital Media” seminar and his kind guidance during many office hours sessions that inspired not only this paper, but also the author’s growing interest in intellectual property law more generally; as well as University of Illinois Law Review editors for their diligent work. 1. Taylor Swift, For Taylor Swift, the Future of Music Is a Love Story, WALL ST. J. (July 7, 2014, 6:39 PM), https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219. 2. Taylor Swift Seeks to Trademark Her Song Lyrics, MANDOUR & ASSOCIATES, https://www.mandour- law.com/blog/taylor-swift-seeks-to-trademark-her-song-lyrics/ (last visited July 4, 2020) (“While album sales are decreasing industry wide, financial gains are not the driving force behind her decision to trademark her lyrics. Rather, she claims it is to protect herself from others who are trying to make money off of her work without her knowledge or approval. Swift stated that she values her art, and she is willing to do what is necessary to protect it.”). 139 140 UNIVERSITY OF ILLINOIS LAW REVIEW ONLINE [Vol. 2020 her to do. .3 As a Bloomberg article boldly declares, “Taylor Swift Is the Music Industry.”4 However accustomed the world is to perceiving Swift as a trailblazer, the Internet exploded again when Swift filed a number of trademark applications with the United States Trademark and Patent Office (“USPTO”) for phrases from some of her popular song lyrics, having already trademarked her full name and initials “T. S.,” as well as the term “Swiftie(s)”—the nickname for her fans.5 These phrases include “Nice to meet you. Where you been” and “could show you incredible things” from the song Blank Space, and “cause we never go out of style” from the song Style.6 Both of these love songs are from the album 1989, which, in itself, is not only the year of Swift’s birth, but also the subject of an- other phrase that Swift trademarked: “party like it’s 1989.”7 After releasing her new albums REPUTATION (Big Machine, 2017) and LOVER (Republic, 2019), Swift continued her “trademark play” by applying for trademarks for phrases including “the old Taylor can’t come to the phone right now” from Look What You Made Me Do and the word “Lover” from her 2019 album.8 Although not all of her applications succeeded, a sizable number of them were approved by the USPTO, making Swift perhaps the first musician to trademark lyrics.9 The filings prohibit the use of those phrases from appearing without a li- cense on “everything from guitar straps and other accessories to removable tat- toos.”10 Some of the more obscure items that Swift’s trademarks cover include “typewriters, walking sticks, non-medicated toiletries, Christmas stockings, 3. See, e.g., Karim R. Lakhani & Marco Iansiti, Taylor Swift and the Economics of Music as a Service, HARV. BUS. REV. (Nov. 6, 2014), https://hbr.org/2014/11/taylor-swift-and-the-economics-of-music-as-a-service; Taylor Swift Biography, BIOGRAPHY (Feb. 28, 2020), https://www.biography.com/musician/taylor-swift; Achievements and milestones of Taylor Swift, TAYLOR SWIFT WIKI, https://taylorswiftlifeandmusic.fan- dom.com/wiki/Achievements_and_milestones_of_Taylor_Swift (last visited July 4, 2020); Steve Knopper, Tay- lor Swift Abruptly Pulls Entire Catalog From Spotify, ROLLING STONE (Nov. 3, 2014, 6:37 PM), https://www.rol- lingstone.com/music/music-news/taylor-swift-abruptly-pulls-entire-catalog-from-spotify-55523/; see also Katie Shonk, The Importance of Power in Negotiations: Taylor Swift Shakes it Off, HARV. PROGRAM ON NEGOT. (May 18, 2020), https://www.pon.harvard.edu/daily/dispute-resolution/dispute-resolution-with-spotify-taylor-swift- shakes-it-off/. 4. Devin Leonard, Taylor Swift Is the Music Industry, BLOOMBERG (Nov. 13, 2014, 8:02 PM), https://www.bloomberg.com/news/articles/2014-11-12/taylor-swift-and-big-machine-are-the-music-industry. 5. Swift, Taylor Trademarks, JUSTIA TRADEMARKS, https://trademarks.justia.com/owners/swift-taylor- 1396036/ (last visited July 4, 2020). 6. Id. 7. See id. As a general note, when using the phrase “love songs” throughout this article, I refer to songs that focus specifically on romantic love. 8. Thomas J. Daly, Taylor Swift’s Trademark Play, NAT. L. REV. (Jan. 13, 2016), https://www.natlawre- view.com/article/taylor-swift-s-trademark-play; Sarah Spellings, Taylor Swift Filed for a Whole New Set of Trademarks, THE CUT (Sept. 4, 2017), https://www.thecut.com/2017/09/taylor-swift-plans-to-trademark-reputa- tion-phrases.html; Taylor Swift’s Lover Trademark Application Rejected, AHLAN LIVE (Sept. 16, 2019), https://www.ahlanlive.com/taylor-swifts-lover-trademark-application-rejected-641369.html. 9. Christopher Coble, Taylor Swift Could Be 1st Musician to Trademark Lyrics: Report, FINDLAW (Mar. 4, 2015, 11:41 AM), https://blogs.findlaw.com/celebrity_justice/2015/03/taylor-swift-could-be-1st-musician-to- trademark-lyrics-report.html; see JUSTIA TRADEMARKS, supra note 5. 10. Kory Grow, Taylor Swift Trademarks ‘This Sick Beat’ and Other ‘1989’ Phrases, ROLLING STONE (Jan. 28, 2015, 9:38 PM), https://www.rollingstone.com/music/music-news/taylor-swift-trademarks-this-sick- beat-and-other-1989-phrases-41228/. No. Spring] THEY BELONG WITH TAYLOR SWIFT™ 141 knitting implements, pot holders, lanyards, aprons, whalebone, napkin holders and the ‘particularly ominous’ collection of whips, harness and saddlery.”11 Purchase of Swift’s merchandise is sometimes essential for fans to obtain tickets to her concerts.12 For her Reputation tour, for example, Swift formed a partnership with Ticketmaster, which drew scrutiny for “forcing fans to spend money on merch[andise] and albums to get a shot at buying tickets”: through a complex arrangement known as the “Verified Fan program,” prospective con- certgoers were prompted to pre-order Reputation, shop for Reputation merchan- dise, and buy Reputation “about a dozen more times from the Taylor Swift store, Walmart, Target, and iTunes to unlock access to tickets.”13 Essentially, “[t]he more things you buy, the better your chance of scoring a ticket.”14 For Swift, trademarking key phrases from her song lyrics is a savvy busi- ness decision—after all, Swift is widely recognized as an incredibly successful businesswoman, in addition to being a singer-songwriter and pop icon.15 Differ- entiating herself from “other flash-in-the-pan teen sensations” and short-term pop trends that die down quickly, Swift “has long been a branding success story.”16 Swift’s brand is one which “just about every teenage girl could relate to,”17 as she has won herself nicknames such as the “reigning mistress of the breakup song.”18 A substantial portion of Swift’s accomplishments rests on her success in branding and commercializing love in a way that continues to captivate her lis- teners. Most of the prolific singer-songwriter’s songs center on romance, cover- ing a myriad of nuanced emotions that are both immensely relatable for her worldwide audience and intensely personal to Swift alone at the same time. On the one hand, Swift’s love songs cover a broad spectrum of emotions that one may experience in different stages of a romance: anticipation, idealism, a pro- clivity to fantasize and dream wildly, pure bliss, euphoria, playfulness, secrecy, possessiveness, jealousy, narcissism, nostalgia, regret, guilt, heartbreak, anger, 19 hate, and vengefulness.19F These are emotions with which the general public 11. Id. 12. See, e.g., Emma Hinchliffe, Taylor Swift’s Ticketmaster Scam is Why She’s Capitalism’s Favorite Pop Star, MASHABLE (Aug. 25, 2017), https://mashable.com/2017/08/25/taylor-swift-ticketmaster-reputation/. 13. Id.; see also Hazel Cills, Taylor Swift’s Ticketmaster Program Is a Complex New Way to Boost Sales, JEZEBEL (Aug. 25, 2017, 10:25 AM), https://jezebel.com/taylor-swifts-ticketmaster-program-is-a-complex-new- way-1798424061. 14. Hinchliffe, supra note 12. 15. See, e.g., Joe Harpaz, The Business Lessons We Can Learn from Taylor Swift, FORBES (Sept. 13, 2017, 10:48 AM), https://www.forbes.com/sites/joeharpaz/2017/09/13/business-lessons-from-taylor- swift/#5c80f8846573. 16. Marian Salzman, Taylor Swift Fills a Blank Space in Branding with Trademarked Lyrics, FORBES (Mar. 3, 2015, 11:24 AM), https://www.forbes.com/sites/mariansalzman/2015/03/03/taylor-swift-fills-a-blank-space- in-branding-with-trademarked-lyrics/#75ca74ee41e2. 17. Id. 18. Patricia Murphy, Taylor Swift, Lighten Up!, WASH. POST (Mar. 7, 2013, 9:00 AM), https://www.wash- ingtonpost.com/blogs/she-the-people/wp/2013/03/07/taylor-swift-lighten-up/.
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