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Scott Borchetta, of Big Machine Records, and the two one-way streets just west of downtown Nashville, known as Music Row, constitute the heart of the country music industry . Taylor Swift, who has chosen to switch from Big Machine – his label for 15 years – to 2006, leaves a gaping hole in the country industry, although Swift officially left the genre two years ago. The loss of revenue for the music campus and Big Machine in particular will be felt for years. They lost their biggest superstar.
Taylor Swift announced the move Monday (11-20) about a month after the official expiration of his contract with Big Machine Records. She had been negotiating with the brand for months, one of the big problems being the ability to retain the ownership of her owners and become the owner of the masters she had already created with the brand. Swift specifically stated that one of the reasons she had chosen Universal Music Group and Republic Records, since her new label was due to the partnership allowing her to retain the masters of her music. Without being too technical, the masters are essentially the owners of the music, the labels then paying royalties to the artists for their work, while retaining them.
As an independent label, Big Machine and Taylor Swift have already been distributed by Universal Music Group. Even though Taylor has gone from Big Machine, it's still possible that she eventually finds her previous masters. Just as Taylor Swift was negotiating with Scott Borchetta, Scott Borchetta was negotiating with major record companies to sell the company, including with Universal. Borchetta is still selling, although without Taylor Swift, the price is not as juicy.
This news comes after what can only be described as a long series of defeats for Scott Borchetta and Big Machine Records. Once invented "The Antichrist of Country Music" by saving country music, Borchetta engulfs his market share at an alarming rate and his propensity to promote artists having little to do with country music (Florida Georgia Line, and others). Borchetta had a difficult time in early 2017 and has not exercised the same power since.
Many were shocked when, in February 2017, Tim McGraw chose to switch from Big Machine at Sony Music Nashville. Borchetta had worked hard to move McGraw away from Curb Records, including a protracted legal battle. Then a month later, Big Machine was forced to get their Dot Records footprint, which housed artists such as Maddie & Tae and Drake White.
After the big growth of Big Machine, Scott Borchetta had to multiply his fingerprints, notably by relaunching the legacy Dot imprint in 2014, and he has now been forced to downsizing because Big Machine's management structure was so much put to the test and too much to make money from etiquette. The partnership between Big Machine and Cumulus Media on the NASH Icon footprint to provide radio support to older artists such as Hank Williams Jr. and Ronnie Dunn also seems to be limping. Cumulus is currently in Chapter 11 of restructuring the bankruptcy itself.
Now you add Taylor Swift's loss, and that's another devastating blow to Big Machine, which at one point felt like it could take over Music Row and country music. He still owns Taylor Swift 's songs, which have sold some 32 million albums in the United States, but that' s an asset of diminishing returns, especially in the era of streaming.
But Big Machine's Taylor Swift deserves deeper thought than the financial ramifications of a big Music Row label, and the big profit, but embellished (as usual with Swift) than other artists' Universal could receive, since Swift used his signature for mighty arms Universal agrees to share money with artists if the label sells its stake in Spotify.
If it was not Taylor Swift, there would be no Big Machine Records. And if it was not the case for Big Machine Records, there would be no Taylor Swift.
Nowadays, you can not escape from articles showing your concern about the lack of women in country music, and for good reasons. The promotion of women in the country has become the cause in many circles, with media outside the country genre mingling with the fray. Awareness of the problem is no longer a problem. In fact, one could argue that the problem was solved, which makes it too confrontational to find a pragmatic solution, while preventing some women from pursuing a career in country music, exacerbating the problem.
You will find all sorts of reports that women are not broadcast on the radio, that women are not considered for festivals, that women are not treated on an equal footing with their male counterparts. and that women can expect to face sexual harassment. and other potentially dangerous scenarios if they choose a career in country music – just like Taylor Swift did when a DJ was feeling her down. But what you will not be able to hear are stories of how women can and have succeeded in the genre, despite the difficulties and difficulties they face. In fact, if you try to highlight positive stories, you run the risk of being part of the problem. And there is no greater achievement for women in country music than Taylor Swift.
It should be understood that Taylor Swift was only 14 years old when Scott Borchetta saw her for the first time performing at the Bluebird Cafe in Nashville. He was so enamored that he decided to create an entire record company around her. Forget that Swift was a woman trying to win the country, Taylor Swift could not even drive legally at the time. And to be successful, Taylor should rely on a label with no track record, no influence, and no calling list, other than Swift herself. Scott was no stranger to the record label industry, but he was trying to stymie the country music industry and went against the standards of Music Row – whatever something that has been tried many times over the decades and has often failed.
The chances of Taylor Swift were impossible, but her first record sold more than 5 million copies. His second record, the aptly named Without fear, sold 7 million euros and won the Grammy album title of the year. 2010 Swift Record Speak Now was written and co-produced by Swift herself and also won two Grammy Awards. Taylor Swift is not only one of seven women to win the CMA for Best Artist of the Year in 52 years, she has also won twice.
Yes, we all know that Taylor Swift is not a country and has never been, although, compared to much of the country music today, this argument is irrelevant. And no matter what you think of his music, the true country fans will always have a debt of gratitude, even reluctantly, for being one of the few artists in the history of modern countries to have revealed the nature of his music, and switch to pop just as they had asked. She proved why this was not only important, but could be a way to even greater success.
Despite the incredible, perhaps insurmountable, obstacles that Taylor Swift faced, she was able to persevere through the Music Row system and become one of the greatest artists of popular music, with so much weight and power that she was the best. she could Negotiate a contract with some of the most favorable concessions ever won by an artist, including potentially helping hundreds of other artists if and when a Spotify sale came to fruition.
Taylor Swift became so big that country music could not contain it. And Music Row could not either. And she did it all by starting country music as a woman and as a young woman. And other artists, including artists who really sound country-like, though, like Taylor Swift, they possess unique talents that perfectly match the time and place of their ascent. But they must also believe in themselves more than to believe that it's impossible for a woman to succeed in country music, just like Taylor Swift did. Only then will they be brave enough to succeed.
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