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Vorlage:Short description

Swifties are the fandom of American singer-songwriter Taylor Swift. Regarded as one of the largest and most devoted fanbases of the 21st century by journalists, Swifties are known for their high levels of participation, creativity and fan frenzy. They are a subject of widespread coverage in mainstream media and are often credited as one of the factors driving Swift's success and popularity.

Critics and academics have noted the intimacy and uniqueness of the artist-fandom relationship; Swift has frequently engaged with, personally helped, and prioritised the fans, while the latter have offered unprecedented support and interest in Swift's works and persisting through her moments of negative press. Having influenced the music industry and beyond in many aspects, Swifties helped Swift with the success of her re-recordings after her masters dispute, contributed to the political scrutiny of Ticketmaster, and caused economic growth with the cultural impact of the Eras Tour. However, the fanbase has been criticized for verbally attacking internet users and celebrities who had maligned Swift.

Swift's releases, promotional efforts and fashion choices have garnered attention and acclaim for incorporating Easter eggs and clues that are decoded by Swifties, dubbed part of Swift's musical universe. Cultural analyses have variably described Swifties as a community of interest, a subculture, and nearly a metaverse.

History

Origins

Taylor Swift debuted as a 16-year-old country music singer-songwriter in 2006. As per media reports, Swift has had a fanbase as early as 2005. Before releasing her debut single "Tim McGraw" (2006), Swift had been using social networking websites. She was one of the first country artists to use the Internet as a marketing tool for her music. Swift predominantly used MySpace to promote herself and connect with listeners who had liked her music when it played on the radio.[1][2][3] She created her MySpace account on August 31, 2005, a day before her then-label, Big Machine Records, was inaugurated. Swift's songs on MySpace collected more than 45 million listens, which Scott Borchetta, the label CEO, provided to "skeptical" country radio programmers to convince them of existing fans for Swift's songs.[4] Swift's early fanbase, initially, consisted of white American teenage girls.Vorlage:Cn

Swift released her debut studio album, Taylor Swift, in the United Sates in October 2006, It sold 40,000 copies in its first week.[5] However, the album became a sleeper hit as it kept selling consistently over time,[6] reaching a million copies in November 2007.[7] It garnered its highest sales week in January 2008 with 187,000 copies.[8] This sleeper success contributed to a rapid increase in Swift's notability within and beyond the country music scene. Taylor Swift spent 24 weeks at the number-one spot of the U.S. Top Country Albums chart and became the longest-running album from the 2000s decade on the all-genre Billboard 200.[9][10] Her follow-up record, Fearless, was released in November 2008 and became the best-selling album of 2009. It achieved significant international success beyond the Anglosphere,[11][12] where country music was then not popular,[13][12] and the singles "Love Story" and "You Belong with Me" became crossover successes on pop radio,[14] catapulting Swift to mainstream fame and widening her audience.[15][16] The success planted dedicated fanbases for Swift in overseas markets such as the United Kingdom,[11] Ireland, Brazil and Taiwan.[12]

Etymology

The term "Swiftie" for a Swift fan gained popularity in the late 2000s.Vorlage:Cn Swift stated in a 2012 Vevo interview that her fans call themselves "Swifties", which she found "adorable".[17] Swift filed the word Swifties for trademark in March 2017.[18]

Relationship

Swift maintains a close relationship with Swifties, to whom many journalists attribute cultural influence.[19][20] Her connection with fans is considered unique for artists of her stature; she has interacted with them on social media, sent them gifts, hand-selected them to attend intimate concerts or meet-and-greets, made surprise visits, participated in some of their functions, and gifted free tickets to disadvantaged fans.[20][21][22] She hosted the "Secret Sessions", a series of pre-release album-listening parties for fans at her houses.[23][24]

With her large fanbase, Swift is one of the most followed people on social media.[25][26][27] According to ticketing executive Nathan Hubbard, Swift was the first musician ever "to be natively online."[28] Rolling Stone critic Brittany Spanos opined that Swift grew her fanbase on social media: "She was using Tumblr way past its prime. Twitter. She's now on TikTok, commenting on people's videos."[3]

She has donated to fans to cover their academic loans, medical bills, rent or other expenses, and once bought a house for a pregnant, homeless fan.[29][30] Her excess donation to a fan with leukemia on GoFundMe in 2015 caused the crowdfunding platform to expand its policy.[31] Swift has written songs in honor of her fans, such as "Long Live" (2010)[32] or "Ronan" (2012); the latter is a charity record about a fan's four-year-old son who died of neuroblastoma.[21]

Lore and community

Vorlage:Quote box

Journalists describe her works, celebrity, and the fanfare surrounding them a world on its own, dubbing it a music "universe" subject to analyses by Swifties. Propagated by her prolific use of Easter eggs and "unusually close connection with her fans",[33][34] Swift is a source of myth in popular culture. Her outfits, accessories, diction, color coding, and numerology have also been Easter eggs.[35][36] Glamour and The Washington Post termed it the Taylor Swift Cinematic Universe.[37][38] Entertainment Weekly called it Taylor Swift Musical Universe—"a pop star known for prodigious hint-dropping, whose fans turn every piece of info into an online archaeological dig."[39] In The Guardian, Adrian Horton said "Swiftverse" is a subculture of mass media, cultivated by "years of worldbuilding and Swiftian mythology",[40] while Alim Kheraj wrote Swift turned pop music into a "multiplayer puzzle" involving fanbase commitment, which other artists have attempted to reproduce.[41]

Andrew Unterberger of Spin wrote that symbolisms are "inextricable elements of the Taylor Swift experience" and key to understanding her work.[42] To Caroline Mimbs Nyce of The Atlantic, Swift's fandom is nearly a metaverse: "a huge virtual community unmoored from a single platform, based on a world around Taylor Swift, missing only the 3D virtual space to hang out in."[43] According to Yahr, Swift enjoys embedding "clues, hints and puzzles" in her works, social media posts and interviews, constructing a self-mythology that fans believe could have a hidden meaning and attempt to decode, such as a release date, song or album title or an artistic element.[44] Madeline Merinuk of Today observed how Swift's easter eggs, which originated as short messages hidden within elaborate CD packaging, have become more innovative and intricate over time.[45] The critical analysis is referred to as "Swiftology" in the media.[46][42] For instance, "the scarf" mentioned in "All Too Well" has been a topic of mythology.[47][48][49]

Swift is known for her album rollouts and promotional concepts, often referred to as "eras".[50][51][52] Each of era is characterized by an aesthetic idea, color palette, mood, and a fashion style.[53][54][55] As such, Swift has reinvented her image and style throughout her career, which Ashley Lutz of Fortune felt aided in broadening her fanbase.[56]

Sociological characteristics

Swifties have been described as a loyal fanbase with high levels of participation and creativity.[57] To The Washington Post, Swift and Swifties are "all part of one big friend group".[33] Many fans feel connected to her as they "have grown up with her and her music."[58][59] Their positive reception of Reputation, which was released after the 2016 controversy, demonstrated their commitment to her, irrespective of a tonal shift in her artistry and public perception.Vorlage:Sfn Billboard wrote the unprecedented success of Swift's re-recorded albums was further evidence of their loyalty.[60] According to Willman, the re-records' success inspired other artists to "weaponize fans in their business disputes".[61] Author Amanda Petrusich described Swifties' allegiance as both "mighty and frightening".[62]

The consumerist phenomenon of purchasing anything related to Swift has been termed "the Taylor Swift effect" by The Guardian.[63] To business scientists Brendan Canavan and Claire McCamley, the relationship between Swift and Swifties represents post-postmodern consumerism.Vorlage:Sfn Sociologist Brian Donovan opined, "it is easy to dismiss the frenzy surrounding Swift as mindless hero worship. Yet, the Swifties have shown the power of fandom to create social bonds that transcend consumerism."[64] He praised Swift's ability to "tap into the collector mindset in her fandom".[65] The frenzy, generally termed "Swiftmania",[66] has been considered the 21st-century equivalent to Beatlemania by journalists such as Jon Bream of Star Tribune, who said "Swift has achieved a once unthinkable monoculture, a zeitgeistian redux of Beatlemania".[67][68]

Impact

Vorlage:See also Swifties have been widely covered for their support to Swift in terms of her commercial success. Swift is known for her large CD and vinyl sales despite the 21st-century music scene having shifted to a largely digital industry.[69] In 2014–2015, Swift contested music streaming services Spotify and Apple Music to regulate their policies to protect the artists' integrity.[70][71] She announced that 1989, her first-ever pop music album, would not release on Spotify, protesting the platform's "minuscule" payments to musicians.[72] Some journalists, such as Nilay Patel of Vox, criticized Swift's beliefs; Patel said that the Internet has sabotaged the album format, claiming most fans would not shop for a Swift CD anymore.[73] Many industry personnel felt that Swift departing from country music and streaming platforms would impact the album's sales.[74] Publications predicted 1989 to not sell over a million copies in the first week like her previous albums Speak Now (2010) and Red (2012) did.[75][76] However, 1989 was a unprecedented success for Swift despite the lack of streaming support, widely purchased by fans as CDs from Target.[77] The album marked Swift's first album to sell 1.28 million copies in the opening week.[77] In the 2020s, Swifties have also been credited with being one of the factors driving a vinyl revival.[78] Swift's album LP variants have been sold exclusively at small business shops, driving their profits.[79][80]

The fans increased the publicity surrounding Swift's 2019 masters dispute with Big Machine and American businessman Scooter Braun and drove the success of her re-recording efforts.[81][82][83] An online petition launched by a fan on Change.org, calling Braun and Borchetta "to stop holding Swift's art hostage", garnered 35,000 plaintiffs in its first three hours. Michael Jones, managing director of campaigns in Change.org, described the petition as "one the fastest-growing petitions on the platform this month".[84] Braun, however, claimed that Swift "weaponized" her fanbase by making the dispute public.[85] Swifties also discovered that the Carlyle Group, a partner of Braun in the dispute, supplies weapons to the civil war in Yemen, which was confirmed to by publications such as The New York Times.[86][87][88]

Swift's works, including concert tour like the Eras Tour, are known to drive surrounding economies.[89] Swifties have caused this economic impact, attributed to the "booming" travel, lodging, cosmetic, fashion, and food businesses,[90] which boost tourism revenues of cities by a large margin.[91][92][93] The Los Angeles Times described Swifties as an economic microcosm consisting of skyrocketing demand, limited supply, and price gouging, and customers "willing to pay almost anything."[94] In November 2022, the U.S. pre-sale of the Eras Tour was mishandled by Ticketmaster, receiving widespread public and political scrutiny. Due to the "astronomical" fan demand,[95] the Ticketmaster website crashed within an hour of sale but still sold 2.4 million tickets, breaking the record for the most concert tickets sold by an artist in a single day. Ticketmaster attributed the crash to "historically unprecedented" site traffic.[96][97] Fans and consumer groups accused Ticketmaster of deceit and monopoly.[98] The intense fan reactions caused several members of the U.S. Congress to highlight the merger of Ticketmaster and its parent company Live Nation Entertainment that has led to substandard service and higher ticket prices.[99] The U.S. Department of Justice opened investigations into Live Nation–Ticketmaster,[100] whereas several fans sued the companies for intentional deception, fraud, price fixing, and antitrust law violations.[101] Under pressure from president Joe Biden, Ticketmaster and other ticketing companies agreed to terminate junk fees.[102] Entertainment Weekly and The A.V. Club listed "Swifties vs. Ticketmaster" as one of the biggest cultural news stories of 2022.[103][104] CNN journalist Allison Morrow wrote in an article titled "One Nation, Under Swift" that Swift's fans united the parties against Ticketmaster in a way "the Founding Fathers failed to anticipate".[105]

Noticing the growing trend of Swift-themed dance parties in the world, industry commentators found that Swift's cultural position as a staple in the 21st-century music landscape allowed nightclubs to profit from her by hosting specialized events for fans.[106][107][108] One such party is "Swiftogeddon", which began as an one-off Swiftie event in London and grew into a U.K.-wide club-night tour that sells out every weekend.[109]

Demographics

According to a 2023 survey by Morning Consult, in the U.S., 53% of adults said they were fans of Swift, of whom 44% identified as Swifties and 16% as her "avid" fans. Of the fans, 52% were women, while 48% were men; racially, the 74% of the fans were white, 13% were Black, 9% were Asian, and 4% from other races; politically, 55% of the fans were Democratic, 23% Republican, and 23% independent. In terms of generations: 45% millennials, 23% baby boomers, 21% Generation X, and 11% Generation Z.[110] Brooke Schultz of the Associated Press called Swift's fans an influential voter demographic in U.S. politics.[111]

Criticism

Swifties have received criticism for certain behaviors as well. Journalists have denounced the parasocial interactions that some Swifties have with Swift, including excessive interest in Swift's private life.[112][113] Fans have swarmed locations where she is spotted.[114] They have also been reported to attack, harass or send death threats online to, and dox other celebrities, journalists, and Internet users for various reasons, such as speaking negatively of Swift.[115][116][117] Following the masters dispute, American businessman Scooter Braun claimed that he received death threats,[118] saying, "I am certain there is no situation ever worth jeopardising anyone's safety."[119]

A small faction of Swifties, called "Gaylors", believe that Swift is secretly gay and hints at her queerness through her music, although she described herself as an ally to the LGBT community. Some Gaylors specifically ship Swift with Karlie Kloss, Dianna Agron, or both, claiming Swift dated them in the past, and accuse Swift of queerbaiting if she is not actually gay. Most Swifties criticize Gaylor theories as far-fetched, malicious, and disrespectful to Swift. Journalists likewise dismiss it as an invasive and baseless conspiracy theory.[120][121]

Academic analysis

Swifties have been the subject of journalistic and academic interest for their "prolific content creation, digital savvy, organizing capacity, and sometimes vicious online behaviors", as per internet culture researchers Cristina López and Avneesh Chandra.[121] Donovan distinguished "Taylor Swift fans" from Swifties, opining that the latter are a subculture characterized by collective effervescence, unlike other fanbases. Some linguists termed the Swifties' fan-coded, lyrics-based language a "fanilect".[122] A 2023 network map published by Internet researchers Cristina López and Avneesh Chandra divided Swifties into six distinct factions based on online activities.[121]

See also

References

Vorlage:Reflist

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  109. ↑ Kate Solomon: 'I love being part of a collective female experience': inside the all-Taylor Swift club night sweeping the UK In: The Guardian, August 9, 2023. Abgerufen im August 13, 2023 
  110. ↑ Saleah Blancaflor, Ellyn Briggs: The Taylor Swift Fandom Is White, Suburban and Leans Democratic. 14. März 2023, abgerufen am 15. Mai 2023.
  111. ↑ Brooke Schultz: Taylor Swift ticket trouble could drive political engagement, November 22, 2022. Abgerufen im November 23, 2022 
  112. ↑ Patricia Grisafi: Matty Healy exposed the dark side of the Taylor Swift parasocial fantasy, June 6, 2023. Abgerufen im June 7, 2023 
  113. ↑ Ayesha Rascoe: Taylor Swift fans are upset over reports of her breakup. A psychologist explains why. NPR, 17. April 2023, abgerufen am 7. Juni 2023.
  114. ↑ Christi Carras: Wedding Crashers (Taylor's Version): Swifties swarm Jack Antonoff and Margaret Qualley's nuptials In: Los Angeles Times, August 21, 2023. Abgerufen im September 1, 2023 
  115. ↑ Chris Panella: Taylor Swift fans sent me death threats, doxxed my family, and accused me of being a pedophile after I criticized her Eras Tour. Insider Inc., abgerufen am 23. September 2023.
  116. ↑ Vorlage:Cite magazine
  117. ↑ Vorlage:Cite magazine
  118. ↑ Amanda Arnold, Melinda Fakuade: Untangling the Incredibly Complicated Taylor Swift–Scooter Braun Feud. In: The Cut. 22. November 2019, abgerufen am 13. Februar 2021.
  119. ↑ Katie Rosseinsky: How Taylor Swift is changing the music industry a re-record at a time In: Evening Standard, November 15, 2021. Abgerufen im April 19, 2022 
  120. ↑ Sources on Gaylor:
  121. ↑ a b c Cristina Lopez, Avneesh Chandra: Now We Got Bad Blood. Graphika, 12. April 2023, abgerufen am 29. Mai 2023.
  122. ↑ Lisa Guiterrez: Taylor Swift and her fans are such a phenomenon, this KU professor is studying them In: The Kansas City Star, May 24, 2023. Abgerufen im June 5, 2023 
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