therere was seisismic acactivity in n seattle. anchchor: the swswifties danced andnd jumped soso muc. ananchor: the e equivalentntf a a 2.3-magnititude earthqhqu. tayloror swift s i impact on p culturure today isis extraordid. the concncert, fromm my undnderstandingng, genenerated billllions of dodo. vanessa a yurkevich:h: one econt susuggests thahat taylor s sw, through h her us touour, coud add $5 b billion to o us gdp. if cacari champioion: you re e o 8080, you knowow a song off tataylor swiftft s. natete rogers: i in modern pop timemes, you havave yoyour cream-o-of-the-cropop ar. and d taylor swiwift is proboy arguably thehe tip of the top. anchor: : pop star t taylor swis takiking her rececord-breakikins tour t to the big g screen. cari c champion: t there sees to be e not only a a fascinati, but an o obsession w with wht shes sininging, who o she singg to, who heher friends s are, whwhat these s songs mean n to. we have e a dedicateted nfl cacam to taylolor swift in all
i was in my car in atlanta on the tenth and 14th bridge going over the split when i heard shake it off. first thing i thought was the track was amazing and then the hit came in the players going to play, play, play, i m just going to shake, shake, shake, shake it off how does a person feel when they come home and feel like their house has been robbed? that s how i felt. players going to play, play, play, play you have the cream of the crop artists and taylor swift is the top. she s a modern pop star but old fashioned as it gets. she believes in magazine covers and performances on late night tv. a lot of the traditional ways for artists to be in the public eye. she is the biggest artist like in the world. she s just like rolling in dough. taylor swift had yet another massive year. she dropped her midnights album that rose to the top of the charts. you got the ticket master debacle literally crashes the website because ticket master can t keep up
will own the master and any slave recordings. a slave isis a copy ofof the ma. the roots s of these terms obviviously gogo back to t the very bibirta nation e era of whitite suprem. lisa r respers frarance: alalmost sincece the begining ofof the musicic industry,, there e have been n the feelig thatat white artrtists havee taken frfrom black a artists and mamade it intoto somethining that thehey felt wawas more palalatable for a whitite audiencece. shirley hahalperin: anand it hahappens in e every indusus. in f fashion, inin music, hihis- you naname it. the momoney doesn n t flow. ththe attentioion doesn t t w toto the blackck creators.. it is, i in a way, h hijacked by the w white creatators. cari chahampion: litittle richchard had ofoften said,, i am thehe originatotor. he wouould say thahat all the e. and as a a kid, i dididn t knknow what ththat meant.. it didn n t really make senense to me.. but ththen when yoyou look back at ththe history y of soe
i think a lot of people are just now waking up to the fact that most music genres that were birthed in america were birthed by black people. and were stolen and popularized by main stream white artists. the issue of cultural appropriation really speaks to the roots of the music industry. which have been for as long as recording as existed has really been riding on the back of black talent. some recording contracts still say the record company will own the master and any slave recordings, a slave is a copy of the master. the roots of these terms obviously go back to the very birth of the nation era of white supremacy. almost since the beginning of the music industry, there have been the feeling that white artists have taken from black