Taylor Swift has drawn loads of comments from NFL fans – including each praise and ire – since she began dating Kansas City Chiefs tight end Travis Kelce last 12 months and have become a fixture within the stands became. But fans aren't the one ones who’ve their opinions on Swift's presence at games.

The overwhelming majority of players involved within the anonymous 2024 NFL Player Survey — 72.5 percent, to be exact — said they viewed the pop star's interest in the sport (and the resulting coverage) as a positive for the league. Only 4.9 percent of the players surveyed saw it negatively and 22.5 percent saw it neither negatively nor positively.

The Swift-NFL partnership was one in every of the numerous topics that 's Beat Writers asked players about that they wanted to incorporate on this 12 months's survey, with 102 votes forged on the subject. Players were granted anonymity to talk freely about matters impacting the league.

“I think it was positive for the league,” one player said. “I think at the end of the day it's a business and you need to keep as many eyes on it as possible. And she brings a lot of eyes with her, so if that increases the salary cap, I don’t think anyone will be that mad about it.”

Another player who voted “positive” noted that “a lot of Swifties who don't watch football are watching it now.”

“It’s always good to bring more people to the football game,” said this player.

“More fans, broader horizons,” said one other player within the “positive” voter camp. “She has a worldwide fan base. Non-soccer fans are becoming fans, or at least spectators, in the United States.”

Conversely, players who highlighted the “negative” elements felt that it distracted viewers from the game.

“I feel like she’s getting unnecessary coverage,” said one player who voted for the “negative” side. “There was the entire NFL inaugural season video on Twitter and she was featured five times, but our quarterback wasn't. That's not even correct. It’s not the NFL.”

FOOTBALL IS BACK THIS WEEK pic.twitter.com/YVR8kbZnfm

– NFL (@NFL) September 2, 2024

Another player who voted “negative” said this was because, in his opinion, “a lot of people talk about it more than the football game in progress.”

Others viewed Swift's presence on the games as each positive and negative.

“It brings more attention to the game,” said one player, “but I feel like they used her face.” When she's at a game, they probably show it to her six, seven times. People get…bored in the event that they do it over and once again. So I believe they need to seek out a balance.”

“It’s positive and negative,” one other player said. “The reason I say that is because it's great the influence she has on the younger female generation and getting them to learn about the sport. …The negative is all the true football fans who are tired of watching it. We're happy that it increases engagement, but if I'm a Chiefs fan, I don't try to watch Taylor Swift at every commercial break or every timeout. We know she’s there.”

Like some fans, other players didn't care, with one saying: “I'll jam to a Taylor Swift, but I don't give a fuck whether she's at the game or not.”

Required reading

Music generates passion and emotion, so it isn’t any surprise that presidential elections have been dominated by George Washington and Thomas Jefferson.

But as a scholar of The role of music in American politics and patriotismI actually have never seen music play such a giant role in elections because it has in recent months.

Taylor Swift’s support for Kamala Harris is Headlinesin addition to the mere rumors that Beyoncé could perform on the Democratic Party ConventionDonald Trump also has his supporters in popular culture, including Kid Rock and Lee Greenwood.

In a detailed race, music could make a giant difference. Most voters today have already decidedand the race for the presidency stays statistically a dead heatin line with surveys. In this case, I consider music offers a deceptively easy, emotional hook that may excite the party base without alienating the few undecided voters in the center.

When crowd size mattersYou can create an aura of electoral triumph through the singing, shouting and dancing of your supporters.

Full of energy, able to go

Music played a significant role on this 12 months's competing nominating conventions.

In addition to the same old national anthem and background music that filled the breaks between the speeches, pop hits were also used to underline the often boring election calls of the person states. When Trump was ahead with 125 votes from Florida and thus became the official Republican candidate, The organizers played the No. 1 hit by Kool & The Gang from 1980“Celebration.”

At the Democratic National Convention, celebrity host DJ Cassidy turned the relatively mundane technique of the roll call right into a dance party. As each state and territory was called to vote, a signature song was played to introduce, welcome and cheer the group. Alabama opened with Lynyrd Skynyrd's “Sweet Home Alabama,” Eminem's “Lose Yourself” Michigan announcedwhile California presented the music of local presenters Dr. Dre and Snoop Dogg.

And in a Moment that ought to go viralAtlanta-based crunk rapper Lil' Jon responded to the decision to Georgia with a throaty shout of “Heyaaah…” followed by the opening lyrics of his party anthem “Turn Down for What?”

Shortly thereafter, Axios published a whole playlist with the names of the Democratic Party conventions on Spotify and its 61 songs illustrate a tactical musical advantage for the Democrats.

None of the artists represented at this convention have publicly objected to using their songs. In contrast Dozens of musicians have rejected Trump's use of their music at rallies. In 2024 alone, these include ABBA, Adele, Celine Dion, Foo Fighters, Jack White and the heirs of Isaac Hayes.

Instead of rebelling against these insults, the Trump world seems to Headlines they generateThe objections of those artists underscore the candidate's outsider status and are one other sign that he and his supporters are despised by the country's population. political and cultural elites.

The soundtracks of each candidates occupy very different ideological territories. Harris prefers youth-oriented hits with a high proportion of artists of color and girls. Her selection sends a message. With Chappel Roan's “Feminine noun“,” for instance, sends an inclusive, affirming message about gender fluidity, while also suggesting to fans who know the song that it’s time for a lady to be in charge.

Trump often performs classic hits, including James Brown’s single “It's a man's world”, which emphasize traditional masculinity. Rock anthems and patriotic anthems dominate the Make America Great Again playlist, reminiscent of “American Bad Ass” by Kid Rock and “We are the champions”, although the British band has protested against its use. Greenwood’s “God Bless the USA” has grow to be an unofficial anthem of the Republicansand the participants of the rally frequently sing along.

Sonic Stars and Stripes

To put it simply, I view the musical contest between Trump and Harris as a battle for sentiment.

The supporters of each party need to hear a reassuring, trust-building musical message loud and clear. Whether it's a current hit or a classic, chart-toppers convey familiarity and recognition.

The fundamental query, nevertheless, is whether or not this noise of enthusiasm can result in victory.

Harris' campaign scored a victory after receiving Beyoncé's permission to make use of “Freedom” as Candidate's theme song. In contrast, the Trump staffer who used the identical song in a video triggered a stop and desist order. Trump's team pulled the video and using the controversial route has been discontinued.

Harris' tackle Beyoncé's political anthem connects the vp to the pop star's biography as a troublesome, independent and successful woman of color. The song's driving drumbeat tells a story of determination, of her using “freedom” to “break chains alone” and “keep running, because a winner doesn't quit.” Harris would probably love for voters to see her in that light.

But Harris' alternative of song can also be surprising in that it appeals to the unadulterated patriotism of one among the nation's defining values. American flags have long served because the obligatory backdrop of each national parties. But Republicans, especially in recent many years, have been running at full speed claim patriotic symbols as their very own, perhaps in order that voters will see them because the true patriots of the nation.

I see Harris' obvious use of patriotic songs, be it “Freedom” or the Civil War-era songs.Battle cry of freedom”, as a strategic recovery of patriotism for the Democratic Party.

Political fandom

These playlists, endorsement deals with pop stars, and battles over usage rights may show that presidential politics has evolved from a contest of ideas to a type of passionate fandom based on notions of fame, popularity, and tribal affiliation.

However, young voters appear to be discovering their political voice through music and social media. British singer Charli XCX hasKamala IS a brat“The support could have given Harris' campaign an early boost, but some influencers declared her politicization as proof of The early death of Brat Summer.

Nevertheless, music has quickly grow to be a weapon within the battle for younger voters, because the demographic harder fought than in previous cycles. In this context Swift's support for Harris after the controversy for her 283 million followers. The megastar could bring more young people into Harris' camp, especially since her country music roots mean Swifties cover the ideological spectrum.

The strength of a democracy ultimately is determined by the people exercising their power on the ballot box. If music brings more Americans to the polls, no matter who they vote for, Americans usually tend to get an consequence they’ll trust.

For that reason alone, I'm joyful to maintain singing along.

Why Taylor Swift is exclusive in “passion tourism”

“Inevitable” that Swifties travel to recent places

Beyoncé is big too, but we don't often get requests like, “I have Beyoncé tickets to Europe and we want to plan a trip around it.”

Sofia Markovich

Travel Advisor

Taylor Swift is just not only one Billionaire and songwriter and actors. She can be a philosopher.

As a Swiftie and a philosopherI actually have found this claim to surprise Swifties and philosophers alike. But once their fans learn a bit more about philosophy — and philosophers learn a bit more about Swift's work — each groups can appreciate her songwriting in recent ways.

Look within the mirror

As considered one of the best philosophers, Socrates, famously said: “The unexplored life is just not value living“He argued that folks cannot even know whether or not they reside meaningful lives unless they subject their decisions and values ​​to scrutiny.

Like other great authors, Swift's songwriting at all times involves precisely the type of introspective examination of decisions and values ​​that Socrates had in mind. Several songs address the worth of self-understanding, even when it’s difficult.

In the midst of a breakup, the narrator tells in “Luck“Sings, 'Honey, when I'm above the trees, I see this for what it is.'” Still, she describes how difficult it can be to maintain an objective perspective on a relationship while also dealing with the end of a relationship . “And in disbelief I can’t bear to reinvent myself / I haven’t met the new me yet,” she sings. Her partner is on the lookout for “the green light of forgiveness” when she tells them, “You haven't met the new me yet / And I think she'll give you that.”

The Swift-like narrator in “Antihero” brings up an identical point concerning the challenges of self-knowledge. “I stare straight into the sun, but never into the mirror,” she sings, declaring that it is usually easier to see truths concerning the outside world than to face the facts about yourself, and that her tendency to Self-deception limits their abilities to develop into wiser with age.

Everyone has inherited a set of beliefs and assumptions from their parents, peers, and culture that may affect our ability to really understand others and ourselves.

In Swift's “daylight“She describes how she once viewed relationships as “black and white” or “burning red.” Letting go of those old, reductive narratives allowed her to see her relationships – and herself – more clearly. She has emerged from what she describes as a “twenty-year dark night” to see the more complicated, liberating truth: daylight.

Argue for the reality

Socrates showed that the most effective solution to query one's decisions and values ​​is thru sustained, sometimes argumentative, conversation with others. To a non-philosopher, philosophy often looks like devilish advocacy or trolling – arguing only for its own sake. But for philosophers, unkindness is a virtue that helps counter reflexive dogmatism and conformity.

Swift can be argumentative in her songwriting and does so often an ethical argument to an imaginary listener – often, a romantic partner. In other texts, Swift refutes unfair critics And Record executive.

In her texts she has recently increasingly handled public issues, resembling the promise and meaninglessness of politics. At first glance, “Miss Americana and the Heartbreaking Prince“, released in 2019, is a coming-of-age song about teenage relationship drama. However, Swift also describes her own political awakening and disillusionment when she writes, “My team is losing, battered and bruised.” Lyrics like “American stories burn before me” and “You play stupid games, you win stupid prizes.” reinforce a parable about political desperation.

At the identical time, other songs develop arguments for the promise of advocating for political change. In “Only the boys“She addresses someone who sees that “the game has been rigged” and reminds them, “You won't change this / We have to do it ourselves… Only the boys can run.”

Swift's apolitical songwriting also has implications for long-standing ethical debates. In “Gorgias” a dialogue written by Socrates' student Platothe philosopher asks whether it is healthier to suffer injustice than to commit it – a theme that appears in several Swift songs.

Socrates argued that it is healthier to suffer injustice because committing injustice is an attack on one's dignity and integrity. In her 2022 song “karma“, Swift seemingly agrees: “Don't you realize that money isn't the one price?” of immorality, before warning her listener that karma “comes back.”

True – and false

For philosophers, every aspect of human experience is fair game for further evaluation. As a twentieth century American philosopher Wilfrid Sellars wrote, The purpose of philosophy should consist of “understanding how things are related in the broadest sense of the word.”

By adjusting people's beliefs to logical standards of consistency and coherence, philosophical evaluation uncovers contradictions and attempts to find what is basically true.

Swift's songwriting addresses a few of the trickiest paradoxes, resembling whether there may be such a thing as a real, authentic self.

Answering the query in “Mirror ball“It seems to support the view that one's sense of self is essentially strategically and socially constructed to suit the situation. “I'm a mirror ball, I'll show you every version of yourself,” she sings, before saying, “I can change everything about myself to fit in” and “I've never been a natural.” I'm just trying, trying , try it.”

Likewise in “Mastermind“, Swift describes a calculated attempt to win someone's affection when she sings, “I swear I'm only being cryptic and Machiavellian because I care.” In each songs, Swift points out that authentic displays of vulnerability also generally is a type of strategic language, leading the listener to query whether true authenticity is feasible.

Another tricky paradox in philosophy concerns the concept of Overwhelm, which refers to actions which might be morally good but not morally crucial. This idea also allows that actions might be “superior,” meaning that they’re morally bad but still permissible.

Songs like “Champagne problems” And “Should have done“Explore this paradoxical space and describe cases through which someone made a morally criticizable decision that they were still completely justified in making.

In this context, Swift can be fascinated by paradoxes in moral psychology. Songs like “That's what I'm attempting to do“”Illegal matters” And “False good” Ponder the philosophical concept of acrasia: Cases through which people appear to know they shouldn't do something, but do it anyway.

In the philosophical literature on akrasia, the query is usually asked whether that is even possible: if someone believes that their decision is unsuitable or bad for them, then why should they do it? But through her lyrics, Swift creates psychologically realistic vignettes that suggest that real akrasia is not less than possible and possibly happens on a regular basis—from sabotaging a romantic relationship to pursuing a relationship that “We were crazy to think that… it could work.”

Philosophy uses the conventions of logic and poetry to assist people see the world more clearly. A successful philosophical conversation involves formulating rational appeals – logic – that also resonate emotionally – poetry.

But academic philosophers cannot claim to be the one individuals who use logic and poetry to advance understanding of the human condition, the world around us, and the character of justice. Songwriters like Taylor Swift can be philosophers.

A track on Taylor Swift's recent album, “The Tortured Poets Department,” honors a long-celebrated, often miscast heroine of American feminism: actress Clara Bow.

As historians of the Twenties, we now have examined Bow's fame and her cultural legacy. We supervise them on their ranch in rural Nevada a group of her personal artifactsincluding her clothes and a makeup case.

Bow was a girl ahead of her time, a star who owned her success and her sexuality. There is a well-liked perception that Bow was a victim of her own demons. But her story is anything but a cautionary tale.

It's a victory march.

America's “Hottest Jazz Baby”

Bow's profession began in her native New York, where she died in 1921 on the age of 16 She won a beauty contest and received a small role in a movie as a prize.

Bow took every opportunity to be on set and learn the craft. She got here early, stayed late and learned find out how to use cameras and lights. In a burgeoning film industry, Bow's professionalism and kindness stand out defined their success.

After moving to Hollywood in 1923, Bow's scene-stealing ability landed her a series of roles as a peppy sidekick in movies akin to “Dancing mothers(1926). The actress's star turn occurred in 1927.It“, during which she played a department store saleswoman attempting to woo her boss.

Variety called Bow, who had develop into known for her trademark pout, flirty eyes and fiery red hair, Hollywood's “hottest jazz baby.”

45,000 fan letters per thirty days

Off screen, a Series of high-quality romance novels made her private life fodder for the gossip pages.

In 1926, Photoplay told readers that Clara “plays the ruthless younger generation — on and off screen,” she noted that she kissed her boyfriend “so hard that his jaw was 'sore for 2 days.'

Bow's relationship with the press was cold and warm. But the stories didn't stop. They ranged from studio-sponsored puff pieces in major trade magazines to flimsy stories about orgies and abortions published by small newspapers struggling within the cutthroat Los Angeles media environment.

According to the press, Bow suffered from “nervous breakdowns,” was unlucky in love, and was too daring for her own good. Her legions of fans loved her regardless.

In 1929 she received 45,000 fan letters a month. That same yr, sales of the reddish dye henna, which fans tried to mimic, tripled her appearance. On set, she played cards, told rude jokes and handed out lavish gifts, including an emerald-encrusted watch that she gave to one among her hairdressers.

A century before Swift's “Eras Tour” Bow's brand of American femininity – confident, adventurous, sexy – had real range.

In his 1981 memoirsProducer Budd Schulberg wrote, “Millions of followers wore their hair like Clara's and pouted like Clara and danced and smoked and laughed and teased like Clara.”

A cog within the Hollywood machine

As powerful as Bow was within the late Twenties, she was largely powerless to direct her own profession.

She repeatedly signed low-cost contracts with male studio bosses who demanded an uninterrupted production schedule.

Early in her profession, her bosses at Preferred Pictures loaned her out to other studios and pocketed her salary. They imposed Rules and codes of conduct of their contracts to limit their behavior.

The demands of the job were relentless. Exhausted, Bow narrated Motion Picture Magazine from 1930: “People don't know that the studios are factories, that you get up at seven and work hard all day in uncomfortable conditions.” People don't know since the studios don't want them to know .”

Her family bullied. Maids stole. A friend turned personal assistant embezzled money after which sold their secrets to the press, which sparked a scandal and a trial. She had a gambling problem and mental health issues that reporters eagerly covered. Bow ended up making 58 movies in only over a decade. They owned the studios.

Then she did the final word power move.

She stops.

Live her years on her own terms

In the early Thirties, Bow left Hollywood and moved to the Walking Box Ranch in rural Nevada, a 400,000-acre estate owned by her husband, a cowboy movie star Rex Bell. Her whereabouts weren’t known to the press. Some colleagues wondered in the event that they Brooklyn accent whether it will have been capable of address the introduction of sound movies or whether it will have suffered one other breakdown.

In reality, she had fallen in love.

she said by Rex“He gave me the only selfless devotion I ever had.”

Together they raised two sons. He remained in Nevada and pursued a profession in politics. Although they never divorced, Bow eventually returned to California, where she spent her final years in Santa Monica together with her black poodle, Angel. She read voraciously, a habit reinforced by her lifelong insomnia. She loved decorating for Christmas.

It seems that Bow wasn't a victim of her time. She wasn't pushed out of the film because her Brooklyn accent got here to light within the talkies. Nor was she shunned by Hollywood society due to increasingly scandalous stories that got here to light.

She just left and, for probably the most part, didn't look back. Of her status as a recluse, her eldest son, Rex Bell Jr., said: “She wasn't nearly as reclusive as people thought.” She hid behind scarves and glasses, “hoping people wouldn't recognize her.” “, but when they did, “they’d come as much as her and say, 'You're Clara Bow, aren't you?'” On his mother's fame, he recalled, “She was at all times nice to people. She really was.”

Her legacy as a figurehead of American feminism is accurate, if incomplete.

Bow got here to the forefront of American culture at a time when Hollywood's nascent studio system was developing the formula for selling sex. By the late Twenties, the press realized that celebrity gossip sold newspapers and the private lives of actors and actresses were fair game. Recognizing that any attention is nice attention, studio executives welcomed high-profile media coverage of Bow's implied abortions or mental health issues.

Taylor Swift and Clara Bow have rather a lot in common: a meteoric rise to fame built on talent and labor; a row of closely observed love relationships; and legal drama involving managers, former friends and the press. Both women redefined expectations of what an American woman could – and may – be.

In 2019, amid a dispute together with her former label Big Machine Records, Swift decided to re-record her previous records and rename them “Taylor's Version.” to develop into the owner of their music again.

There was no “Taylor version” for Bow. But her decision to depart Hollywood was ultimately a middle finger to the lads she had made wealthy and powerful.

Now Swift Bow is back within the highlight for an encore – and for a brand new generation of fans.