TS jest produktem, który powstał dzięki inwestorom. Jest superbogata, bo zainwestowano w nią superpieniądze (a to oznacza, że jest źródłem zysków dla inwestorów). Pochodzi z rodziny łączącej doświadczenie biznesowe z talentem artystycznym, i z pewnością jest utalentowaną i pracowitą artystką, ale większość zer w jej “wartości rynkowej” pochodzi ze sprytnego biznesu i marketingu, a nie z “ubóstwienia przez zwykłych ludzi”. Bez potężnego marketingu nie byłaby w stanie do tych ludzi dotrzeć, a co dopiero przekonać ich, żeby ją ubóstwiali.

1. Rodzina:

Taylor Alison Swift was born on December 13, 1989, in West Reading, Pennsylvania, United States.[1] She is named after singer-songwriter James Taylor.[2] Her father, Scott Kingsley Swift, was a stockbroker for Merrill Lynch, and her mother, Andrea Gardner Swift (née Finlay), worked as a mutual fund marketing executive briefly.[3] Swift’s younger brother, Austin, would become an actor.[4] Their maternal grandmother, Marjorie Finlay (née Moehlenkamp), was an opera singer.

In 2003, Swift and her parents started working with the talent manager Dan Dymtrow. With his help, Swift modeled for Abercrombie & Fitch and had an original song included on a Maybelline compilation CD.[24] After performing original songs at an RCA Records showcase, 13-year-old Swift was given an artist development deal and began to travel regularly to Nashville with her mother.[25][26] To help Swift break into the country music scene, her father transferred to Merrill Lynch’s Nashville office when she was 14 years old, and the family relocated to Hendersonville, Tennessee. 2. Wydawcy Swift became the youngest artist signed by Sony/ATV Tree Music Publishing,

At an industry showcase at Nashville’s Bluebird Cafe in 2005, [szesnastoletnia] Swift caught the attention of Scott Borchetta, a DreamWorks Records executive who was preparing to form an independent record label, Big Machine Records. She had first met Borchetta in 2004.[39] She was one of Big Machine’s first signings,[26] and her father purchased a three-percent stake in the company for an estimated $120,000

Borchetta said that although record industry peers initially disapproved of his signing a 15-year-old singer-songwriter, Swift tapped into a previously unknown market—teenage girls who listen to country music.

In November 2018, Swift signed a new deal with Universal Music Group, which promoted her subsequent albums under Republic Records’ imprint.[169] The contract included a provision for Swift to maintain ownership of her masters.

In February 2020, Swift signed a global publishing deal with Universal Music Publishing Group after her 16-year contract with Sony/ATV expired.

Swift is known for her traditional album rollouts, consisting of a variety of promotional activities that Rolling Stone termed as an inescapable “multimedia bonanza”

Powyższe cytaty z https://en.wikipedia.org/wiki/Taylor_Swift#

Znakomitym pokazem umiejętności biznesowych jest system sprzedaży biletów na jej obecne tournee: https://en.wikipedia.org/wiki/The_Eras_Tour#Ticket_sales

“Whether you’re a fan of her music or not, Taylor Swift’s success is undeniable. Here are five business lessons learned from Taylor Swift” - https://www.entrepreneur.com/starting-a-business/how-taylor-swift-became-a-billionaire-and-business-icon/465256

Trochę nudnych liczb z https://en.wikipedia.org/wiki/Taylor_Swift#Wealth_and_philanthropy

Wartość rynkowa netto: 1 300 000 000 USD Suma podanych kwot darowizn: 8 973 000 (0,69%)

Nie wiedzieć czemu 55 000 000 premii wypłaconych pracownikom też podano jako “philantropy”, ale ich tu nie doliczam.

Pytanie końcowe: Ile pieniędzy za bilet czy za płytę byliby gotowi zapłacić ludzie, gdyby zniknął ten cały - motywowany biznesowo - marketing? I czy wtedy Taylor Swift byłaby miliarderką?