Taylor Swift
Plot twist: Taylor Swift is Machiavelli’s Prince. Yes, the blonde-haired, blue-eyed, 25-year-old pop sensation is quite possibly exactly what Machiavelli dreamed up 500 years ago. The Prince, written by Niccolo Machiavelli in the 16th century, was essentially formatted as political advice for the Italian statesman Lorenzo de’ Medici. Since then however, its ideals and facets have remained alive and relevant in the decisions and attributes of governmental world leaders — and a certain singer-songwriter.
Swift, who leads Instagram with 51 million followers (more than Kim Kardashian and Beyoncé) was nominated earlier this month for the most American Music Awards of 2015. Such achievements are nothing out of the ordinary for the performer, however; Swift has been writing chart-topping hit songs since she was 16. But, how has she been able to stay at the top for so long? In a society in which one’s 15 minutes of fame rarely lasts more than a news cycle, Swift has been gracing magazine covers for almost a decade. The answer? Swift encompasses the competitive aspects of the ever-controversial yet triumphant Prince.
Essentially, Prince seems to be able to succeed in the fact that he understands both popularity and loyalty are fleeting. Yet to know this is simply not enough; to act on it is. In a recent interview with The Sydney Morning Herald, Swift acknowledged this archetype by saying, “The public could change their minds about me tomorrow. Things are good right now but I’m never going to be stupid, foolish or ignorant enough to think I have control over the public.” Swift’s track record can support that she has wisely acted upon this realization. She has constantly reinvented herself — from innocent country singer to dabbling actress to a global pop sensation flaunting more adult-like lyrics. Remaining a novelty through alteration of her platform, image and stylistic expression, Swift continuously outsteps the competition. In this way, Swift no longer relies on the opportunity provided by fortune — something Machiavelli strongly advises against — and therefore has not “come to grief when [that] fortune changes.”
Additionally, Swift reflects the teachings of Machiavelli in how she has chosen to run her current world tour. Instead of creating enemies through competition, Swift has decided to partner with other musical phenomena through showcasing a guest performer at many concerts (invitees have ranged anywhere from Mick Jagger to Uzo Aduba from Orange Is the New Black). By partnering with other prosperous performers, Swift has created mutually beneficial relationships that contribute to the successes of all involved. Through this choice, Swift takes the more peaceful and politically correct route of Machiavelli’s dichotomy, “men must either be won over or else or destroyed,” thus showing that it truly is profitable to be loved more than hated.
Making headlines earlier this year for pulling all of her songs from Spotify, Swift portrayed agreement with an additional Machiavellian recommendation of favoring frugality over generosity. In essence, Swift broke her partnership with the free streaming music app because of her view, expressed in an op-ed she wrote for The Wall Street Journal, that “music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for. It’s my opinion that music should not be free.”
Whether Swift knowingly portrays such beneficial — and arguably the more ethical — Machiavellian traits is anyone’s guess. Intended or not, however, it makes no difference. Swift has shown that she knows how to succeed repeatedly. Through her career, it has become clear that the “princely” role is no longer only for men of political power. If it still was, how then could her Fearless album containing the lyrical refrain “I’ll be the princess” become the bestselling album of the year?
Rock on, T-Swift.
