Latest news with #FromtheVault
Yahoo
7 days ago
- Business
- Yahoo
Taylor Swift Paid $360 Million to Buy Back Her Songs — Report
Taylor Swift has recently bought back her music, rewriting the narrative of artistic freedom. Years after Scooter Braun bought the masters to her first six studio albums, they were sold to Shamrock Capital. The pop star reportedly paid an estimated $360 million to buy back the rights to her music. This chapter marks a major milestone in Swift's career after a long-fought battle over artistic control. In a landmark move, Taylor Swift reportedly bought back her music for almost $360 million. The master of her early discography, from her self-titled debut to 'Reputation,' was sold off in 2019. Scooter Braun's Ithaca Holdings purchased the albums, which were later sold to a private equity firm, Shamrock Capital. Swift was not aware of the negotiations and learned about the deals after they were finalized. As per Billboard, Shamrock Capital struck a deal with Swift to sell the rights back to her. Moreover, they aligned the purchase price roughly with the firm's original investment. The firm reportedly made around $100 million during its three-year ownership of Swift's masters. However, it sold them off to the 'Cruel Summer' singer with little to no additional profit by striking the estimated $360 million deal. Swift has been vocal about the importance of artists' rights over their music since the ordeal began. As a result of the unprecedented acquisition of her albums by Braun, the Grammy winner publicly committed to re-recording the six albums. She began recording them under the banner of 'Taylor's Version,' adding songs 'From the Vault.' Her re-recorded albums dominated the charts, even outperforming the originals in streaming and sales, according to Billboard. Swift's hard-won victory marks a turning point for artists' rights, creating a broader impact. Besides, her estimated net worth is already among the highest for musicians worldwide. Now that the singer-songwriter has full control over the masters, her net worth will likely see further growth. Originally reported by Ishika Mishra on Reality Tea. The post Taylor Swift Paid $360 Million to Buy Back Her Songs — Report appeared first on Mandatory.
Time of India
30-05-2025
- Entertainment
- Time of India
Taylor Swift reclaims master recordings of first six albums — but it came at a whopping cost
Taylor Swift has regained full ownership of the master recordings of her first six albums, marking the end of a years-long battle over her music rights. The acquisition includes videos, artwork, and unreleased tracks, redefining artist autonomy in the industry. Tired of too many ads? Remove Ads Swift Secures Her Music Legacy From Braun to Autonomy Tired of too many ads? Remove Ads The Re-Recording Project: A Turning Point What Lies Ahead for Remaining Albums A New Era for Artist Rights FAQs What did Taylor Swift regain ownership of? How much did the acquisition cost? In a landmark development for artists' rights, global pop icon Taylor Swift has officially regained ownership of the master recordings of her first six albums. The move brings closure to a protracted and high-profile battle that has drawn industry-wide attention since acquisition, confirmed by in a heartfelt message to fans, includes not only the masters but also videos, concert films, album art, photography, and unreleased material. 'All of the music I've ever made now belongs to me,' Swift wrote. 'I almost stopped thinking it could ever happen.'Though details of the transaction remain under wraps, earlier reports speculating the cost to be between $600 million and $1 billion have been dismissed as inaccurate. However, insiders confirm the price far exceeds the $300 million for which Scooter Braun sold the masters to private equity firm Shamrock Capital in 2020, as mentioned in a report by fallout with Braun began in 2019 when her original label, Big Machine Records, sold the masters of her early work without offering her the right of first refusal. The singer, then signed under Republic Records, had described the sale as her "worst-case scenario." Her prior offer, she said, required her to "earn back" one album at a time by creating new work under the former label — a condition she firmly wrote, 'All I've ever wanted was to work hard enough to one day purchase my music outright — no strings, no partnerships.' She credited Shamrock Capital for treating the transaction with the respect it deserved, calling it not just a business deal but a reunion with 'decades of dreams.'In the wake of the sale to Braun, Taylor Swift embarked on a historic mission to rerecord her original six albums. By releasing them under the "Taylor's Version" branding — including previously unreleased 'From the Vault' tracks — she aimed to undercut the commercial value of the 2021 and 2023, Swift reissued Fearless, Red, Speak Now, and 1989, each breaking records across global charts. As the principal songwriter, Swift was legally entitled to rerecord the tracks and restrict usage of the originals. Some of her rerecorded work even premiered in major TV series, notably Look What You Made Me Do in The Handmaid's Reputation and her 2006 self-titled debut remain unreleased in their rerecorded forms. Swift admitted that recreating Reputation posed unique emotional challenges and has been delayed. Still, she confirmed her debut album has been rerecorded and may be released 'when the time is right.'The Taylor Swift masters saga has triggered industry-wide conversations about ownership, especially among emerging artists. 'Every time a new artist tells me they secured their masters because of this journey, I'm reminded why it was worth it,' she this acquisition, Taylor Swift not only reclaims her creative legacy but sets a new precedent for artist autonomy in the modern music now owns the master recordings of her first six albums, along with videos, concert films, artwork, photography, and unreleased exact figures haven't been disclosed, insiders say the cost exceeded $300 million—more than the $300M paid by Shamrock Capital in 2020.
South China Morning Post
02-05-2025
- Entertainment
- South China Morning Post
Why Denzel Washington vs Gene Hackman thriller Crimson Tide remains relevant 30 years on
This is the latest instalment in our From the Vault feature series, in which we reflect on culturally significant movies celebrating notable anniversaries. Advertisement Thirty years after its release in May 1995, Tony Scott's submarine thriller feels terrifyingly timely. The film that saw one of the last great roles for Gene Hackman, who died in February , posits a world on the verge of World War III because of a conflict in Eastern Europe. Swap civil unrest in Chechnya for the Russian invasion of Ukraine, and it could have been plucked from today's headlines. Scott (1944-2012) was a British filmmaker known for testosterone-fuelled action films such as Top Gun , also produced by Don Simpson and Jerry Bruckheimer. Although Crimson Tide retains the team's usual trademarks – hyperactive editing, fetishised military hardware, lots of men shouting at each other – they are always in service of the story.
South China Morning Post
03-04-2025
- Entertainment
- South China Morning Post
Why Sin City was such a landmark movie, a neo-noir hit that still resonates 20 years on
This is the latest instalment in our From the Vault feature series, in which we reflect on culturally significant movies celebrating notable anniversaries. Advertisement At the turn of the millennium, the rise of digital technology allowed filmmakers to do almost anything they wanted. The limits were their imaginations – and the audience's patience. The 2005 film Sin City, which turns 20 this month, was adapted from Frank Miller's neo-noir comic book series and directed by Robert Rodriguez (Desperado) and Miller himself. Along with the 2004 films Sky Captain and the World of Tomorrow, which starred Jude Law, and the Japanese superhero flick Casshern, it was one of a clutch of movies shot completely on a 'digital backlot'. This means that everything except the actors, props and basic sets was created digitally, allowing the filmmakers to closely copy the highly stylised source material. Indeed, Rodriguez called it 'less of an adaptation than a translation'. Intrigued by the technology, Quentin Tarantino directed one sequence for the nominal fee of one US dollar. In fact, he was returning a favour, as Rodriguez had scored Kill Bill: Volume 2 for the same amount.
South China Morning Post
07-03-2025
- Entertainment
- South China Morning Post
As Tank Girl movie turns 30, why comic-book adaptation with Naomi Watts, Iggy Pop tanked
This is the latest instalment in our From the Vault feature series, in which we reflect on culturally significant movies celebrating notable anniversaries. Advertisement After Tim Burton's Batman hit big in 1989, Hollywood scrambled to find the next comic-book sensation to adapt. Some, such as 1994's The Crow, struck gold; but most, such as 1996's The Phantom, struck out. Chief among the failures was 1995's Tank Girl, which turns 30 this month. Created in 1988 by Britons Alan Martin and Jamie Hewlett (later of the virtual band Gorillaz), and published in Deadline magazine, it was an unlikely candidate for the studio treatment, full of sex, drugs, in-jokes and attitude. Director Rachel Talalay (Freddy's Dead: The Final Nightmare) was a big fan. Armed with a script by Tedi Sarafian, she shopped the project around every company in town, with Steven Spielberg's Amblin declaring themselves not 'hip' enough to attempt it. Martin and Hewlett made her a T-shirt that said, 'Too hip for Spielberg'.
