First off, Taylor Swift’s dad isn’t a country singer at all, I have no clue where you got that from. He’s an investment advisor, and an early investor in her former label, Big Machine, so I’m sure the contract was well-lawyered.

The issue wasn’t that the contract, under which Big Machine, lately purchased by Scooter Braun, owned her master recordings was crooked. The issue is it was first negotiated not with international superstar Taylor Swift but nobody teenager Taylor Swift on the basis of her potential to, maybe, best case scenario, be another LeAnn Rimes.

So the terms not as favorable to her as the current balance of power would suggest, in fact her new contract with Republic under which Lover was released gives her ownership of her master recordings.

And it’s normal for acts that make it big to chafe under the terms of their early contracts, and ownership of the masters is a common friction point. And it’s normal for industry money guys to respond that the hope of catching a rising star and riding it to the bank is why they invest in finding and developing new talent, most of which doesn’t earn out the expense.

And it’s normal for Taylor Swift to make poor-me appeals to her audience, but it’s normal for the industry to ignore that stuff. From the industry perspective, all Ke$ha dishing shit on Dr. Luke in the media was just an external pressure campaign by a hit act trying to get out of her early deal and the response was “cool story bro, see you in court”. It’s not like they can take the L for goodwill and trade that towards something better, owning a share of a hit act is what you’re trading towards, how you cash out.

So, court is probably where this’ll be resolved, with claims and counterclaims and expensive lawyers and collateral attacks and in the end it’s more about balancing raw power than anything, but taking raw power grabs and dressing them up as the story of a vulnerable girl fighting off the haters to come into her own is pretty normal for Taylor Swift