CMDS 3700

Nicholas Fazio

Michael Barras

December 4, 2023

Beyond the Melody: Capitalism, Connectivity and the Hybrid Cultural

Moment Music Creates in The Summer I Turned Pretty

Amazon Prime Video’s The Summer I Turned Pretty, created by Jenny Han based on her

book series of the same name is a poignant coming-of-age television series that has resonated

with viewers, from its exploration of love and self-discovery to its continuous journey through

the complexities of growing up. Set against the backdrop of a coastal summer, the narrative

follows the protagonist, Belly, as she navigates the intricacies of changing relationships and the

challenges of maturing into adulthood. Notably, the narrative strategically incorporates songs by

both renowned artists like Taylor Swift and emerging talents such as JVKE, which, beyond

serving as a melodic backdrop to Belly's story, play a pivotal role in the capitalistic gains for all

parties involved. The calculated inclusion of these artists’ music enhances the emotional depth of

key moments, also amplifying the series’ marketability and expanding the reach of each artists’

discography in different ways. By incorporating elements of lyric videos, fan edits and short

films, I aimed to capture the essence of this hybridity within my multimedia project. Over the

course of six minutes, I presented lyrics on the screen, analyzing the intricate relationship

between using this series to generate both emotion and commerce simultaneously, as Belly’s

journey throughout the first season is displayed in the background, to the music of both Swift

and JVKE. Overall, within this intricate fusion between television and music, the convergence of
art and commerce results in a hybrid cultural moment that transcends its origins, offering

audiences an enriched, uniquely resonant and memorable viewing experience that captures the

essence of both personal growth and commercial success.

In the context of William Leiss et al.’s exploration of goods as communicators and

satisfiers within their article “Goods as Communicators and Satisfiers”, the commercial aspects

of the entertainment industry take on an added layer when viewed through the lens of commodity

fetishism. The industry's economic motivations, particularly in music selection for media, can be

seen as a manifestation of commodity fetishism, where goods, including music, transcend their

inherent utility as audible entertainment to become symbolic entities lined with cultural and

emotional significance. Notably, from her country beginnings to her seamless transition into pop,

Swift's brand evolution, that incorporates underlying keen and significant understandings of

societal trends and audience desires, can be viewed as a deliberate response to the fetishization of

commodities when utilized within media. The calculated decisions she makes regarding her

public image contribute to the commodification of her brand, transforming her not just into a

musician, but a cultural commodity. Swift's music, in this context, becomes not merely a product,

but a fetishized object, embodying societal desires, emotions and cultural narratives.

Simultaneously, the up-and-coming nature of smaller artists such as JVKE reflect a desire within

the industry to tap into fresh talent that can potentially become marketable entities. This aligns

with Leiss et al.’s perspective, emphasizing how goods, in this case, music and artists, serve as

communicators of cultural messages and satisfiers of societal desires. The mutually beneficial

relationship between artists, both big and small, as well as the entertainment industry reflects the

commodification of their artistic output, turning creativity into commodities that strategically

fulfill both economic and cultural desires. At the core of it all, Leiss et al.’s ideas on commodity
fetishism provide a valuable framework for understanding how the strategic selection of music in

media becomes a means of transcending mere commercialism, creating symbolic and

emotionally charged cultural artifacts within media, such as The Summer I Turned Pretty.

Taylor Swift's music possesses a remarkable capacity to weave together a series of

unified emotions that resonate deeply with diverse audiences, embodying Leiss et al.’s ideas on

the symbolism consciously employed in consumer society, notably including commodity

fetishism. This symbolism is deliberately applied by creators and streamers in the entertainment

industry, paralleling businesses’ decisions in the manufacture and sale of products. Market

segmentation, a concept also highlighted by Leiss et al., guides creators, providing them with

demographic statistics to understand the target audience for their messages, drawing upon an

almost unlimited stock of traditional and innovative imagery to elicit new wants and

consumption styles (Leiss et al., p. 172). The calculated selection of songs by artists, such as

Swift, mirrors this conscious effort within the entertainment realm. Moreover, Swift's ability to

articulate universal themes of love, heartbreak, and self-discovery through her lyrics creates a

connective thread that transcends demographic boundaries. This emotional impact extends

beyond the realm of individual listening experiences and finds a compelling counterpart in

media, such as The Summer I Turned Pretty. The incorporation of Swift's songs into this series’

narrative acts as a poignant enhancer, amplifying the emotional stakes of character development

and narrative depth for various individuals, most notably Belly. Swift's melodies become the

soundtrack to the characters' journeys, infusing each moment with a unique emotional resonance.

For example, a poignant and memorable scene in the first season’s finale, titled “Summer Love”,

sees Conrad stepping in as Belly’s partner at the Debutante Ball for the slow dance that was

supposed to be done with Conrad’s brother Jeremiah, both of whom are fighting for Belly’s
heart, however, Jeremiah is nowhere to be found. As the bridge, followed by the final chorus of

Swift’s The Way I Loved You (Taylor’s Version) plays in background, the speed of the scene

slows as the romantic lighting focuses the audiences’ attention to the dance floor, displaying the

climatic and beautiful conclusion to Belly and Conrad’s blossoming romance throughout the first

season. This interplay between music and storytelling not only enriches the viewing experience

of The Summer I Turned Pretty, but also serves as a testament to the transcendent power of

Swift's music to evoke profound emotions from the audience, while simultaneously enhancing

the narrative of the series.

The intersection of Taylor Swift's music and the entertainment industry, particularly in the

context of The Summer I Turned Pretty, is intricately tied to various themes and romantic

experiences associated with what can be termed as “girl culture”, a shared cultural experience

among girls and women, and simultaneously mirrors the strategic marketing approach illustrated

by Natalie Coulter in her analysis of Playboy magazine. Much like Playboy's creation of an

idealized reader persona as Coulter discusses, Swift's music becomes a deliberate vehicle to

shape and resonate with a specific audience, particularly within the realm of girl culture.

Moreover, Swift's consistent exploration of romantic nuances in her lyrics aligns with Playboy's

configuration of consumer desires with innate components of modern masculinity (Coulter, p.

139). This also relates to Danielle McClelland’s “The Commercialization and Imposed Voices of

Femininity in The Summer I Turned Pretty” and her observations around and exploration of the

commercialization of femininity and configuring consumer desires with innate components of

modern femininity. Swift’s music aligns with many of these components, including the emotional

highs and lows of love, as well as the themes of self-discovery and personal growth, providing a

relatable soundtrack that amplifies the romantic elements and overall narrative of the series. As a
result, this provides a melodic backdrop that amplifies the emotional depth of the characters'

romantic experiences. Also, the incorporation of her songs into The Summer I Turned Pretty

serves a dual purpose, attracting a predominantly female audience and redefining cultural norms

around the consumption of media within girl culture. Just as Playboy aimed to redefine male

consumer culture as Coulter details in her article, Swift's music becomes a cultural phenomenon

contributing to the communal enjoyment and interpretation within the shared experiences of girl

culture. This shapes and reflects the romantic narratives deeply resonant with female audiences

in a manner akin to the Playboy empire's strategic marketing approach.

Cultural moments act as a representation of significant moments in time that define

shared experiences and societal narratives. They play a pivotal role in shaping the collective

attitudes, values and cultural identity of a society. In the context of media, particularly The

Summer I Turned Pretty, the calculated decision to incorporate Swift’s songs into the narrative of

the series exemplifies a hybrid cultural moment, where a nuanced blend of commercial

considerations aimed at market appeal intersect with the pursuit of authentic emotional

connectivity. Swift's music, strategically chosen for its widespread appeal through market

segmentation, embodies a hybridity that blends commerce and culture. Despite the calculated

nature of this decision, the emotional depth and authenticity embedded in Swift's lyrics

contribute to a genuine and resonant experience for the audience. This hybrid cultural moment,

born out of calculated decisions, fuses commercial elements with authentic emotional

storytelling. It showcases the intricate relationship between deliberate choices made for

marketability and the creation of a cultural narrative that reflects the nuances of the human

experience, most notably for female viewers.

 On the other, yet fairly similar hand, the collaboration between emerging artists, such as

JVKE and those behind The Summer I Turned Pretty is strategically influenced by commercial

factors within the entertainment industry. In this mutual relationship, Amazon Prime Video and

Jenny Han strategically leverage the rising profiles of emerging artists to enhance the

marketability of their television series. JVKE, in particular, represents a case where calculated

financial decisions were made that were associated to his ascent in the music industry and

broader society, most notably with the incorporation of his music into fan-created TikTok edits

for various series, including The Summer I Turned Pretty. From JVKE’s eye-catching use of

social media platforms, such as YouTube, TikTok and Instagram, to generate widespread

awareness, to his intentional crafting of an easily recognizable and memorable musical style, his

trajectory exemplifies a deliberate approach to artistic development aimed at maximizing success

and market appeal. The calculated decisions made by both the creator and streamer, as well as

the emerging artists themselves converge to form a mutually beneficial collaboration, where the

commercial gains of increased visibility and market share for the artists align seamlessly with the

promotional value and heightened emotional resonance brought to the narrative of The Summer I

Turned Pretty.

The incorporation of music by smaller artists, notably JVKE and other emerging talents,

within the narrative of The Summer I Turned Pretty not only serves as a catalyst for an enriched

storytelling experience, but also deeply and intricately weaves through the themes and romantic

experiences inherent in girl culture. For instance, JVKE's music consistently delves into the

complexities of relationships, providing a resonant soundtrack that mirrors the emotional highs

and lows of love, similar to Swift. The integration of his songs into the series amplifies its

romantic essence, crafting a melodic backdrop that heightens the emotional intricacies of the
characters' romantic journeys. Smaller artists' songs play a pivotal role in enhancing character

development and narrative depth, offering an audible setting that resonates with the emotional

nuances of the story. By carefully selecting tracks that align with thematic elements and

character arcs, the creator and editors amplify the emotional impact of pivotal scenes,

reminiscent of how Playboy strategically crafted its idealized reader to redefine male consumer

culture as Coulter discusses in her article. For example, by using JVKE’s i can’t help it and clips

from “Summer Love” in my multimedia project, I displayed the instant Jeremiah walks back into

the ballroom, after discovering his mother has cancer, only to see his brother Conrad dancing the

slow dance he is supposed to be dancing with Belly. In this moment, the line, “It’s happening,

and I can’t stop it”, continuously repeats, simultaneously representing Belly’s fleeting feelings

for Jeremiah and growing feelings for Conrad. As a result, this becomes a symbolic

representation of the fleeting and evolving feelings within girl culture's complex romantic

dynamics. Various smaller artists’ lyrics, similar to Swift’s, also strike a chord with a

predominantly female audience, discussing recurring themes of love, self-discovery and growing

up. This aligns with both the interests and experiences of girl culture, as well as McClelland's

exploration within her article of the reinforcement in various ways of “traditional stereotypes

concerning gender and romance” (McClelland, p. 1). Moreover, JVKE and other emerging artists

contribute to the narrative's cultural richness, introducing a dynamic auditory landscape that

mirrors the diversity of contemporary music. The music of these emerging artists possesses a

unique ability to evoke a spectrum of emotions, ranging from nostalgia to introspection,

contributing to a more profound connection between the audience and the characters. This

intentional fusion of storytelling and music enables the narrative to transcend its televisual form,

transforming the series into a multisensory experience that engages viewers on both a visual and
audible level. The emotional impact of up-and-coming artists' music, akin to the calculated

strategies of Playboy's brand, lies in their capacity to evoke personal and authentic experiences,

fostering a sense of connection and relatability as lesser-known artists that simultaneously

enriches the narratives of series like The Summer I Turned Pretty.

In the entertainment world, the deliberate integration of songs by JVKE and other smaller

talents into narratives unfolds as a calculated decision aimed at, with the help of market

segmentation, aligning with contemporary tastes and fostering marketability. However, the

significance of these musical choices extends beyond strategic commercial considerations.

Despite their calculated nature, the inclusion of these artists’ songs contributes substantially to

the creation of authentic emotional experiences for the audience. The artistry of these emerging

talents, characterized by relatable lyrics and distinctive musical styles, enhances the narrative's

emotional depth. In this combination of calculated decisions and authentic emotional resonance,

the hybrid cultural moments born from these narratives become powerful vehicles for societal

reflection, capturing the complex nature of human experiences in a way that goes beyond the

constraints of commercial intent.

In conclusion, the calculated integration of Taylor Swift’s songs, alongside JVKE's and

other smaller artists' contributions, within cultural narratives of media, such as The Summer I

Turned Pretty unfolds as a dynamic relationship between capitalistic motives and the pursuit of

genuine emotional connection. Swift's evolution from country to pop, marked by astute

understandings of societal trends, strategically positions her as a cultural commodity within the

entertainment industry, aligning with Coulter’s ideas regarding Playboy's approach in crafting an

idealized persona to redefine cultural norms. This calculated decision to utilize her music, along

with that of emerging artists, whose songs strive to align with the diversity of listeners’
contemporary music tastes, becomes a deliberate maneuver for capitalistic gains, enhancing

marketability through both established and rising talents. This similarly echoes Coulter's

exploration of Playboy's marketing strategies, emphasizing the importance of aligning consumer

desires with innate components of modern masculinity. However, this complex impact of popular

music utilization extends beyond mere commercialism, incorporating Leiss et al.’s concept of

commodity fetishism. The incorporation of these songs elevates storytelling, fostering a hybrid

cultural moment where commerce converges with generating genuine emotional connections.

The emotional depth embedded within the music becomes a bridge that intimately connects with

the audience, transforming the narrative into a cultural artifact that aims to authentically resonate

characters and their experiences with viewers. Overall, this hybrid cultural moment stands as a

testament to the intricacies between commerce and culture, shaping narratives that transcend

their origins and resonate on a profound level with diverse and engaged audiences.
 Works Cited

Coulter, N. (2014). Selling the Male Consumer the Playboy Way. Popular Communication.

https://eclass.yorku.ca/pluginfile.php/5602737/mod_resource/content/1/Coulter.pdf

Leiss, William, Stephen Kline, Sut Jhally, Jacqueline Botterill & Kyle Asquith. (2018). “Goods

as Communicators and Satisfiers.” In Social Communication in Advertising 4th edition.

New York: Routledge, pp. 170-191.

McClelland, D. (2023, January). The Commercialization and Imposed Voices of Femininity in

The Summer I Turned Pretty. Montclair State University Digital Commons.

https://digitalcommons.montclair.edu/cgi/viewcontent.cgi?article=2221&context=etd

Han, J., & Stanton, G. (2022, June 17). Summer Love. The Summer I Turned Pretty. episode,

Amazon Prime Video.