Pop-music talent manager Scooter Braun agreed to buy Big Machine Label Group for more than $300 million, a deal the largely country-music record label sees helping it plug into pop music's streaming landscape.

"Essentially, my musical legacy is about to lie in the hands of someone who tried to dismantle it."

So, it’s time for some truth… In regard to a post earlier today from Taylor, it’s time to set some things straight.

Superstar Taylor Swift called a deal involving Scooter Braun her "worst case scenario" and saying the music executive subjected her to "incessant, manipulative bullying."

One thing is clear from both the lead-up and the aftermath of the firestorm that has followed Scooter Braun's acquisition of Scott Borchetta's Big Machine Records and Taylor Swift's back catalog: None of those people do anything without a motive - and usually several motives.

The pop superstar has a history of bending the truth to fit her own narratives, but the issue of artists exercising ownership over their own music is even bigger than her.

She should have bought the label.

The feud between Taylor Swift, Big Machine and Scooter Braun clearly has some distance to run but the issues of ‘who got what text message when’ are not the big deal here, the real deal is the big deal.

Scott Borchetta never gave Taylor Swift an opportunity to purchase her masters, or the label, outright with a check in the way he is now apparently doing for others," says Don Passman.

The first red flag about this deal is that this announcement was made on a Sunday morning. Nothing in the music business is announced on Sunday morning, unless it’s done as a preemptive measure to head off negative publicity, or to bury it in the news cycle.

Justin Bieber reached out to fellow pop star Taylor Swift on Sunday, calling her out for criticizing his long-time manager Scooter Braun earlier in the day. Accompanied by an old photo with Swift at the start of his career, Bieber posted a lengthy note on Instagram addressed to the "ME!"

Let the games begin!

Someone is fudging their details rather dramatically.

You could almost call it Masterpiece Theater. Following an early Sunday morning announcement that Scooter Braun's Ithaca Holdings had acquired Scott Borchetta's Big Machine Records for a reported $300 million, Taylor Swift posted an impassioned social media post in which she described feeling "sad and grossed out" by the deal, which includes the rights to her entire catalog up through 2017's "Reputation."

Taylor Swift's big dust-up with heavyweight music bizzers Scooter Braun and Scott Borchetta is just the latest example of her advocacy for artists' rights.

Only a superstar of Swift’s magnitude could start a conversation about how the music industry should work—but as the response to her Tumblr post decrying Scooter Braun’s purchase of her masters has shown, she may be the worst person to lead that discussion.

Will the increased volatility of an artists ability to influence their fan-base effect the industries appetite to monetize artist catalogs?

Taylor Swift and her label are fighting about her masters. What are those? Why do labels want them and why shouldn’t artists give them up so easily?

After reading all the ways Swift feels Braun has slighted, bullied, and treated Taylor Swift poorly, it's time to break down on the other issue at hand: Swift controlling the rights to her masters. What exactly does that mean?

The artist’s open letter about the sale of her former record label portrays a business matter as a story of bullying and virtue-and others involved have used similarly moralizing rhetoric.

With Taylor Swift clearly unhappy about the deal Big Machine founder Scott Borchetta has struck to sell the Big Machine Label Group to Scooter Braun's Ithaca Holdings for upwards of $300 million, things can get sticky going forward when marketing her six-album catalog.

As Big Machine Label Group begins its next chapter as part of Scooter Braun’s Ithaca Holdings, leading Nashville music executives expect it to be business as usual.

Aside from Taylor Swift, the label group has enjoyed some sizable country and crossover success with Thomas Rhett, Florida Georgia Line and Brett Young.

A primer for the pop-culturally removed.