Inside Taylor Swift and Travis Kelce’s Wedding: The Biggest Moments | The TMZ Podcast –  Hw

Welcome to the TMZ podcast. Devin here with Courtney. >> Yes. >> I I feel like I never see you anymore. >> I know. It’s been so random. Sometimes I’m out, I’ve been out. >> This summer has been crazy so far. But did you have a good 4th of July? >> I did. >> Did you >> I feel. >> Yeah, you’re a little like a shade of pink almost.

My back is torched so luckily you can’t see that but >> hot here this weekend. >> Well, my problem was is my daughter who can’t swim only wants to be in the pool. >> Oh, so you had to be in the pool the entire time with her? >> >> So brutal. >> I would be very impressed if she could swim already. >> I know.

We got to get her swim lessons because she every time she wants to jump in the pool she’s getting mad at me like don’t catch me. It’s like dude if I don’t catch you you’re drowning. >> Yes. I think I’d be a bad dad and people would judge me. >> Yeah, so that was fun. The besides the you know, being the 4th and all that chaos that happened in Newport.

I like woke up to that that Newport news. That was crazy. That Okay, that’s a local news. Sorry. The Taylor Travis wedding went down. >> This was insane. >> It was. I mean I feel like we did do a pretty good job on reporting a lot of stuff you know, as accurately as we could and like I said like this wedding was under lock and >> Fort Knox.

Like no one was going to know anything. >> So obviously since the wedding happened you know, we got tons of shots of the people who went in and out. We got some good information about what went down inside. Very little to no photos or videos have been leaked of inside. >> to see it. >> I know. And the fact that she like I thought for sure she would wait a day and then do like the post to break the internet and that still has not happened.

>> She’s going to do it. It’s going to drop sometime this week. >> Yeah, I think so. >> through all the photos. There’s going to be an announcement. Like there’s going to be something. >> So to me I had a couple takeaways from the stuff we learned over the weekend. The biggest being that Adam Sandler was the officiant.

>> When I saw that headline >> crazy. >> It was insane, but I was like, “Oh my god, it does make so much sense actually because he was in Happy Gilmore. Adam Sandler raves about Taylor Swift all the time.” When he was on New Heights, he was like, “She’s a god like in our household.

We listen to her albums front and back.” Like it just doesn’t make sense. >> mean, he’s such an iconic guy that it’s like I can’t think of like a better person that would be like, you know, funny but also like heartfelt. So obviously a perfect pick for And the craziest thing to me is that that never leaked. >> No. >> It never No single outlet put out who the officiant was going to be.

>> Wasn’t he playing basketball or that or is that the day in New York? >> probably wearing like those baggy shorts he wears and just looking like a slob, but he did have to wear nice clothes to the wedding cuz it was a black tie formal event. Um the other details that we got, this this kind of seemed, you know, of course, but Jason and Kylie Kelce’s daughters were the flower girls.

>> they’re going to be. >> sure that was really cute. They both Um it was they both read out of books for their vows for like what reportedly 30 minutes long. >> long, I heard, which like is too much time. They’ve only known each other for 3 years. What do you What do you got to say for that? >> I don’t know.

I feel like with with Taylor I would expect 30, with Travis I would expect 10 most, 10 minutes long. >> 10 is gracious for him. >> Yeah, that’s pushing it. >> But you know what we still don’t know? Was we know that she walked down to like a string of like music to like one of her own songs. Did her dad walk her down the aisle? >> That we don’t know.

That’s actually That’s actually probably I mean, I would imagine that he did. They’re very close and like that’s like very >> Yeah. >> other the other thing there they didn’t have, you know, a bridal party. So Austin, Taylor’s brother, was her man of honor, is that what they call it? And then Jason was Travis’s >> Yeah. And he wore a white tux.

How do you feel about Travis wearing a white tux? >> Yeah, I mean it’s Christian Dior, so it was probably really swag, but >> me so mad that we didn’t realize that cuz she’s been wearing so much Dior every time we see her. >> She was dropping all the Easter eggs. >> Yes. Yes. I’m so annoyed. And then there was all those rumors that they may have been married like weeks before, but then I like went on my feed and July 3rd is the 184th day of the year.

1 + 8 is 9, 9 + 4 is 13, her favorite number. >> math. >> >> You guys can You guys can find any way to get to 13. >> We really can. It’s crazy. >> rece- the reception theme was Alice in Wonderland meets The Wizard of Oz. All the the food was catered from Zero Bond, which is like her favorite super exclusive club in New York.

Um they had, you know, what we talked about, the gardens, the castle themed. Apparently, this was the craziest thing to me also besides Adam Sandler is they had these carnival games where you the guests could win rap- like raffle tickets and then they were giving away like Cartier watches.

They They They gave away that I don’t know if it was the same one, but they gave away the Chevelle Remember they famously left the Chiefs game in his Chevelle with the top down and it was like kind of their like, “Oh, we’re a couple moment.” So, apparently they raffled off one of those Chevelles. >> Yes, with just TNT. >> Yeah, I I I would definitely want to take that license plate off, but the car was looked awesome.

So, we’re still trying to kind of get to the bottom of who the lucky guests were who actually won these things. I know they It’s always a big deal of who catches the bouquet. And so that girl Yeah. >> was flying in. His wife caught it. >> No, it was her his sister. I don’t know how the hell she So, Trey Smith of the the Chiefs, he’s an offensive lineman.

Apparently, his sister, Ashley Smith, got an invite and she caught it and she posted it on her Instagram. >> that bouquet? >> I mean, yeah. I mean, is it What’s it’s supposed to mean that you’re going to get married soon, right? Or find someone you’re in love with. >> caught a lot of those bouquets. >> Dude, the funny with a >> >> The funny thing is I was at a friend’s wedding and my wife caught it >> Were you so nervous? >> like, oh god.

>> And how long after did you >> Yeah, we we got engaged pretty shortly after. So So checks out. Um >> want to catch that. Even if you are married, I feel like I would still run out there and try and get it. >> Yeah, cuz I caught the uh what’s it called? The gar- the garder one time. So that was kind of cool.

But also I felt kind of weird about it cuz it’s like that’s your friend’s wife. Yeah, so I felt a little weird about it that I caught it. Um So yeah. >> happened at this wedding. >> Yeah, there’s so much just to dive into. I know the everyone was loving the just T&T married on the big screens at MSG outside. Um but yeah, apparently Travis got super emotional which that isn’t shocking.

I feel like it’s the the guy usually gets a little emotional. >> like so much emotions. It’s all just like went up to this day. Of course >> And and it’s also their their lives are over. So they’re crying about that as well. Um yeah. Yeah, so that was another weird thing. Are we allowed to play this clip? Okay, so he went on CNN.

I’m like, wait, what the hell is this guy >> >> He must have been on CNN to talk about something else. There’s no way he’s like, oh, I’m going to go on CNN and talk about their wedding. But here’s what he had to say. It was the day after, right? The wedding? >> Yeah. >> Adam Sandler doing a phenomenal job on with the vows.

>> >> And or the ceremony and um just how he went about uh bringing a little bit of humor, but also some sensitivity to the uh to what was going on to again a lot of different types of people from a lot of different types of worlds there and bringing them all together. He said uh kiss every chance you have uh every day.

So whether you’re going to bed or going to work or you know, wherever whenever you’re uh go ahead and kiss her. >> Mhm. >> And I thought that was uh uh, I I thought in a a simple way in its simplest form, uh, it really was touching that way. >> What with all the emotion behind him? >> I know. God. >> goodness. >> he always has that kind of that kind of uh, vibe, but yeah, always kiss her, huh? >> You know what I thought was shocking? >> What? >> They have a dog.

>> Well, yeah, so apparently so that this photo leaked because not many photos leaked of the inside, but they it seemed like they had basically like uh, photographs of themselves together that were like hung up in the >> But also them just through like the years as like kids and growing up. >> Right.

And so one of them was them of holding this white fluffy dog, and then there’s a video from I think a month ago of a of a white fluffy dog getting out of what people are saying is Taylor’s car. >> Yeah. >> But I don’t understand why they would be keeping that under wraps the >> think they are keeping it under wraps. >> Like I think it might be someone else’s dog.

>> Why would they put it in >> Because maybe they liked the photo of themselves and they happen to be with the dog. >> That is not true. They have a dog. >> But why has like I just feel like that this wouldn’t be something that they would be keeping secret? >> keeping it secret? No one’s just asked them about it.

>> Yeah, I guess. I know we’re going to we’ll try to figure out if >> to know the name. >> Yeah, the name, the breed, how long they’ve had it, whose dog it is. But this list of guests, this is the last thing I’ll say about this is like >> say who wasn’t there. >> is like I thought I mean, we knew that there was going to be over a thousand people, so you knew a lot of people were going to get invites, but like it’s just like Tom Brady, Chris Rock, Michael Strahan, Stephen A.

Smith, Steven Spielberg, Hugh Grant, Jessica Alba, Selena Gomez. These These are ones are more obvious. Bradley Cooper and Gigi, Laura Dern, Ethan Hawke, J. Lo Okay, this is when I’m like Why was Wasn’t Brad Pitt there? >> Yes. >> What Like why was Brad Pitt there? >> I don’t know. Maybe >> Why was Tom Cruise there? >> Maybe cuz they like like their movies.

>> Why was Tom Hanks there? MGK was there. >> in Toy Story. >> Dude, I love MGK as much as everybody. MGK was there. Is that the Cleveland connection? >> Okay. >> He probably grew up listening to his music. He was there. >> Ed Sheeran, the rest of them are are Kelsea Ballerini, Lambert, Jack. >> got out of dodge.

>> Yeah, we got photos of her. It’s funny because like of all the coverage, one of the most traffic stories we got from I think Thursday was uh was the was them up up in New York at like a farm. >> honestly, if you’re not going to the Taylor Swift wedding, get out of New York. It was hot.

There’s no reason to be there. Just go. >> So, I like J. Lo, why was J. Lo there? >> I don’t know. She probably like was fond of her and her music. >> I don’t know. It seemed like it was an awesome wedding. I’m really hoping that Taylor drops this like photo dump or whatever. >> It has to happen or uh >> Cuz it seems like >> wasn’t there a filming thing put outside? >> Yeah, there was a thing that said like you what’s it called? >> Like you give up like your likeness.

>> Yeah, like you’re you’re agreeing that if you’re filmed, you can use the video. >> was there. I think there’s going to be like a little movie or something like that out of it. >> maybe. Maybe. Um >> We all want to see it. >> see. I’m actually and I’m like a guy that like I don’t really give a about this kind of stuff.

I I’m interested to see what it looks like inside. >> was like for like how big it was, it felt very intimate. >> Yeah, I mean, that’s what we were told. I mean, they they put up all the drapes. It was going to be transformed. It was going to look nothing like MSG. They basically used MSG cuz it has no windows.

And it’s a huge space that can fit people. >> they’re going on their honeymoon for me. >> I know. I know the the big thing was people usually you go on your honeymoon right after, but we put I think we put up the story. Did we put up the I think we did on Friday. >> Yeah, okay. So, we did put it up. So, yeah, she’s or they will be attending JuJu Smith-Schuster, who’s the >> [clears throat and cough] >> the receiver for the Chiefs or previously was.

>> want to this morning? Tory Evans. One of her eras dancer. Who wears white to a wedding? And Taylor Swift’s wedding. >> I didn’t know that was a thing. >> You kidding. >> I swear that you don’t wear white, but I Yeah, I guess I guess I I guess it’s a huge no-no. Well, I’m a I’m a guy. Like when I show up to a wedding, I just wear a suit.

And I’m not going to wear a white suit to a wedding. >> Could you imagine if you did? >> I know. That would be That would be kind of a vibe. >> Yeah. >> All right. We’re no comments today, right guys? >> Yeah. >> Okay. I think that’s pretty much I mean, we hit all the big things. >> We did. >> Things are leaking. I’m sure we’ll have a a few more follow-ups today.

And then I think we will all hopefully move on with our lives. But I >> Until there’s >> Yeah, until there’s baby fever. Until there’s is do they have a dog? Where are they honeymooning? So I’m sure this will be a never-ending saga. We’ll be all over it. All right guys. You guys have a good week.

QQ4 Bob Dylan and Keith Richards have been close friends for nearly 40 years. The friendship began on a live television program in November of 1986 in the 11 seconds after Bob Dylan called Keith Richards music derivative on camera. Keith Richard’s response to that assessment, one sentence said without anger, without performance, with the specific directness of a man who has nothing to prove and knows it made Bob Dylan laugh.

Then made Bob Dylan go quiet. then made Bob Dylan say two words that people who know Bob Dylan say he almost never said to anyone. This is the story of those 11 seconds and the 40 years that followed them. The program was a live music interview special broadcast on an American network on the evening of November 3rd, 1986. The format was simple.

Two musicians, a host, an hour of conversation about music and the state of it. The producers had assembled the pairing of Bob Dylan and Keith Richards with the specific calculation of television producers who understand that two people with equally strong and potentially incompatible views about what music is and what it should do will produce better television than two people who agree about everything.

The calculation was correct, though not in the way the producers had anticipated. Bob Dylan was 45 years old in November of 1986. Bob Dylan had released Empire Burlesque the previous year and had been on the road for most of the intervening period as part of the True Confessions tour with Tom Petty and the Heartbreakers.

Bob Dylan was in November of 1986 in one of the most prolific and restless phases of a career that had consisted almost entirely of prolific and restless phases. A career that had moved through folk, rock, country, gospel, and back again, that had been declared finished at least six times by the music press, and at each time continued with the serene indifference of a river to the opinions of people standing on its banks.

Bob Dylan had been redefining what music could be. Since 1962, Bob Dylan had invented and reinvented himself so many times that reinvention had become his defining characteristic, not in the superficial sense of a performer changing costumes, but in the deeper sense of a musician who had never allowed his work to settle into a form that could be anticipated or categorized from the outside.

Bob Dylan understood influence and originality and the relationship between them better than almost anyone alive in 1986. Bob Dylan had spent 24 years thinking carefully and specifically about where music came from and where music was going and what it meant that those two things were always in constant conversation with each other.

Keith Richards was 42 years old in November of 1986. Keith Richards had been playing guitar professionally since 1962. Keith Richards had built a career on a foundation of American blues and rhythm and blues. A foundation that Keith Richards had studied with the systematic devotion of someone who understood that the tradition he was building on was not incidental to the music he was making, but essential to it.

that you could not understand what Keith Richards did without understanding where Keith Richards had come from and what Keith Richards had been listening to since he was a teenager in Dartford with American Import Records and a secondhand guitar and no teacher except the recordings themselves. Keith Richards had never pretended otherwise. Keith Richards had in fact spent considerable energy across his career making the lineage explicit, naming the artists, citing the recordings, insisting on the acknowledgement of influence that the mainstream music

industry had a long history of suppressing or ignoring or crediting to the wrong people. If anything, Keith Richards was more transparent about his sources than most musicians of his generation. Keith Richards had always said openly that the Rolling Stones came directly from the blues, that Muddy Waters and Robert Johnson and the specific tradition of the Mississippi Delta were not background influences, but foundational ones.

The music Keith Richards made was in direct and sustained conversation with that tradition, something Keith Richards considered not a limitation, but a responsibility and a form of respect. The interview had been running for 8 minutes when the host asked Bob Dylan about the current state of rock and roll.

Bob Dylan answered with the density and the indirection that characterized Bob Dylan’s responses to direct questions, turning the question over, approaching it from an unexpected angle, finding his way to what he actually thought through a series of observations that moved like a river rather than a road. Bob Dylan was not a straightforward interview subject.

Bob Dylan had been asked about rock and roll in hundreds of interviews across 24 years and had developed the habit of treating the question as an invitation to think out loud rather than a request for a prepared position. The producer Gerald Sherman said afterward that in the first 8 minutes of the interview, he had been slightly anxious, not because anything was going wrong, but because nothing was going anywhere in particular yet.

The interview had the feeling of two conversations happening simultaneously. Bob Dylan’s internal one and the external one visible to the cameras. And Gerald Sherman was not certain in those first eight minutes that the two conversations would converge into something. Bob Dylan talked about influence. Bob Dylan talked about originality.

Bob Dylan talked about the difference between music that absorbed a tradition and transformed it and music that absorbed a tradition and reproduced it. And then Bob Dylan made his assessment. And then Bob Dylan said with the precision of a man making a musical assessment rather than a personal judgment that the Rolling Stones work, and Bob Dylan was specific, naming Keith Richards as the guitarist whose approach he was discussing was derivative in a way that Bob Dylan found limiting.

Bob Dylan said it without hostility. Bob Dylan said it as a technical observation about the relationship between source material and the work that came from it. Bob Dylan said that Keith Richards played the blues the way the blues had already been played, rather than using the blues as a starting point for something that had not yet been played.

Keith Richards had been listening to this with the specific attention Keith Richards gave to things being said about music by people who knew music. Keith Richards did not interrupt. Keith Richards did not shift in his chair or display any of the visible signals of a person preparing a defensive response. Keith Richards listened to Bob Dylan’s complete observation all the way to its conclusion without interrupting and without displaying any visible signal of preparing a response.

Then Keith Richards said one sentence. The sentence was not a rebuttal. The sentence did not defend Keith Richards music or argue for its originality or challenge Bob Dylan’s characterization of what the blues meant in the context of rock and roll. The sentence was something else entirely, something that required a specific kind of confidence to say.

The confidence of a person who has spent long enough thinking about the same things as the person they are talking to that they can locate the exact point where their thinking diverges and say something useful about that point rather than simply defending their own position. The sentence acknowledged everything Bob Dylan had said, the assessment, the distinction Bob Dylan was drawing, the specific musical concern underlying the observation, and then turned it 90°.

Keith Richards took Bob Dylan’s own framework, the one Bob Dylan had used to analyze Keith Richards relationship to the blues tradition, and applied it back to Bob Dylan’s work with the same precision Bob Dylan had used to apply it to Keith Richards. Spare aimed. The sentence asked Bob Dylan something about Bob Dylan’s own music, about the relationship between Bob Dylan’s sources and Bob Dylan’s output that Bob Dylan had not been asked on television before.

The sentence did not attack. The sentence illuminated. Bob Dylan laughed. The laugh was not the polite laugh of someone responding to a joke. The laugh was the involuntary laugh of someone who has been genuinely surprised. The specific kind of surprise that a person of exceptional intelligence experiences when someone else’s intelligence exceeds their expectations.

Bob Dylan laughed for 4 seconds. Then Bob Dylan stopped laughing. Then Bob Dylan was quiet for 3 seconds in the way that Bob Dylan was quiet when Bob Dylan was thinking rather than performing thought. Then Bob Dylan said, “You’re right.” The producer in the booth, a man named Gerald Sherman, who had been working in television for 14 years, said afterward that in 14 years of live television production, he had never heard Bob Dylan say those two words in a public forum.

Gerald Sherman said he had worked with Bob Dylan on two previous occasions and had observed Bob Dylan in numerous other contexts and that you’re right was not a phrase that Bob Dylan deployed easily or often because Bob Dylan had spent 24 years being right about music in ways that other people eventually caught up with. And the experience of being right ahead of everyone else does not generally produce a man who says you’re right readily when someone else makes a point.

The host of the program, a journalist named Patricia Wells, who had been interviewing musicians for 12 years, said afterward that the 11 seconds between Bob Dylan’s assessment and Bob Dylan saying, “You’re right,” were the most extraordinary 11 seconds of television she had been present for. Patricia Wells said that what she witnessed in those 11 seconds was not a debate or a confrontation or a celebrity exchange of competing opinions.

Patricia Wells said what she witnessed was one musician recognizing another musician as an equal, which was in the specific context of Bob Dylan in 1986, not something that happened in public very often. The interview continued for another 42 minutes after those 11 seconds. The conversation between Bob Dylan and Keith Richards in the remaining 42 minutes was described by everyone who watched it as fundamentally different from the first 8 minutes.

The host, Patricia Wells, who had been conducting music interviews for 12 years and understood the difference between the performance of conversation and actual conversation, said that at approximately the 9-minute mark, something shifted in the studio. That the formal interview, architecture dissolved, and what replaced it was something less structured and more genuine.

Bob Dylan and Keith Richards talked about influence and originality and the blues and what it meant to build on a tradition without being consumed by it. They talked about specific recordings and specific musicians with the specificity of two people who had spent their entire adult lives thinking about these things and rarely found another person who had thought about them with equivalent care.

They talked about where music came from and where music was going and whether those two questions were actually one question or two. Patricia Wells said afterward that she had asked approximately four questions in the remaining 42 minutes because Bob Dylan and Keith Richards did not require questions. They required only a room and a camera and the shared understanding that what they were saying together was worth recording carefully.

She said it was the best interview she had ever conducted and that she had conducted the smallest part of it. After the program, Bob Dylan and Keith Richards were in the corridor outside the studio when the host Patricia Wells passed them. Patricia Wells said she did not stop because she did not want to interrupt.

She observed them for approximately 30 seconds from a distance. She said they were talking with the ease of people who had known each other for years rather than people who had met for the first time 2 hours earlier. She said that something had shifted between them during the broadcast that the broadcast had made permanent rather than temporary.

She continued down the corridor and did not look back. She said in her account of that evening that she had decided in that moment not to interrupt the conversation because some conversations are more valuable than any question a journalist might ask and that the conversation she had observed for 30 seconds in the corridor outside the studio was one of them.

She had been a music journalist for 12 years. She recognized the difference. Bob Dylan and Keith Richards have maintained their friendship across four decades. They have appeared together at various events, most significantly at the concert for the Rock and Roll Hall of Fame in 1995, where people who were present described them as inseparable for most of the evening, occupying the same corner of the backstage area and talking with the concentrated attention of people who only have a limited amount of time together and intend to use it

well. Bob Dylan has spoken about Keith Richards in interviews with the specific thoughtful care that Bob Dylan reserves for musicians whose work Bob Dylan considers genuinely important rather than merely culturally prominent. Keith Richards has spoken about Bob Dylan in similar terms with the specific respect of someone who recognizes in another person a commitment to music that goes deeper than career.

Neither Bob Dylan nor Keith Richards has made a public statement specifically about how the friendship began or about the November 1986 interview. Bob Dylan has not mentioned the 11 seconds. Keith Richards has not mentioned the sentence. The interview exists in the archive. The 11 seconds are there. The laugh is there. The two words are there.

What is also there for anyone who watches the interview from its beginning and pays attention to the shift that happens at the 9-minute mark is the specific moment when two people who thought they were appearing on a television program discovered they were actually talking to each other. What Keith Richards said in that one sentence has never been officially reported.

The people who were in the studio that evening, Gerald Sherman, Patricia Wells, the floor crew, the two camera operators, the makeup artist who was watching from the side of the set, have described the sentence in consistent terms. They have described its effect. They have described Bob Dylan’s laugh and Bob Dylan’s silence and Bob Dylan’s two words.

They have not repeated the sentence itself in the specific understanding that the sentence was said between two musicians on a television program and that its power resided in the specific context of that exchange and would not survive removal from it intact. What can be said is this. Keith Richards said something to Bob Dylan about Bob Dylan’s music that used Bob Dylan’s own observation about Keith Richards as its starting point and arrived somewhere that Bob Dylan had not anticipated.

Keith Richards turned Bob Dylan’s assessment 90° and showed Bob Dylan something about the music they had both spent their lives making that Bob Dylan recognized immediately as true. And Bob Dylan said, “You’re right.” Two words said by Bob Dylan in public on live television in 1986 to Keith Richards in response to a single sentence Keith Richards had said about music.

Two words that Gerald Sherman, who had worked with Bob Dylan on two previous occasions, said he had never heard Bob Dylan say in a public forum. Two words that Patricia Wells, who had been interviewing musicians for 12 years, said were the most significant two words she had heard in those 12 years. Not because of their content, but because of who said them and what it cost to say them and what it meant that Keith Richards had produced them in 11 seconds from a conversation that began with Bob Dylan calling Keith Richards’s music derivative. And Keith Richards and

Bob Dylan have been close friends for nearly 40 years. The sentence did its work in 11 seconds on the evening of November 3rd, 1986. The work has been ongoing ever since. If this story moved you, subscribe and leave a comment below. Have you ever said something to someone that turned a potential disagreement into an unexpected and lasting connection? Tell us about it in the comments below.

Share this with someone who needs to be reminded that the right sentence said at the right moment can completely change the entire direction of a relationship. Ring the notification bell for more untold stories about the extraordinary human beings behind music’s greatest legends.