NYC preps for possible Taylor Swift and Travis Kelce wedding – Hw

Welcome back into live now from Fox. I am Andy Mac. It appears that love is in the air in the Big Apple and I’m not talking about what happened on the Empire State Building earlier on today. I’m talking about what potentially is coming up later on this weekend. The Associated Press confirming wedding details involving Taylor Swift and Travis Kelce at Madison Square Garden and Meredith Gorman, our Fox 5 New York team on the ground there.

She has some details in the last day saying that she spoke to business owners who has a restaurant directly across the street from one of Madison Square Garden’s VIP entrances telling me the NYPD gave him a heads-up there will be a bunch of tents set up side outside the business later on this week.

Let’s be joined right now here on the ground outside of MSG but Fox 5’s Meredith Gorman, what can you tell us? How tight is security right now? >> Well, Andy, first of all, you said it. The biggest breaking news about this whole situation just came out and it’s now confirmed that Taylor Swift and Travis Kelce will be getting married at Madison Square Garden this Friday.

Now, it was all speculation before that. It’s officially official and listen, as you can see in this area behind me, this is the loading dock on 33rd Street outside of Madison Square Garden. It has been a hotbed of activity today and they’ve been placing the trucks super strategically when they’re bringing things offloading them onto the loading dock right here behind me.

In fact, if you look closely, you can see these trucks are basically intersecting each other so nobody can see what is being brought into the garden and into the building from there. So, it’s pretty strategic and it’s kind of funny. We’ve seen it all unfold all day. But I want you guys to take a look at this video here. We can pull it up.

It’s basically showing workers continuing to unload trucks at MSG today. They were all taking super special care to keep details a secret putting a tarp up over the truck entrance of the 33rd Street loading dock to conceal the interior of the building and also again strategically positioning their trucks to block view of what’s coming off of them from every single angle.

Now, a few of the trucks had their back doors open in the loading dock area and you could see artificial trees inside and all of this coming as we’ve seen trucks unloading different items and other things into the stadium over the last couple of days. Now, multiple reports say there will be a small rehearsal dinner in the Infosys Theater at the Garden on Thursday night with the big ceremony and reception now confirmed to be held on Friday.

As for the latest on what I’m hearing about the situation for the public and spectators in the immediate vicinity of Madison Square Garden, well, multiple businesses on 31st and 33rd Street next to and across from the venue tell me they haven’t been given full details yet from officials on how their businesses could be impacted, but one business owner told me he was told by the NYPD Community Affairs Department to expect tents outside of his restaurant later this week.

Now, other business owners told me this. >> The latest that we’ve been told, how how true it is, we don’t know, that kind of a screen is going to be put up along the street so that pedestrians can still come on the sidewalk, but they can’t see anything that’s going on beyond that. So, they can’t see any setup, they can’t see any celebrities arriving, etc.

>> So, typically what we found with NYPD is that they will wait until day of to really communicate so they’re able to change their plans. So, that’s just the typical way that we communicate with them. Usually day of the events is when we’re finding the final plan of what will be closed, what the flow to our businesses will be.

So, we haven’t, but again, that’s just the typical way that they’ve communicated in the past. >> So, as you can see from this truck situation directly behind me at the loading dock here at Madison Square Garden, they are keeping everything top secret. Yes, this wedding is officially happening, but the details being kept super tight-lipped.

And listen, since the wedding has become official, we’ve seen even more foot traffic around here. Taylor Swift fans hoping to get a glimpse of what’s going on inside here. But so far, not too much other information is being released, Andy. >> Yeah, in line with some of what Taylor Swift is accustomed to. She doesn’t like to give out a ton of information until the big reveal.

But TMZ is reporting, and I have asked about this because they’re saying she’s building a huge castle and garden inside MSG for the wedding celebration. Have you seen any spires in these trucks? Any drawbridges coming through? >> Listen, I personally haven’t, but I’ve seen those photos that came out as well. I think that the crews have kind of learned their lesson.

They’ve seen the media camping out, people camping out with with their photographers and cameras trying to get shots of what’s going on. And they’ve learned their lesson because yesterday the loading dock situation was not like this with basically the trucks intersecting behind me to block complete view of what’s going on.

I mean, they’re taking all of these extra precautions today, and I wonder if that is because, you know, certain photos and things were leaked out in the past couple of days. So, I haven’t personally seen anything, but what I did see today was artificial trees and things like that, greenery types of things being offloaded from trucks going into the ramp behind me into the building.

>> Yeah, what’s so much speculation about this, the kind of wedding of the century. My last question before I let you go, and I don’t know how much of a Swifty you are, but are Swifties looking at any Easter eggs, any hints that Taylor may have put out in terms of numbers? We know she’s so familiar with 13.

Any other kind of hints that they’re leaning onto? >> Well, I think a lot of people, based on the feedback that I’ve been getting online because I’ve been posting all of this information on X and other platforms is you know a lot of Swifties weren’t really sure if they believed that Taylor Swift and Travis Kelce’s wedding would truly be at Madison Square Garden.

I think a lot of people thought that actually might be a decoy for a wedding somewhere else. So now that it’s officially confirmed I think Swifties are taking that in because there were they were kind of a divided fan base about whether they believed that it was truly happening here and if they could truly make Madison Square Garden look beautiful enough to host what could be the wedding of the century.

So I think that was the biggest question mark and then another thing that I saw yesterday was workers were laying out tape and then they rolled out a rose pink colored carpet on the other side of the arena and a little after they rolled it out basically a worker came out told them hey this is the wrong color and they had to roll it back up and take it back off and you know fans had a field day trying to figure out the rose pink meaning of one of the carpets that we saw rolled out but other than that I think the biggest

question mark was really if it was going to be held here and guess what it really is. >> It looks like it’s going to going to be happening this Friday. All right Meredith thank you so much I appreciate your time keep your eyes out for anything there at MSG we’ll check back in soon. All right thank you so much you’re great reporting on the ground the Associated Press confirming as such that they’re expecting this wedding to be again later on this weekend at Madison Square Garden TMZ talking about it as the Taylor Swift

Travis Kelce 10-hour wedding plan being revealed. Some reports are out there and obviously very tight-lipped at this moment but we’re getting bits and pieces of what could come on later this weekend and as we know Travis Kelce a tight end for the Chiefs he will likely get another ring potentially right there alongside several of his Super Bowl rings as well.

Welcome back into Live Now from Fox. I am Andy Mack. It appears later on this week Taylor Swift will enter her new era, that being the I Do Era as the Associated Press confirming that Travis Kelce and Taylor Swift will officially tie the knot at Madison Square Garden, but some security very tight around MSG in the Big Apple as you can see TMZ talking about this.

The Taylor Swift wedding video showing the over-the-top plan to keep the public from seeing inside. We spoke to our Fox 5 team and some of the details about that as they have tarps up. They’re making sure they’re oriented the buses outside so no one gets a glimpse inside. Let’s be joined right now here on Live Now from Fox by Devin Roll from TMZ.

And Devin, very limited information, but it appears that we’re going forward with this ceremony. What do we know? What’s out there? >> Yeah, very limited information, but we’re doing our best to get as much as we can. So, so what we do know is the rehearsal dinner is going to be tomorrow night. It’s all going to be in MSG.

That’s a smaller group of people around a hundred. They’re actually having the wedding party ceremony on Friday, which is where there’s going to be over a thousand guests inside MSG. We’re like you showed some of that B-roll even getting you know, a few sneak peeks of different stuff that they’re being that are being brought into MSG.

We saw there was like some lobster, chicken breast, fries, a Krispy Kreme truck showed up. So, maybe giving you an idea of some of the stuff that’s going to be served at the wedding. We were previously told through a source that a bunch of her Taylor’s favorite restaurants, I would imagine in New York, she’s going to be having stands that have particular dishes from the restaurants that she really likes that are going to be offered to the guests.

So, that’s it as far as food. I know we know a castle is being built inside. Actually, she she tapped one of the person who did all of her stages for the Eras Tour actually is building this massive stage that we’re being told people are going to be performing on inside. It’s going to be quite quite the the spectacle.

>> Yeah, quite the spectacle. And nothing short for Taylor Swift. We’ve seen some of her performances hours in length and so many different elements to them. You mentioned the castle’s point of this and we’ll see what gets designed inside of there. Do we have any idea what this could look like? Is this in line with something Taylor Swift would do building a huge castle, a garden? We saw the engagement and it was adorned with so many flowers, the arch for Travis Kelce.

Do we have any idea of what it could look like inside? >> Right. So, we we do know that we saw some you know, trees being shipped in. What some of what the staring looks like which might be something a part of the castle. It’s kind of seems like it’s going to be a more of like a folklore theme which like you said that their their engagement photos had kind of that vibe. Obviously, she had that album.

So, clearly she’s into that theme. But I it’s funny though because it’s like you know, when it first we first put the story out there that they were getting married at MSG. I think the general reaction was ah, this is like really tacky or this seems weird for her to get married at Madison Square Garden. But I think what what’s going on here is they’re they’re basically going to transform MSG into whatever she wants it to look like.

I don’t think it’s going to look like MSG when you go to a concert or go to a Knicks game. It’s going to be unrecognizable. And I think part of the reason she wanted MSG is obviously no windows. There’s no one who can you know, send a drone up. And I really think that the only images we’re going to get of inside are going to be the ones that she wants released.

So, if she puts it up on her Instagram or cuz we’re being told that the guests aren’t going to be allowed to bring phones in. So, it’s going to be pretty I I that the people at MSG that are actually setting this up, they’re not even allowed to have phones and they have to go through separate security uh just to ensure that there are no leaks.

So, we have kind of an idea what it’s going to look like, but I don’t think until she posts something on Instagram, if that’s the route she goes, we’ll we’ll really know the the spectacle it’s going to be. >> Yeah, that’s going to be an impressive sight whenever we do get images. Is there any chance out there that what’s happening at MSG is a head fake, is a diversion of any kind? >> There were a lot of theories about that, especially in the beginning because it’s like I said, everyone’s like, “MSG, that’s weird.” The what we don’t know is

if they’re actually going to be walking down the aisle at MSG or if the actual wedding ceremony is going to occur there. It seems more that that’s just where the reception and party is going to be held. Who knows? They they may be doing it, you know, the the whole I do’s inside, but I don’t I definitely don’t think it’s a diversion as far as there’s definitely the major wedding party is happening there.

I mean, they’ve spent they’ve rented it out from Wednesday to Sunday. It’s a million dollars a day to rent it out and so they’re spending I mean, that’d be a pretty expensive diversion. >> Yeah, that’s true and obviously she can afford it. Do we know who’s on the guest list? Is it going to be a little bit smaller for this kind of pre-party and then the eventual celebration? Do we know who’s on it, who’s not on it? >> Well, we we we’ve heard some rumblings like we know Benson Boone is one of the big stars that’s going to be there.

Saweetie, obviously she’s famous with a lot and a lot of other artists that it would come as no surprise that Karlie Kloss, she’s a big model, I know she’s going to be attending. You know, I would imagine Patrick Mahomes and a few of his teammates, Andy Reid is going to be in attendance.

Um as far as people that we know are not going, I obviously it’s very public that her and Blake Lively had a huge falling out, so we do know Blake and and Ryan Reynolds won’t be there. She also we found out a couple weeks ago had a falling out with uh Teller’s wife, who she was he she was at one time very close with. They’re not going to be invited.

So, I mean, it’s going to be a lot of famous people, but uh as far as the a thousand, I mean, that that kind of opens the doors to, you know, there might be, you know, some normies that that that made the cut, so to speak. >> That is so very true. We’ll see what happens this weekend. Hopefully some cheeseburgers for Andy Reid and company actually met Taylor Swift before Travis did.

So, uh the wedding of the century likely going forward this weekend at MSG between Taylor Swift and Travis Kelsey. Devin, thanks again for breaking it down here on Live Now. >> Of course. >> All right, thank you so much. All right, great conversation as we anticipated. We’re seeing some of the security outside of MSG right now. They’re putting some of those trucks dressing them in such a way that no one gets a glimpse inside or what they’re bringing inside for this celebration uh over the weekend on this 4th of July holiday.

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.