Taylor Swift and Sydney Sweeney IGNITE The INTERNET?! | TMZ TV Ep 7/17/26 –  Hw

Today on TMZ, turns out there is one house harder to sell than JLos. Uh, and that is the house where Charles Manson’s family murdered Sharon Tate and other people. It’s nothing like the home that was there when the Manson murders.  It’s been torn down and rebuilt.  It’s still the same land. The land is pretty haunted.

People die in pretty much every plot of land.  This was not just a regular death. Harvey. Anyone who was wondering why we started TMZDC, this is exactly why. Because there was a huge story on the Hill this week, Senator Chuck Schumer farted. Now on Iran and the NDAA and Jacob was there to get to the bottom of it.

Senator Jacob with TMZ. Did you fart yesterday on the Senate floor?  I was so proud of him.  You have one moment to say your question. He said the most direct version of it.  This was artistic and it just succinct. It was just perfect.  It was perfect.  Ciney Sweeney is promoting a new collection for her lingerie line.

And on the underwear it says, “But daddy, I love him.”  Maybe this is her declaration of love for Scooter. >> There’s another pair that says, “I really, really love you.”  They’re going to get married. That’s such a bummer for men, man.  I know we’re losing Scooter. >> Travis Kelce is getting ready for the Kansas City Chiefs training camp following, you know, his honeymoon with Taylor Swift.

This is a big season for him. >> I mean, if he does have a bad season, people are probably going to blame it on him being like a married man now, right? >> They do it with every woman. They always blame her when they have a bad season. >> It makes sense. >> It does not make sense. >> And now, move over, Taylor Swift, cuz Sydney Sweeny’s got her own Easter egg she’s laying down. Aie chachi.

Now that’s a stuffed basket, but not the Easter eggs we’re talking about. It’s this. Okay, someone explain. >> Sydney Sweeney is promoting a new collection for her lingerie line. And there seems to be a Taylor Swift reference. >> Get out of here, Sydney. >> She posted panty packs with some of my Lil Sayings.

He he he with a laughing face. And on the underwear it says, “But daddy, I love him.” >> Which is a huge song by Taylor Swift. And seeing as her boyfriend is Scooter Braun and they had their whole feud. Is this a subtle swipe at Taye? >> Is there somebody else that’s said this line before? Apparently the Little Mermaid. Yes.

>> Wait. Oh, she’s quoting The Little Mermaid, >> though. Everyone knows if you’re going to quote The Little Mermaid, you go with it’s a dingle hopper. Okay. Perhaps not for lingerie. But hold on, cuz maybe Sydney is actually just a really big Swifty. >> She’s been to Taylor Swift concerts before. She’s with Scooter Braun.

That you have to throw all that out. >> No, you don’t. First of all, Scooter doesn’t dislike Taylor. Taylor dislikes Scooter. >> No, >> she doesn’t dislike him. Are you kidding? She hates him. >> She did re-record her entire catalog after he bought her master. So, hate is in the ballpark. >> Maybe this is her declaration of love for Scooter.

>> There’s another pair that says, “I really, really love you.” >> Oh, they’re in love. >> Yeah, >> they are in total love. They’re going to get married. >> Wow, that’s a lot to take away from one pair of underwear. But sure, we’ll save the date. >> That’s such a bummer for men. Man, >> I know we’re losing Scooter.

>> Happy Easter, everybody. >> Ariana Grande and Ricky Alvarez are so back. Remember Ricky’s her ex from like many years ago. We broke the story that they are back together. They stepped out in Central Park for a little stroll, but he’s got his arm around her. She’s got her arm around him.

I mean, this girl wasted no time to get somebody new. >> Has she been alone for any stretch of her adult life? >> I can’t recall what time that she’s ever been single. >> Yeah. I mean, there’s a reason that she’s going from guy to guy. >> You know, girls can break up with guys, too.

It’s not always the guy breaking up with the girl. >> You got it. It’s very rare, though. >> It’s not rare. It’s rare. >> I’m pretty sure you’ve always been broken up with me. >> No, no, no, no. >> I’m always the one to do it first. >> Okay. >> I’ve had way more relationships than you, Siobhan. >> But also, it’s not a good thing. You think it’s better to have fewer relationships than a lot of relationships? >> Yeah.

>> Yeah. >> If you go to 31 flavors and you just have one flavor each time. >> Lame. But what if it’s chocolate? It’s delicious. Yeah. >> I didn’t mean that. I didn’t mean that way. I didn’t mean that. My favorite flavor. That is my favorite flavor. And now from Jeff Franklin, the creator of Full House, comes Death House, aka his huge honken mansion that he can’t unload cuz of ghosts and also cuz it cost 45 million, but mostly ghosts.

>> It’s where Sharon Tate’s house was where the Manson family slaughtered her when she was pregnant. >> But the thing about the house is it’s been torn down and rebuilt. It’s nothing like the home that was there when the Manson murdered it. >> Totally different. >> Yes, this one’s got a waterfall, spacious bedrooms, cozy fireplace, and no holding your bladder cuz it’s also got 18 bathrooms.

Plus, it’s cheaper than JLo’s mansion. >> He’s only 45 million. She had it listed at 50. >> JLo’s house has 24 bathrooms. >> Wow. She’s probably never peed in the same one twice. Sorry, that was disgusting. And unlike Jeff’s, JLos mansion has no murderous ghosts. This is a hard property to resell, man. >> I think it’s dumb.

I think it’s just dumb. Can I tell you something? People die in pretty much every plot of land. This was not just a regular death, Harvey. This was die pig die. >> This was a terrible crime scene. >> On the plus side, Jeff could always open the place up to the public and cash in cuz that’s worked before. >> Forachi’s house is a huge tourist attraction.

People go and they take photos on the steps of where he was killed. >> What about the OJ properties? Bugsy Seagull’s house in Beverly Hills. He was shot in there. He was shot and killed in there. >> TMZ, we know where a lot of people were horribly slaughtered. Good luck with the house, Jeff Franklin. >> Benny Blanco continues to prove that he’ll do anything for Selena Gomez, including jumping on a boat in sailing 8 days to London for her birthday.

And it’s not because he just loves sailing. It’s because he’s terrified of flying. He actually posted a Tik Tok saying, “POV, you’re traveling across the Atlantic in the Titanic to see your wife because you’re scared of flying.” So she’s out there in London filming Only Murders in the Building season 6.

>> So he would rather take a boat. >> That’s crazy. >> But no, this is a real thing. People are terrified of flying. I had a flight a long time ago where the plane dropped like a th000 ft and the flight attendant she crossed herself >> and it and it for years I had a >> she did this. >> Oh, >> is he there yet or is he still on the scene? >> He’s still on his journey I would imagine.

>> Does he keep like a journal like like a day for my dear Selena? >> Yeah. I long for your warm embrace, >> Woodward Bernstein. And now we can add a new legendary political reporter to that list. >> Did you fart yesterday on the Senate floor? >> WASSERMAN. IT’S IT’S over 100°.

I’m I’m I’m going to pass out. >> Anyone who is wondering why we started TMZDC, well, now you know. because there was a huge story on the hill this week and Jacob was there to get to the bottom of it. >> The story involves Senator Chuck Schumer and the country’s latest gas crisis. >> Now on Iran and the NDAA, Senator Chuck Schumer farted while he was on the Senate floor.

>> It’s pretty cut and dry. Hopefully it was dried. and he hasn’t hasn’t said anything about it, but yesterday he was talking to a bunch of reporters and then as he was getting to his car, Jacob asked the question that America needed an answer to. >> Senator Jacob with TMZ, did you fart yesterday on the Senate floor? >> But even though he didn’t answer, we’re sure the Senate Minority Squeaker heard it.

>> It was perfect. This was artistic that if you look at the If you look at it, he’s in the scrum with all the other reporters. He He looks over here. He sees where the car is and knows there’s going to be an opening in the defense. And then he moves around. >> Senator Jacob with TMZ.

Did you fart yesterday on the Senate floor? >> It was art. And without Art, you can’t spell. And then Jacob came on TMZ Live to complain. >> Please get Harvey, bro. It’s It’s over 100°. I’m I’m I’m going to pass out. I’m celiac. I’m bow-legged. I have migraines. It’s like I had sinus surgery, like TMJ, I get ear infections.

>> Don’t forget best journalist ever. >> I’m so proud of him. >> Thanks, Jacob. We hope you win a finger Pulitzer. >> Did you fart yesterday on the Senate floor? >> Travis Kelce is gearing up for the NFL season uh following, you know, his honeymoon with Taylor Swift, some other weddings of other teammates.

Um, we got photos of him in Florida right after working out, getting ready for the Kansas City Chiefs training camp that starts on July 29th, but this is the first time we’ve seen him do anything football related or like I mean I guess we saw him running in New York, but uh training for the NFL season.

Obviously big wedding a few weeks ago. He looks in good shape. >> This is a big season for him. Last year was so bad and also there’s going to be so much attention on him because >> of the wedding and if he falters everyone’s going to say, “Oh, now >> the difference is he’s he’s coming off a bad season.” So, if he came if he was coming off a good season, that argument would be more >> I’m with Harvey.

It’s all it’s all it’s all upside. People expect him to be flat and not get better. >> But, I mean, if he does have a bad season, people are probably going to blame it on him being like a married man now, right? >> They do it with every woman. They always blame her when they have a bad season. >> Yeah, >> it makes sense. >> It does.

Coming up, >> the guy arrested for intruding on the Today Show and calling host Craig Melvin the n-word was apparently just living out one of his dreams. Cops say the guy’s response was quote, “I always wanted to call a black famous person the n-word.” >> What in the heck? >> Plus, >> Mauricio Yumansky has found his summer love.

>> This one’s in her 20s. >> We don’t know her official age. >> I mean, the horses, you can tell by the what is it? A circle. There’s a circle. >> Trees. Trees have rings. You don’t cut a horse open and see how many circles it has. >> TMZ online and on your phone 24/7. Coming up, >> Karen Edertton is back on Rya.

>> Do they know it’s him? Yes. >> I find it weird because you’re attracting people who I [snorts] want to be with the celebrity. >> Be right back. And now when dreams come true, even when those dreams are awful, >> there’s a lot of wacky out there. So, you know, uh, but I totally see it. >> Today’s show host Craig Melvin talking about the terrifying incident at the studio where a man, allegedly this guy, snuck past security, tried to find Al Roker, couldn’t, then lunged at Craig and called him the N-word. The guy

arrested for intruding on the Today Show was apparently just living out one of his dreams. >> According to cops, when the man hurled the slur, Craig said something like, “Do you want to get arrested?” And the man allegedly replied, “I always wanted to call a black famous person the n-word.” >> What in the heck? >> So, it really is true then that he couldn’t find Al, so he went to Craig.

In his eyes, Al was more famous and he wanted to call him the nword. Does that upset Craig that he’s sad? >> No, he’s still he’s still got it. No, that means he’s famous. >> So, they addressed it in the show. >> Yeah. >> Thankfully, he was apprehended quickly. He was placed under arrest. Uh we are cooperating fully with the NYPD as they investigate the matter, and we are just very happy that everyone is safe.

The suspect, who already has an extensive wrap sheet, has now been hit with a slew of hate crime charges. Security has been beefed up, and the guard who allegedly allowed the guy to slip through has been let go. >> How weird your deep dark fantasy is to call Al Roker the N word. I mean, even for racist, >> but this is a very disturbed person.

God, the weird thing is it’s like the Today Show, you know. It’s like jeez, it’s not a good ear. No. >> Glad you’re all okay, Craig. We’ll see you out there. >> We got the best team in the business. >> There is hope in the world because Karen Edertton is back on Rya. He was with Brooks Nater for a little while.

There was this period where they were very PDA. That’s been over. My recon is for almost two months. >> So, he’s back on the market. >> So, do they know it’s him on Rya? >> Yes. >> I find it weird because you’re attracting people who I want to be with the celebrity. >> But if he tries to meet people in person, that’s going to happen, too.

That you always say, why do celebrities date other celebrities? That is why. >> I mean, he did date Brooks, who is, I think, the most beautiful woman in the world right now. There’s a new girl. Oh, Hayes Warner, her name is. She’s on this new show called Shards. It’s a Ryan Murphy show with Kaia Gerber and they posted pictures kissing like licking tongues underneath the billboard on Sunset.

>> She has iPhone face but she’s pretty. >> What’s iPhone face? >> It just means when like you’re you wouldn’t be able to play a role in like the 1800s cuz you look like you’re from like >> you are the weirdest life. You got it. It is a thing. And now it’s Mauricio Yumansky in the Otis Reading Classic sitting on the dot to get laid.

>> Mauricio Yumansky has found his summer love. We got video of him in Monte Carlo. >> Summer love. >> July love. >> This week love. >> Okay, so the guy has hooked up a lot since he and Kyle ended their marriage. So what? After all, as Mother Teresa once said, >> what are you supposed to do? But Maritzio and the mystery girls spend about 30 minutes sucking face and giving quite a show to the young kids also on the dock who might be closer in age to the woman than 56-year-old Maritzio is.

>> It’s just weird that it’s his daughter’s age. >> Well, we don’t know her official age. >> I mean, the horses you can tell by the by the tree ring. >> No, there’s a circle. Those are trees. >> You don’t cut a horse open to see how many circles it has. >> As for Maritzio and Ms. Monte Carlo. >> He’s a single guy.

Is there anything wrong with him? >> No. >> This still has to bother Kyle. >> Well, the two still haven’t legally separated or filed any divorce papers, so maybe she’s just waiting for him to sew his wild oats, then come back. In the end, there’s only one thing we know for sure. >> He is getting it. >> Well, that and you shouldn’t cut horses open to figure out their age.

Isn’t that how we lost Mr. Ed? Good luck, you floating love birds. The winners of Love Island, Bryce and Trinity, are celebrating their historic win. Uh they went to Bird Street Club and to have a nice little dinner party with some of their castmates and they just had a really good time and we’re about to be seeing a lot of Brinity.

>> I love them together. >> But also, this season was a win for soft masculinity. Like the men that were the softest in their masculinity were the most popular. >> No. Yeah. No, they were actually getting bullied for their soft masculinity. What’s an example of something? >> Okay, so let me ask you guys a question.

When you’re hanging out with your your homeboy and you’re about to go on a date with a girl, do you ever like open your pants and say check >> what is that? >> I think you’re thinking of that. >> Wait, I thought all guys did that. >> No, >> I don’t believe you. I don’t believe that you guys. I’ve never like compared.

>> Okay. What’s hard masculinity? >> Yeah, that’s what I want to know. Coming up, >> Kesha has a unique hobby where she collects human teeth cuz I want to make uh jewelry out of it. What did you do with your old teeth? Make a necklace out of those. >> No, I still have my teeth. >> Oh, I thought they took them out.

>> No, he doesn’t have teeth. He has nubbins. >> Where can you see huge stars in Hollywood? No, not the planetarium. That’s for nerds. We mean the TMZ celebrity tour where we’ve seen HUGE STARS LIKE KEVIN HART, RIHANNA, BEN AFFLECK, THE ROCK, Mark Wahberg, LIZO, LADY GAGA, RYAN SEQUEST, AND JAMIE FOX.

Now departing from Hollywood and Beverly Hills. SO HEAD TO TMZOUR.COM and book your tickets for the TMZ Celebrity Tour. >> And you know that I collect teeth. >> Kesha has a unique hobby where she collects human teeth. So, she’s on a podcast talking about how it all started when a fan came up to her.

She was a mom and she’s like, >> “My child lost their teeth.” And I was like, “Can I have them? Cuz I want to make uh jewelry out of it.” >> She started amassing this collection of teeth and she has over a thousand teeth now. >> Yeah. All over my home. Yeah. >> She has a very wholesome reasoning for it.

She says it’s because she likes collecting little pieces of the people she loves. Then I made an earring and then a belt and then a crown. >> You know what would be cool? If you had a kid and the kid lost all of his baby teeth and you made like a necklace out of it. >> Yeah. You still have your kids’ teeth? >> Yeah, of course I do. >> Make a necklace.

>> What did you do with your old teeth? Make a necklace out of those. >> No, I still have my teeth. >> Oh, I thought they took them out. >> No, they don’t take >> No, he doesn’t have teeth. He has nubbins. >> No, they said nubbins. Harvey, I think the official word is nubbins. >> If he took him out, he’d look like no ferraratu.

He’d have all these little pegs. If everyone brings in their teeth. >> Coming up, >> we got Martha Stewart out. We talked to her about the drama surrounding Daisy, her makeup artist, who’s now on Real Housewives of New York. She keeps stating that she wants to become famous and leave Martha Stewart in the dust. >> I totally agree. Daisy is a chco.

>> Daisy is making trouble. >> Martha, how are you? We got Martha Stewart out and she is amazing. I just love her so much. We talked to her about the drama surrounding Daisy, her makeup artist who’s now on Real Housewives of New York. People are saying that she keeps stating that she wants to become famous and leave Martha Stewart in the dust.

>> I agree with that. I totally agree. Daisy is a chco. >> Daisy is making trouble. >> That’s what you got to do when you’re a housewife. You got to make trouble. Stephanie said, “Do you think Daisy should be a full-time housewife and like maybe not work with you anymore?” And she goes, >> “What she wants to do is what she wants to do.

And I never stand in anybody’s way.” >> I love that for you. Who are you, Martha? >> I’m Martha. >> And you’re not. I mean, I love her. >> Martha’s so fun, though. >> She is. And hot. Martha’s so hot. >> Who was the last person she dated? >> Yeah. Who does she? >> She’s had problems with it, she said. >> Like, she’s hot. She’s rich.

>> Why wouldn’t she want to just be someone’s sugar mom? >> Why not get a young stud? >> She might have someone that’s cracking her back, but that’s not her boyfriend. What is cracking your back by that? Like an actual cracked back >> sex >> having sex with it. >> Oh, not like chiropractor. I got a chiropractor.

> I thought it was a chiropractor. >> You guys must not get laid off. >>

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.

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