Taylor Swift and Travis Kelce: Everything we know about rumoured New York Wedding | BBC News –  Hw

So, is this really Taylor Swift’s wedding venue, or is everybody just falling for the world’s biggest decoy?   I don’t know that anybody’s ever done it.   So, she’d be the first one.   I was actually at the Eras Tour concert where her and Travis met. So, I just think it’s really special.   If you happen to be getting married at Madison Square Garden, you will be staying   inside and you will be staying cool.

Nothing has been confirmed, but speculation has gone into overdrive.   It’s the love story that has everyone talking. Pop icon Taylor Swift and NFL star Travis Kelce got engaged last summer in the backyard of his Kansas City home. And since then, fans have been desperate to find out everything they can about the wedding.

When, where, how much will it cost, who is invited, and what will Taylor wear? Over the next 10 minutes, we’ll bring you everything we know and don’t know about the wedding of Taylor and Travis. First, let’s be clear, there is a lot we don’t know. First then, the where. There are a lot of hints and clues driving speculation, all focused on one venue, Madison Square Garden.

It’s one of the most iconic venues in America. New York City’s 22,000 seat arena is typically used for large concerts and home to the New York Knicks basketball team. So, why do people think there’s going to be a wedding there? Our reporter Sakshi Venkatraman can explain. >> I’m in New York’s Madison Square Garden, where rumors say that Taylor Swift and Travis Kelce could be getting married.

Nothing has been confirmed, but speculation has gone into overdrive after city officials said someone applied to close the roads around the arena from 2nd to 4th July. The New York Times also reports that several Kansas City Chiefs player have booked hotels around the arena. And the Amtrak police have been informed to prepare for a Swift wedding in the upcoming holiday weekend.

>> With the event likely to draw crowds of fans known as Swifties, the authorities have had to be involved in planning. Take a listen to the New York Police Department and the mayor of New York. >> In a briefing about major events happening this weekend in New York City, I would be remiss not to mention an event that we are tracking at Madison Square Garden on Friday night.

The NYPD will, of course, have a detail in place. >> My recommendation to all New Yorkers is to stay inside and stay cool. And if you happen to be getting married at Madison Square Garden, you will be staying inside and you will be staying cool. And I think it’s a good example to set for the city at large. >> Well, our correspondent Neda Tolfic is outside Madison Square Garden for us.

Hi, Neda. So, are all signs pointing to it happening on Friday night in that stadium behind you? >> I can tell you we’re already seeing a police presence. I passed numerous police who were already kind of getting ready for road blocks. You see these barricades out behind me. Uh 31st Street is where there is a VIP entrance, and that’s where we believe guests will ultimately kind of get out their cars and go into the space.

There’s also a tent that’s being erected on that street for guests. So, you can imagine just how much attention there is on this area. We have seen things uh with workers having Taylor Swift uh on their polos. We have seen deliveries uh with show lobsters being delivered as well as uh sets that say garden party with some trees and rumors of a castle being erected inside.

All signs pointing to it happening, Anita Anita, and we’ll find out soon because there’s supposed to be rehearsal dinners tonight at 6:00 p.m. >> Yes, so Neda, that’s uh all the intel from outside and inside. This must all be very expensive. Any ideas on cost? >> Well, look, we know that they got a permit to close down certain streets, which is very normal, a permit from the mayor’s office.

And with that, that will kind of pay for around 30 police officers just on that permit, I’m told. Of course, they will need more than 100 more police officers alongside that permit to help kind of secure the area and the event. Madison Square Garden itself will take care of the security inside and the building. So, we’ve already had some New York lawmakers suggesting that it will be something that Travis Kelce and Taylor Swift should pay for, that it could be up to $65,000 a day in security costs.

Um but again, none of that confirmed, just kind of looking at how much those sort of sources things would cost in New York. But um you know, it was interesting to see that Taylor Swift’s publicist put out a note uh talking about the tens of millions they’ve donated to charities, including in New York City, ahead of this wedding.

Uh so, clearly trying to get ahead of that narrative. And of course, she has more than enough money to pay for any costs needed to make sure that this is the wedding of her dreams. >> So, the next question is, is the right place? Can a stadium really be turned into a wedding venue? Here’s what some fans think.

>> I mean, it’s definitely a one-of-a-kind sort of thing. I don’t know that anybody’s ever done it. So, she’d be the first one. But I guess it it it makes sense, but I I just don’t think it’s typical of her, but I’m sure it’ll be gorgeous and beautiful. >> It’s a little unlike her just cuz it’s like I can’t imagine a wedding in like an enclosed like arena, but I feel like she could still make it beautiful.

>> Like it’s like more privacy, like people can’t see in and like it’ll be easier like get in and out cuz they have like tunnels. >> I thought she’d be more of like a natural sunlight girly, you know, somewhere far away in Europe. >> So, who’s on the guest list? The short answer is, we don’t know, but there’s sure to be a long list of celebs and sports stars in attendance.

During her press tour for her latest album, Taylor Swift issued some very public invites TV presenter Graham Norton and Greg James host of the breakfast show on BBC Radio 1. >> Way that he’s going to do that as soon as he sees you at her wedding is like that’s going to happen. Like he’s just going to >> Woah, woah, woah, woah, woah.

>> Oh, did I >> Am I coming? >> Obviously. >> >> And Graham Norton’s been spotted landing at New York’s JFK Airport. So has the actress and producer of Phoebe Waller-Bridge. So Neda, we may have some BBC representation in the room. I know I haven’t got an invite unfortunately. Maybe you do.

Who else is rumored to be in attendance? >> Yeah, Neda, I’m going to be here on the sidewalk. So I’m right with you there on no invite. And Graham Norton, you know, we remember that when Taylor Swift was on his show, she joked that he would know about when the wedding is because he would be invited and she even made a comment that she’s not going to be angsting about a small wedding that she’s going to make it big so she can invite quote everybody she knows.

So that certainly fits the bill of having it in a massive stadium like Madison Square Garden. But you know, others rumored to be here are of course Ed Sheeran, a close friend, someone she’s um had you in the past. There’s also been sightings of Sabrina Carpenter um around New York City uh along with uh some of Travis Kelce’s um you know, former teammates uh of course um a a big a big football star there uh for Kansas City uh OKC and they were spotted at a nearby hotel.

So along with close family and friends, this is really expected to really tie the world of entertainment and sport together. >> And of course we have to talk about the dress. Uh we don’t know what it will look like, but we do know it will inspire a lot of future Swifty brides. Here is Sarah Chapel, author of Taylor Swift Style: Fashion Through the Eras, to explain.

>> The striped Ralph Lauren dress that Taylor wore in the engagement photos that she and Travis posted last summer spawned a number of look-alikes across budget retailers to fill demand. Her engagement ring has created huge interest in old mine diamonds and antique cushion cuts, which I think have, you know, really usurped the long-standing oval cut, which Hailey Bieber has certainly popularized there.

So, her wedding dress is going to carry the same effect, if not greater. >> And fans are clearly excited about the next chapter in this love story, but not all of you will have followed every twist and turn of their relationship as closely as all the Swifties. Someone who has, however, is Mark Savage, our music correspondent.

Mark, recap their love story so far for us. >> Well, this all started in about July 2023. Travis Kelce went to see Taylor Swift’s Eras show in America, and he brought with him a friendship bracelet. You know, all of the fans were trading these bracelets on the floor of the show and getting to know each other.

He made one for Taylor Swift with his phone number on it and tried to give it to her backstage, but he was told that she doesn’t speak to people before or after the show cuz she has to protect her voice. She was performing more than 40 songs a night. So, he went on to his podcast with his brother, Jason, also an NFL player, a couple of weeks later and told that story.

Word got through to Taylor Swift, and people said, “Maybe you guys should meet up.” And that’s how it all started. They met behind closed doors a couple of times before going public. One of Travis’s games, Taylor turned up in the player suite, stood next to Travis’s mom as he beat the Chicago Bears. And that was the moment where they came out as a public couple, which was quite a big surprise for Taylor’s fans because in the past she’s always been very circumspect about her relationships.

You know, although she’s written songs we think about people like Jake Gyllenhaal and Harry Styles who she dated in the past, she’s never ever given away that those songs are specifically about those people. So, to to be seen in public and to then attend several matches together, she would run onto the pitch and hug him after a game.

She was at the Super Bowl in 24 when the Kansas City Chiefs won. That was a big, big shift in the way that Taylor Swift approached her relationships in the public sphere. And over the last year and a half, two years almost now, that that romance has blossomed. She has written songs about him. She’s acknowledged him as the subject of songs.

Everything from Wish List where she talks about having a driveway with a basketball hoop and settling down for life to another song called Wood, which is a bit more x-rated about what happens in the bedroom. Um, it has been a very public romance for a star that is known for being more private. >> Thanks, Mark. And that is all you need to know about Taylor Swift and Travis Kelce’s rumored wedding at Madison Square Garden.

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.