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Taylor Swift shared a sweet selfie with a fan at Oilers-Panthers

Taylor Swift shared a sweet selfie with a fan at Oilers-Panthers

Yahoo13-06-2025
For one Taylor Swift fan, Thursday night at the Stanley Cup Final became a night they'd never forget. The 14-time Grammy winning singer attended Game 4 between the Florida Panthers and Edmonton Oilers with boyfriend Travis Kelce. Swift and Kelce seemingly had a blast as the couple took in the game action with all the drama on the ice, got snapped canoodling and even became a fun meme that everyone shared.
At one point, the The Tortured Poets Department singer posed to take a selfie with a young fan in the adjoining suite. After snapping a couple pics, Swift made sure to have the fan show off her cardigan -- which was one of the merchandise options for Swift's 2022 Midnights album -- for the camera.
It was an adorable moment and the resulting picture is one she will certainly cherish.
🚨| Taylor telling the fan to show off her 'Midnights' cardigan for the photo 💙! pic.twitter.com/Sno5GGuXhQ
— Taylor Swift Updates (@TSUpdating) June 13, 2025
She wasn't the only one in the suite that got to have a memorable night as Swift greeted everyone and made a little boy's night by bringing Kelce over to say hello.
🚨| Taylor Swift met a fan and took several pictures with her— she complimented her 'Midnights' cardigan and said hi to her friends! —Taylor also greeted other fans nearby and even called Travis over when they asked if they could meet him too🥹! pic.twitter.com/zCaTyzQpFe
— Taylor Swift Updates (@TSUpdating) June 13, 2025
Truly a magical night for those Florida fans (minus the outcome of the game).
This article originally appeared on For The Win: Taylor Swift selfie with a fan at Oilers vs. Panthers was so sweet
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Teenage Engineering did it again

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Taylor Swift's Album Release is Quintessential Swiftynomics
Taylor Swift's Album Release is Quintessential Swiftynomics

Time​ Magazine

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  • Time​ Magazine

Taylor Swift's Album Release is Quintessential Swiftynomics

On Aug. 12, Taylor Swift announced her 12th original studio album, The Life of a Showgirl and a sparkly orange era on her website. This news spread like a ray of golden sunshine, cutting through some bleak headlines for women. The Bureau of Labor Statistics lost its female leader because President Donald Trump did not like the published jobs numbers. And as TIME reported, this labor market data also revealed that women are leaving the labor market in droves The next day on New Heights, Jason and Travis Kelce's podcast, Taylor complimented Travis' sweatshirt. 'Thanks, sweetie, it's the color of your eyes,' responded Travis, sending Swifties into a tailspin. Finally, Swift revealed more details. Her album will be released on Oct. 3 and she shared its artwork and tracklist. The announcement is not just a reflection of modern American gender dynamics, but a masterclass in modern advertising. Read More: Everything We Know So Far About Taylor Swift's 'The Life of a Showgirl' In less than 24 hours, everything turned orange. Everyone, and I mean everyone, was in on it. The Empire State Building, New York Times Square, and the Kansas City Union Station lit up in orange lights Tuesday evening. M&Ms, Playdoh, and Sesame Street came out to play, flouting orange and the number 12 in honor of Taylor Swift's twelfth album. The Olive Garden flashed a garlic bread turned showgirl in honor of the era's new album title. Petco brought out Meredith, Taylor's cat, in an orange haze. Even Aquaphor hand lotion showed up in sparkle. The list of brands getting in on the mania went on and on. Orange became the new social marketing technique. Business classes in universities across the nation will ponder Taylor's successful grip on our psyche. With the economy-moving Eras Tour behind us, companies had caught on to Swift's success even if they could not understand how she had done it. They were grasping for the attention of Taylor's fans, riding the coattails of her brand. But what is Taylor's brand? 'I am in the business of human emotion,' said Swift while discussing her decision to buy back her music catalog from the private equity firm Shamrock Capital with Jason and Travis. 'I would so much rather lead heart-first in something like this.' Not music, not entertainment, not writing, but human emotion. And though Swift maintains she has not made such business decisions because of the projected returns or dividends, her emotion-focused approach has still been key to her success. Throughout her career, Swift has remained true to herself and invested in getting to know and understand her audience. She builds her product around human emotions—hers and ours. The day before the announcement, I had been working with a librarian discussing how to build research muscle among a new class of incoming freshmen who would be taking my new class, The Academic Lore of Taylor Swift. The librarian began telling me she came to the fandom late, that the romance between Taylor and Travis really drew her in because it gave her so much joy to watch. Read More: The History of Music Copyright—Before (Taylor's Version) More than a million listeners tuned in to the New Heights podcasts the night of Swift's announcement. The emotional tug of a new announcement or any crumb of new information into the life of the artist had a magnetic pull far and wide. Human emotion sells. In critical, historical moments like the one we are in now, where immigrants are being unfairly targeted by the federal government, inequality is ever increasing, and moms cannot catch a break in the labor market, it sells even more. As advertisers continue paying attention to who's controlling the market today, they'll look to megastar influencers like Taylor Swift and latch themselves to her sparkly orange belt. She will, in turn, look to her fans who are more than happy to dig deep into their pockets for a chance to experience the human emotions she's selling, whether via CD, vinyl, cassette, and any other form. Maybe all of her fans won't buy the orange Playdoh, but they will buy the music that she ever-so-delicately, perfectly, and precisely laid out to a sound track—and they will devour it. She'll make them happy in what might be seen as otherwise depressing times. This is what I call 'Swiftynomics.' It is women's ability to dominate consumption and marketing patterns by harnessing their human experiences for economic benefit. It is women investing in one another, and it thrives today, even in these challenging times. A business built on human emotions is a smart, strategic business plan. An economy which thrives off of the emotions, and realities, of deeply authentic women is an economy we should all want to build together, in this era and the next. If that is what Taylor is selling, then sign me up.

‘I'm the one to beat': is Taylor Swift's Showgirl era set to propel pop megastar to even greater heights?
‘I'm the one to beat': is Taylor Swift's Showgirl era set to propel pop megastar to even greater heights?

Yahoo

time7 hours ago

  • Yahoo

‘I'm the one to beat': is Taylor Swift's Showgirl era set to propel pop megastar to even greater heights?

default Taylor Swift's podcast interview with her American football player boyfriend, Travis Kelce, this week yielded plenty of tidbits for fans. Across two hours of loose chat on New Heights, the show Kelce helms with his brother Jason – also a football player – Swift revealed she was obsessed with sourdough and lurked on baking blogs. The couple spent the summer with her family, caring for her 73-year-old father, Scott, after he had a quintuple heart bypass. She gave Kelce a lesson on Hamlet and taught him how to avoid internalising speculation about their two-year relationship. You could call them the tentpoles of the 35-year-old pop star's brand: literary passions and professional self-awareness. One surprising revelation came near the end. Until the record-breaking 149-date Eras tour that Swift mounted from 2023-24, she said she had 'never allowed myself to say: 'You've arrived. You've made it.'' Being the only artist to win the Grammy for album of the year four times hadn't done it; not the records broken, the acclaimed shifts from country to mainstream pop to indie. Nor her staggeringly successful campaign to re-record her first six albums to devalue their master recordings, sold by her first record label to an industry nemesis, and then on to a private equity company. 'But the Eras tour,' she said, 'I was like, this is nothing like what I've experienced before. It was so much better than anything else.' Eras leapfrogged becoming the first billion-dollar tour to become the first $2bn tour. That would be plenty of cause for celebration and a good long rest. So would, as Swift announced in May, finally owning the rights to those first six albums, having successfully negotiated to buy the asset outright. (It ended her re-recording project: her 2006 debut is done and waiting, and she barely started 2017's Reputation.) Her legacy isn't just culturally assured, but materially secure. But Swift evidently isn't ready to let that feeling of having 'made it' go. She appeared on New Heights to announce her 12th album, The Life of a Showgirl, arriving just 18 months after its predecessor and 10 months after Eras concluded: she is apparently congenitally incapable of rest, with a lot to process. The public will – correctly – have long assumed that Swift has well and truly made it like no one ever has. But the record's promised contents, intentions and release strategy are set to make Swift – and Kelce alongside her – hysterically famous at a new level, capitalising on and shifting industry norms in a way that may leave her detractors researching bunkers in which to hide from it all. *** Swift's new album does not arrive until 3 October, but this week's edition of the industry newsletter Record of the Day led with a tongue-in-cheek congratulations to 'everyone at EMI and Taylor Swift on her latest No 1 album The Life of a Showgirl'. Supernova success is a foregone conclusion: last year's introspective The Tortured Poets Department (TTPD) was the first album to pass a billion streams in its first week, reaching 1.76bn. Swift is beloved on an unfathomable scale. She is one of the last monocultural pop stars. You suspect she could have toured Eras for five years and still sold out every night. Her devout Swifties, casual pop fans and curious rubberneckers will likely propel Showgirl past TTPD's record, such is the critical mass behind her, no matter what it sounds like. Her reign, says Annie Zaleski, the author of Taylor Swift: The Stories Behind the Songs, is unprecedented because 'she's so consistent and continuing to evolve'. But on the podcast, Swift sounded surprisingly aware of the limitations of TTPD – too wordy, too long, too downbeat – and keen to course-correct. That project, she said, had been about 'catharsis', 'mess' and 'rawness' following an apparently humiliating fling with the 1975's Matty Healy. TTPD comprised 16 songs; and on release day, Swift dropped a previously unannounced 15-track sister album, The Anthology. For Showgirl, she said she craved 'focus and discipline': just 12 songs going behind the scenes of her Eras life, with 'melodies that were so infectious you're almost angry'. She made a surprising admission about her recent quality control: 'Keeping the bar really high is something I've been wanting to do for a very long time.' Swift recorded Showgirl with the Swedish co-producers Max Martin and Shellback in Stockholm around Eras' spring 2024 European run. The second of her three dates in the Swedish capital was the 89th date of the Eras tour: she named her fifth album, partly produced by the Swedes, 1989 after her birth year. Given the endless number games she plays, sowing numerology clues for fans setting up her future movements, you can assume the scheduling was no accident. Martin and Shellback co-produced Red (2012), 1989 (2014) and Reputation (2017), homes to her biggest pure-pop smashes, among them Style, 22, and Blank Space. Her first subsequent album without them, 2019's playful Lover, was regarded as ending that imperial period. Since then, Swift's music has grown more muted and experimental, often in collaboration with the producers Jack Antonoff and the National's Aaron Dessner, as if she were trying to carve out a sustainable future for a 30-something songwriter: 2020's folksy Folklore and Evermore, the dusky pop of 2022's Midnights, TTPD. They spawned no comparable radio hits; her biggest in recent years is Lover's Cruel Summer, never officially released as a single but adopted as a fan favourite. Swift now seems to be framing those records as a phase – her art school years. The Showgirl era seems to be an attempt to recapture the kind of musical ubiquity where little kids yell your lyrics at birthday parties, as they did with 2014's Shake It Off and now do with songs such as Chappell Roan's Hot to Go! 'My business is making music and taking care of my fans and I have ways of monitoring what they want from me and how best to entertain them, which is my job,' she told the Kelces. Eras was divided into segments reflecting each of her albums (except her 2006 debut): imagine it as a 149-night focus group. Swift's monitoring also cannot have failed to note that her brand of hermetically sealed, grown-up pop has been ceding ground to Roan, Sabrina Carpenter and Charli xcx, who have seized culture's centre with less inhibited and far rowdier hits than the exacting Swift has ever made. Or perhaps ever could: one insurmountable difference is that Roan and xcx are unlikely to ever monitor fan desire or cater to it. And Martin, despite being second only to John Lennon and Paul McCartney for having the most US No 1 singles, has waned as a hitmaker. 'I don't think she can get ahead of those artists because she's such a millennial pop star,' said a publicist for comparably superstar acts who asked to remain nameless. 'She can't create trends like those younger artists because they have a lot less to lose.' There is a sense that Swift is catching up: that she's clocked criticisms, read the room. She released 19 physical variants for TTPD, and was accused of exploiting fans and damaging the environment with excess vinyl production, a practice Billie Eilish has called 'wasteful'. Showgirl appears to have a fairly industry-standard four. She is also competing with herself: if there is a tour, says the music business expert Eamonn Forde, it will have to take a significantly different form to Eras – residency-style, perhaps Vegas or in a bespoke venue, as recently done by Adele – to avoid unfavourable comparisons to the biggest tour of all time. *** Swift drew mass media coverage for her appearances at Kelce's games with the Kansas City Chiefs, prompting some aggrieved football fans to boo whenever she appeared on the jumbotron. In a trailer for her episode of New Heights, traditionally a sports show, Swift joked: 'I think we all know that if there's one thing that male sports fans want to see in their spaces and on their screens, it's more of me.' Unluckily for them, the brand-building between Kelce and Swift looks set to make their association unavoidable. New Heights is part of their lore: after Kelce tried and failed to land a meeting with Swift after an Eras show, he told listeners he wanted to meet her. Intrigued, she took him up on it. The synchronicity began. It can be no mistake that Kelce's cover of GQ magazine landed the same week as Swift's podcast. Meanwhile, Swift rarely gives interviews: New Heights offers a mutually beneficial space where the couple wield full control, albeit with a soft touch: giving cute disclosures, such as his love of wild otters or her running to tell him about getting her masters back when he was gaming with the boys. The moment capitalised on the prevailing trend for A-listers to reserve their media engagements for fairly fannish video podcasts, making traditional journalists fear for their jobs as they dutifully write up any news lines. Premiering Wednesday night in the US, the episode livestream crashed; within 24 hours it had 13m YouTube views, not including other podcast platform stats. The value to advertisers is huge, especially in anticipation of future Swift revelations. And Kelce, a comparatively old player at 35, is rumoured to be retiring after the coming season – his 13th year, Swift's lucky number – so will be power-brokering his post-game career. He admitted to GQ he had literally taken his eye off the ball, with underwhelming stats in his past two seasons, because he was chasing other opportunities. 'It's his Steven Bartlett, Diary of a CEO move,' said the publicist. 'It's future-proofing their lives. He can't be a football player for ever; she can't be a pop star for ever. It makes them a unit – look at how it worked for the Beckhams.' After a backlash around 2015-16 resulting from her beef with Kanye West and Kim Kardashian, Swift managed to convincingly reboot her brand: a dedicated, literary songwriter who fights for artists' rights. To onlookers outside the NFL, Kelce's is ripe for shaping from two years of dating Swift. The couple are clearly conscious of this: Kelce told GQ he had 'become way more strategic in understanding what I am portraying to people', something you may imagine constitutes pillow talk in a business-minded household. 'No man has ever said those words,' said the publicist. Related: Eight things we learned from Taylor Swift and Travis Kelce's marathon New Heights podcast Kelce's image is openhearted romantic. Notably, he is Swift's first significant boyfriend to seem undaunted by her celebrity – her previous six-year relationship with the British actor Joe Alwyn took place almost entirely in private. A sweet aspect of the New Heights episode was two beefy jocks being so excited by and supportive of a girly pop star. Swift joked of his public entreaty to date her that 'this is sort of what I've been writing songs about wanting to happen to me since I was a teenager'. The couple riffed on memes questioning Kelce's intelligence – 'it's so hot when she says big words,' he said when Swift called Folklore 'esoteric' – which is in itself very smart: positioning Kelce as lovable and non-threatening. Swift said she immediately warmed to him for not being 'judgmental', describing him as 'a vibe booster in everyone's life … like a human exclamation point'. The implication is that he could pep up your sentences if you let him into your heart. Kelce's post-football business is being everyone's boyfriend, not just Swift's. His pesky family ties to Maga Trumpists won't hurt him in the US; if Swift, who endorsed Kamala Harris in the last election, were to be questioned about this, 'her argument can be that she's the leftwing voice in these rooms', the publicist said. Win-win. Although Swift seemed keen to establish some distance from the voluble TTPD era, a song from The Anthology about her and Kelce's relationship seems to outline her present mindset. 'I'm making a comeback to where I belong,' she sings on The Alchemy. 'Ditch the clowns, get the crown / Baby, I'm the one to beat … These blokes warm the benches / We've been on a winning streak.' That streak is assured: next year marks the 20th anniversary of Swift's self-titled debut, and she will inevitably release the re-recording to mark the occasion. Showgirl's successor will be her 13th album, a significant moment in her lore. There are rumours of a behind-the-scenes Eras documentary to complement the record-breaking concert movie, extending the moment's IP. Any new tour will once again recalibrate the live industry. Before Swift drops a note of music, or Kelce touches grass, they're the coming season's reigning champions.

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