Culture
A Taylor Swift love story: How pop icon is bringing a new, young audience to the NFL
Arrie Flathouse took her first steps to Taylor Swift’s hit song “Tim McGraw.”
The pop icon was a constant part of the now 16-year-old Arrie’s childhood as she grew up in the Houston area with two older sisters who adored Swift. Arrie came to love Swift, too, dressing up as her for Halloween and listening to her albums.
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Arrie never got much into football, though, despite having a mom, Kara, who spent her weekends tuned into college and NFL games. That included games played by the Chiefs since Kara, like Kansas City quarterback Patrick Mahomes, is a Texas Tech alum. Despite Kara’s attempts to get her daughters interested, football never clicked with Arrie, so Kara usually spent those weekend afternoons watching games alone.
But that changed last summer after Arrie saw clips of the “New Heights” podcast, on which one of the hosts, Chiefs tight end Travis Kelce, described his attempts to give Swift his number via a friendship bracelet.
Anyone know how to get a bracelet to @taylorswift13? … asking for a friend 😅 @BWWings
New episode premieres NOW!
Tap in: https://t.co/lmQ8fLH1IO pic.twitter.com/4yYr8HSb0m
— New Heights (@newheightshow) July 26, 2023
The little exchange had quite an impact on Arrie.
Already a devoted listener to the podcast, Kara got so excited when her daughter started talking about the Kelce clips. Over the following months, social media worked its magic, and by the time Swift showed up to her first Chiefs game in late September, Arrie was tuned in.
“This is crazy,” Arrie said. “This isn’t Swifties’ theories. This is for real. So that’s when I started watching football because I was like, ‘If she’s gonna be at the games, I’ve got to see her.’”
Arrie has since tuned into pretty much every Chiefs game, embracing not only the Taylor Swift-Travis Kelce romance but the entire Kelce family. She’s watched Amazon Prime’s documentary about his brother, Eagles center Jason Kelce, became a devoted listener of the Kelce brothers’ “New Heights” podcast and even started watching Eagles games.
“Even if Taylor is not there, I think I enjoy (the game) a lot more,” said Arrie, whose parents promised to buy her a Travis Kelce jersey soon.
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Kara smiles listening to her daughter describe her newfound interest in a sport she bonded over with her own dad. Kara doesn’t want to push too hard, but she loves it when she sees Arrie’s head pop over the stair banister if she hears football on the TV. Much to Kara’s delight, that tends to lead to quality time together watching games with her daughter. It’s also led to questions about the sport itself.
“It’s been really fun for me,” said Kara, who posted a viral video in the fall about her glee that Swift finally converted her daughter to a football fan. “I love it.”
The Flathouse family isn’t an anomaly. Far from it. Swift’s arrival on the football stage has led to countless stories of football-loving parents bonding with their Swiftie kids. Even Chiefs CEO Clark Hunt is hearing them.
“I frequently have dads come up to me and say, ‘My 10- and 12-year-old daughters never used to watch football, but they now tell me anytime the Kansas City Chiefs are playing to tell them so they can watch,” Hunt said this week in Las Vegas, where the Chiefs are preparing to face the San Francisco 49ers in Super Bowl LVIII. “I was at a function a little over a week ago and I had a woman, probably in her mid-20s, who came up to me, introduced herself as a Swiftie and told me her entire family is Dallas Cowboys fans and that she used to not follow football at all, but now she’s all-in on the Kansas City Chiefs. I think there are a lot of examples like that out there.”
One story just like that belongs to Todd Kale, a Cowboys fan who posted a now-viral video of his 11-year-old daughter Briley reciting football facts from the couch.
The Kale family lives near Houston. They’re Cowboys season-ticket holders and their five daughters love going to games. They know the big-name Dallas players but never really watched the game with their dad, instead embracing the atmosphere of a game day or just enjoying eating hot wings, their Sunday ritual, rather than engaging much with the actual football.
But Briley, the middle child of the family, grew up a Swift fan thanks to her older sisters and has passed the love for Swift onto her younger siblings. Todd wasn’t sure how Briley first learned of Swift’s connection to Kelce, but a few months back, he was watching a Sunday night game with his wife and realized Briley was in the living room. She started asking questions: What’s a safety? What’s a cornerback? How many points is a touchdown worth?
It didn’t take long for Todd to realize where this was coming from.
“It definitely intrigued her that somebody she really likes is now involved in something I really like,” Todd said.
Briley has since watched more Chiefs games and has picked up knowledge about the sport itself, absorbing it all.
“It’s every dad’s dream. … She liked football before, but I think she just liked the experience of it,” Todd said. “Now she’s learning more about the game.”
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Swift has been a storyline all season — with Kansas City winning nine of the 12 games she has attended — and the Chiefs’ Super Bowl run has only ratcheted that up a higher level.
“There’s no doubt her being a fan has put a more intense focus on the team than we would’ve had otherwise,” Hunt said. “It has opened up the fan base to a whole new demographic that we really didn’t have in young women. You’ve seen that in a lot of ways, specifically our TV ratings. They are much higher because of Taylor Swift being a part of the team, as Kelce says.”
Hunt’s not wrong about the TV ratings. Not only did the average number of viewers tuning into Chiefs regular-season prime-time games increase this season from the previous two (a 39.4 percent jump compared to last year alone), but so did the percentage of female viewers (up 3 percent), according to Nielsen. And that viewership jump has carried over to the postseason. The Chiefs’ divisional-round win over Buffalo averaged 50.4 million viewers, making it the most-watched divisional-round or wild-card game ever. The Chiefs’ victory over the Ravens was the most-watched AFC Championship Game ever, with an average of 55.47 million viewers tuning in.
Taylor Swift has generated an equivalent brand value of $331.5 million for the Chiefs and the NFL, Apex Marketing Group tells FOS.
The figure includes print, digital, radio, TV, highlights, and social media going back to Swift’s first game in September.https://t.co/xUzMDsqIgE pic.twitter.com/Ruj5FM7g81
— Front Office Sports (@FOS) January 28, 2024
The league’s social media team has played a big role in ushering in new audiences, as well. The team embraced Swift’s first game in September, trying to be conscious of all of the new eyeballs on their feeds while not going overboard, said Ian Trombetta, NFL SVP of social and influencer marketing.
That theme has remained consistent throughout the season, though the strategy varies depending on the platform, Trombetta said. With some of those that skew younger, like TikTok and Snapchat, there’s more reason to embrace Swifties with their posts.
“We’re also thinking about this in the sense of not just what we’re posting on social media, but also how our partners are covering it,” Trombetta said. “So that could be a broadcast partner. That could be a sponsor, etc. And when you take all that into totality, it can get pretty, pretty hot just in terms of the amount of coverage. And, so for us, I think it really was a reminder for us to take a broader view of all the coverage and understand our role in it.”
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Swift’s emergence onto the NFL scene has helped lead to record-setting engagement, with triple-digit growth in consumption across various platforms, per Trombetta. Their audience continues to skew younger and diversify in male/female split as well, he said.
Swift’s Super Bowl attendance is up in the air thanks to her Eras Tour stop in Tokyo, If Swift is there to watch Kelce’s Chiefs take on the San Francisco 49ers, the league social team will devote some time to her arrival and reactions, but with so much happening around the Super Bowl between the football and the spectacle, it won’t just be the Taylor Swift social feed.
“I think we’ve gotten to the point now though, that by and large, it’s been a very celebratory thing,” Trombetta said. “And certainly a positive for the league, a positive for the Chiefs, a positive for the Kelce family, and obviously with Travis, and I think it’s been a positive for Taylor as well. So we’ll continue to lean into it in different ways, but also be respectful of their relationship. So not invading any privacy and looking to take cues where some of the lines might be on the amount of coverage and also keep the game front and center. That’s really important for us.”
Still, there’s no doubt the league has brought in new fans thanks to Swift, as the Flathouse and Kale families can attest.
The Flathouse family on Sunday will be hosting an “I’m in My Super Bowl Era” themed party in honor of the Chiefs-Swift crossover.
There will be a giant friendship bracelet garland along with appropriately themed food and drink, including an “electric” mocktail, in honor of a word Kelce likes to use a lot.
But what about next season when the Swift magic may have run its course? It doesn’t matter for Arrie, who plans on still tuning into NFL games.
“I feel like I’m hooked now,” Arrie said.
— The Athletic’s Nate Taylor contributed to this report.
(Photo illustration: Daniel Goldfarb / The Athletic;
Photos: Jamie Squire, Patrick Smith and Sarah Stier / Getty Images)
Now that we’ve memorized the first half of our poem, let’s learn a little more about the man who wrote it. (Haven’t memorized anything yet? Click here to start at the beginning.)
For most of his life, Wystan Hugh Auden (1907-73) was a star. He was widely read, quoted, argued over and gossiped about, achieving a level of fame that few writers now — and not many then — could contemplate. His New York Times obituary did not hesitate to call him “the foremost poet of his generation.”
Celebrity of that kind is ephemeral, but Auden’s words have continued to circulate in the half century since his death. Maybe you’ve heard some of them before. In the 1994 film “Four Weddings and a Funeral,” his poem “Funeral Blues” is recited by Matthew (John Hannah) over the casket of his lover, Gareth (Simon Callow).
In the Gen-X touchstone “Before Sunrise” (1995), Jesse (Ethan Hawke) regales Celine (Julie Delpy) with an impression of Dylan Thomas reading Auden’s “As I Walked Out One Evening.”
In both these scenes, the characters use Auden’s poetry to give voice to a longing for which they otherwise might not have words. Auden’s poetry is often useful in that way. It speaks to recognizable human occasions, and it isn’t always all about him.
“The More Loving One” might not be something you’d quote at a funeral or on a date, but it is almost effortlessly quotable — the perfect expression of a thought you never knew you had:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Ken Burns, filmmaker
The word “I” occurs five times in this stanza, but we don’t know much about the person speaking. His personality is camouflaged and revealed by craft.
Auden, born in the northern English cathedral city of York, began practicing that craft as a schoolboy, and honed it at Oxford. Not long after graduating in 1928, he was anointed by critics and readers as the great hope of modern English poetry. A charismatic, divisive figure, he gathered acolytes, imitators and haters.
He swam in the intellectual and ideological crosscurrents of the 1930s, drawing Marxism, psychoanalysis and mystical nationalism into his writing. Assimilating a daunting array of literary influences — Old English and Ancient Greek, French chansons and Icelandic sagas — he forged a poetic personality that was bold, confiding and seductive.
His love poems of that era were candid, discreet dispatches from a calendar of feverish entanglements, wrenching breakups and one-night stands, usually with other men. He also wrote about the feverish politics of the time — class conflict; the rise of fascism; the Spanish Civil War — in ringing rhetoric he later disavowed.
In 1939 Auden moved to America, acquiring U.S. citizenship after World War II. In New York he fell in love with Chester Kallman, a young American writer who became his life partner.
It was a complicated relationship, starting as a passionate affair and enduring through decades of domestic companionship and creative collaboration. Kallman’s refusal to be sexually exclusive wounded Auden, a dynamic that poignantly shades this poem’s most memorable couplet:
If equal affection cannot be,
Let the more loving one be me.
Yiyun Li, writer
In America, Auden distanced himself from the radical politics of his earlier career and embraced Anglican Christianity. His intellectual preoccupations shifted toward religion and existentialism — to the kinds of big questions we think about late at night, or when we look to the sky.
Making the leap from wunderkind to grand old man without seeming to stop in middle age, he became a mentor for several generations of younger poets. He was a prolific and punctual contributor of reviews and essays to various publications, including this one, for which he wrote a rave of J.R.R. Tolkien’s “The Fellowship of the Ring” in 1954.
Through it all, Auden devoted fanatical attention to the finer points of poetic technique. His notebooks are full of numbers, word lists and markings that show just how deep this commitment went. He counted every syllable, measured every stress.
He gathered rhymes and other words with a lexicographer’s zeal and a crossword puzzler’s precision.
The third stanza of “The More Loving One” is a miniature showcase of Auden’s skill. Of the four epigrams arrayed before us, it may be the most technically perfect.
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
W.H. Auden, poet
The rhythm is flawless, without an extra syllable or an accent out of place. The grammar is also fastidious. Here is a single sentence, springloaded with equivocation, beginning with one idea and sliding toward its opposite.
This quatrain is the poem’s ideal formal representation of itself, a kind of proof of concept: four lines of impeccable iambic tetrameter in an AABB rhyme scheme. The by-the-book regularity of this stanza should give you a leg up in memorizing it, and you can test yourself below!
But the rest of the poem is an argument against perfection, just as it is a celebration of uncertainty and humility — as we’ll see tomorrow.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Admirer as I think I am
Of stars that do not give a damn,
Tap a word above to fill in the highlighted blank.Your first task: Learn the first two lines!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
PERMANENCE, by Sophie Mackintosh
Sophie Mackintosh’s novels are always speculative in some way, with either the author or her characters forging a world governed by its own logic and rules. In their boldness and their ability to convey the violence of patriarchy, they recall the work of Jacqueline Harpman — not only the cherished “I Who Have Never Known Men,” but also “Orlanda,” her wild riff on Virginia Woolf’s “Orlando.”
Like Harpman, Mackintosh has a spare and confident hand. Her work is sometimes described as dreamlike; certainly, its contours are sketched with rapidity and confidence and relatively little detail. Her prose operates according to the same principle, at once lyrical and precise, like this from her second novel, “Blue Ticket”: “On the ground was a dead rabbit, disemboweled. Still fresh, the dark loops of its insides glistening like jam.”
When Mackintosh writes about masculine power, she does so in a way that articulates both its seductions and its terrors. Her newest novel, “Permanence,” is less explicitly concerned with the structure of patriarchy, but it has the same erotic charge as her earlier work, the same preoccupation with social prohibitions and the thrill that comes from breaking them.
Like “Blue Ticket,” “Permanence” turns on a highly pronounced binary. In “Blue Ticket,” adolescent girls are issued either a blue or white ticket on the day of their first period. A white ticket denotes a future of marriage and children, a blue ticket one of work — even, it seems, a career. The divide is stark and self-evidently faulty, its coarseness an expression of the brutalizing regime the characters are trapped in.
“Permanence” features a similar opposition, neatly delineated. Clara and Francis are conducting an illicit affair. One morning, they wake up in an alternate reality where they are openly living together. The novel shuttles between these two worlds, one ordinary and familiar, the other a curdled paradise for adulterers.
The thinness of this “city of impermanence” — “fluid, cohesive and yet disparate” — emerges at once. The sky is “uncannily blue,” the newspaper bears no date, the edge of the city is marked by “a slick ring of water, as far as the eye could see.”
Still, a boundary cannot keep the other world from seeping in. Initially, elegantly, this is a problem in the structure of desire. Having been provided the life they dreamed of, in which their longing for each other is fully met, Clara and Francis begin to experience, to their uneasy surprise, boredom and discontent.
Without absence, the intensity of their desire for each other wanes. They even begin, or at least Francis does, to long for the relief of their ordinary life: “Another day ahead of them of petting, giggling, lying around. It seemed insubstantial suddenly, though only the day before he had felt he could do it forever.”
Soon enough, it becomes clear that the problem between Francis and Clara doesn’t lie in the outside impediments of the world they live in, but in their relationship itself. Francis remains troublingly himself — a married father of a small child, reluctant to leave his family, however much he is in love with Clara: “He did love her, and he did want to be with her. … But he already had reality elsewhere, reality which he sometimes felt trapped by, he would admit, but which he could not truly imagine cutting loose.”
“Permanence” might seem like an outlier in the current array of articles and books about open marriages and polyamory, and at first glance the line of distinction between the two worlds, much like the division between blue and white tickets, seems almost old-fashioned. But as Mackintosh persuasively illustrates, the familiar emotions of jealousy, infatuation and eventually indifference — these persist and can flourish in any relationship, however free of prohibition.
“You want this,” Clara tells herself, and then, “You no longer want this,” as it occurs to her that “maybe it was in absence that they loved each other best, and most honestly.”
In her work, Mackintosh devises scenarios that are bold and almost aggressively simplified. But her terrain is complexity and contradiction, and in her hands these oppositions twist and turn in on themselves.
It’s hardly a surprise when the central character in “Blue Ticket” decides to eschew her designation and have a child, declaring, “True and false were no longer opposing binaries. My body was speaking to me in a language I had not heard before.” Nor is it especially startling when discontent chases Clara and Francis from one world to the other, unraveling their relationship.
What is more disquieting is the surreptitious ease with which Mackintosh’s speculative worlds start to align with our own, allowing the reader to see how so many of the old prohibitions and conventions — around choice, around marriage — remain, somehow, firmly in place.
That moment of recognition, in a landscape that is startlingly alien, is the source of Mackintosh’s power as a writer.
PERMANENCE | By Sophie Mackintosh | Avid Reader Press | 240 pp. | $28
Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).
This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Ada Limón, poet
Nonetheless, the poem soon makes clear that love is very much on its mind.
How should we like it were stars to burn
With a passion for us we could not return?
David Sedaris, writer
The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.
If equal affection cannot be,
Let the more loving one be me.
Reginald Dwayne Betts, poet
Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
Auden’s poem, like Marlowe’s, is written in four-beat lines:
How should we like it were stars to burn
With a passion for us we could not return?
Josh Radnor, actor
And it features strong end rhymes:
If equal affection cannot be,
Let the more loving one be me.
Samantha Harvey, writer
These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:
I do not like thee, Doctor Fell
The reason why I cannot tell.
But this I know and know full well
I do not like thee, Doctor Fell.
There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.
This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.
But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.
What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.
This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:
As lines, so loves oblique may well
Themselves in every angle greet;
But ours so truly parallel,
Though infinite, can never meet.
The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”
The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:
How should we like it were stars to burn
With a passion for us we could not return?
Mary Roach, writer
The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:
If equal affection cannot be,
Let the more loving one be me.
Tim Egan, writer
Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
How should we like it were stars to burn
With a passion for us we could not return?
Tap a word above to fill in the highlighted blank.
Your task today: Learn the second stanza!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
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