A romance between the pop star and Travis Kelce has dominated social media, but TV broadcasts are focusing on it less than many seem to think.As Taylor Swift’s N.F.L. adventure began in earnest at a Kansas City Chiefs game against the Chicago Bears on Sept. 24, the reaction of the Fox broadcast crew — and much of the N.F.L. world in general — was summed up by Erin Andrews, a veteran sideline reporter.“We all need to calm down,” Ms. Andrews said, shortly after Travis Kelce scored a second-half touchdown.Ms. Andrews was making a nod to one of Ms. Swift’s songs, but she was also acknowledging how star-struck she and her colleagues were to have the world’s biggest pop star at Arrowhead Stadium to see her new love interest, Mr. Kelce, play for the Chiefs. Greg Olsen, the lead analyst on the broadcast, went as far as bragging that Ms. Swift had once liked one of his tweets.While Ms. Swift’s presence dramatically expanded the audience for Chiefs games — Nielsen Media Research estimated an additional two million women watched Kansas City’s game on Oct. 1 — some backlash was inevitable. Ms. Swift joked about “pissing off a few dads, Brads and Chads” in her Time Person of the Year profile, but she had run out of one-liners (and facial expressions) by the time the comedian Jo Koy, in a disastrous hosting gig at the Golden Globes, said: “The big difference between the Golden Globes and the N.F.L.? At the Golden Globes, we have fewer camera shots of Taylor Swift.”Mr. Koy soon went on a media tour defending the joke as a criticism of the broadcasts, not Ms. Swift. But the reality was that the sequence at the awards ceremony took 16 seconds to play out, which was more time than CBS had dedicated to showing Ms. Swift at either of the last two Chiefs games she’d attended leading up to that night.And that dissonance between how many times Ms. Swift is shown versus how many times people seem to think she was shown, has continued despite the reality that she is typically on screen for less than 25 seconds over the course of broadcasts that run longer than three hours, and her name is rarely mentioned.Rob Hyland, the coordinating producer for NBC’s Sunday Night Football broadcasts, has run the coverage for two games Ms. Swift attended — the Jets-Chiefs game on Oct. 1 and the Packers-Chiefs game on Dec. 3 — and said his team prepares heavily for how they cover her, but that everything falls away if the game gets interesting.“It is always a balance with what’s happening on the field and how you can enhance what’s happening on the field,” said Mr. Hyland, who challenged any dissatisfied viewers to name any aspect of the games they missed as a result of the cutaways. “It wasn’t like, ‘Hey, let’s, let’s show her this many times.’ It was, ‘Hey, when appropriate, let’s remind the audience that she’s there.’”Mr. Hyland’s crew spent the lead-up to the Jets game — which was only a week into Ms. Swift and Mr. Kelce’s public relationship — frantically trying to find out if Ms. Swift would attend, going as far as having a spotter plane searching the area for police escorts. But a close game led to most of their preparation being tossed aside in favor of game action (and at least six cutaways to Aaron Rodgers, the Jets’ injured quarterback, sitting in his own suite).Two months later, NBC showed her only once during the broadcast of the Packers game, largely because the novelty of the relationship had begun to wear off.A close look at the games that have aired since Christmas reveals familiar patterns of coverage that have Ms. Swift’s fans hoping to see her more while some vocal N.F.L. fans remain overwhelmed.Cameras often spotlight Ms. Mahomes and Ms. Swift after big plays by Travis Kelce. Their outfits are scrutinized heavily by fans online.Mark J. Rebilas/USA Today Sports, via ReutersJan. 21 — Chiefs vs. BillsTimes shown: 5 | Total duration: 24 secondsTravis’s day: 5 catches, 75 yards, 2 touchdownsTime devoted to a shirtless Jason Kelce: 21 secondsScore: Chiefs 27, Bills 24After an early catch by Mr. Kelce, Ms. Swift was shown sitting in her luxury suite, and Tony Romo, the color commentator, said, “There’s an interested fan right there.” The broadcast went back to her suite after both of Mr. Kelce’s touchdown catches to see her celebrations. On the second one, Mr. Romo pointed out that Jason Kelce was sitting behind Ms. Swift, drinking a beer with no shirt on. “There’s your brother-in-law right behind you,” he said, incorrectly characterizing her relationship with Travis Kelce, just as he had during Kansas City’s game on Christmas.Ms. Swift has featured a different Chiefs-themed wardrobe choice at each game, including a custom jacket that Kristin Juszczyk made using one of Mr. Kelce’s jerseys.Ed Zurga/Associated PressJan. 13 — Chiefs vs. DolphinsTimes shown: 5 | Total duration: 1 minute 16 secondsTravis’s day: 7 catches, 71 yardsScore: Chiefs 26, Dolphins 7Ms. Swift’s jacket — a custom creation by Kristin Juszczyk — quickly became the talk of social media. As for the game, which was shown exclusively on the Peacock streaming service, the mentions of Ms. Swift were few and far between, other than an extended stretch in which the game’s commentators, Mike Tirico and Jason Garrett, discussed their proximity to her.“So I’m not exactly sure where in the stadium Taylor Swift sits, right?” Mr. Tirico said, as the cameras showed her suite and began to pull back. “We’re just sitting here watching the game. The last quarter-and-a-half, there have been people up here, and I’m like, ‘Man, they must love Jason Garrett.’ Everybody’s pointing their camera up to our booth to take a picture of Jason. And then about 10 minutes ago I was like, ‘Hey dummy, they’re taking a picture of Taylor.’”As the camera showed a wide shot of the booth, which was just above Ms. Swift’s suite, Mr. Garrett said, “And the worst part is, I’ve been waving the whole time.”Even a simple white Chiefs jacket can cause a stir, as there was speculation online that she had borrowed a coat that Mr. Kelce had recently worn. Swifties soon discovered subtle differences between the jackets.Ed Zurga/Associated PressDec. 31 — Chiefs vs. BengalsTimes shown: 3 | Total duration: 12 secondsTravis’s day: 3 catches, 16 yardsScore: Chiefs 25, Bengals 17This was a quiet day for Mr. Kelce, which led to very little mention of Ms. Swift. After a crucial defensive play by one of Mr. Kelce’s teammates late in the game, the CBS cameras showed Ms. Swift celebrating in her suite, and Mr. Romo said, “You see all the fans — and your favorite fan — all excited out here.”Ms. Swift brought several family members with her to the Chiefs game on Christmas, including her brother, Austin, who dressed as Santa Claus.Charlie Riedel/Associated PressDec. 25 — Chiefs vs. RaidersTimes shown: 3 | Total duration: 14 secondsTravis’s day: 5 catches, 44 yardsScore: Raiders 20, Chiefs 14Ms. Swift and her entire family spent Christmas with the Chiefs, and her brother, Austin, dressed as Santa Claus. But after CBS opened its broadcast with a shot of Ms. Swift in her suite, she largely disappeared, probably because Mr. Kelce played relatively poorly in a frustrating loss. The third and final time the cameras showed Ms. Swift was after a catch by Mr. Kelce in the second quarter, prompting Mr. Romo to say: “And his wife loves it — I mean girlfriend.” More

KGAY in Palm Springs is geared toward Gen X and older gay men who enjoy Rihanna but still worship Donna Summer.Fog clouded the San Jacinto Mountains recently as Brad Fuhr approached the headquarters of KGAY, a radio station in an undistinguished Palm Springs, California, strip mall. Fuhr, the station’s chief executive, was tuned to KGAY in his all-electric Volvo, and the morning’s soundtrack included “Bad of the Heart,” George Lamond’s 1990 freestyle cri de coeur about getting dumped, and “Lucky Star,” Madonna’s 1983 dance hit of bouncy adoration.KGAY’s call letters aren’t a fluke but a savvy marketing tool. While there are streaming stations devoted to gay audiences (like iHeart’s Pride Radio and Gaydio out of Britain) and gay-themed talk shows and dance formats have thrived on commercial and nonprofit radio for decades, KGAY is still one of a kind. It’s the only terrestrial radio station in America geared toward L.G.B.T.Q. listeners and their allies, where gay personalities broadcast in person, “WKRP in Cincinnati”-style, at least part time. (There’s WGAY, a “party station” in the Florida Keys, but it doesn’t market itself as gay.)KGAY covers the Coachella Valley with its FM signal at 106.5 and is simulcast with KGAY AM 1270; it can be streamed globally at KGAYPalmSprings.com. Its two full-time D.J.s are Chris Shebel, the old-school, no-nonsense program director and weekday afternoon personality, and the wisecracking John Taylor, who covers mornings. Three other D.J.s — Eric Ornelas, Galaxy and ModGirl — provide the station with homemade mix shows that play around the clock.Born on Dec. 25, 2018, KGAY replaced KVGH, an oldies station, with a playlist that rotates over 900 pop songs, disco anthems and dance remixes from the ’70s through the latest releases.“It’s an entertaining, mass-appeal radio station first,” said Fuhr, 65.Shebel at work as a D.J. at KGAY.Michelle Groskopf for The New York TimesKGAY serves primarily the clubby slice of the queer music pie. There’s no Barbra or Bikini Kill, no American songbook showstoppers or lesbian breakup ballads. There’s no rap or country, although it does play Lil Nas X and dance versions of songs by Dolly Parton, Tammy Wynette and other country divas.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

#masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyMetropolitan Opera to Lock Out Stagehands as Contract Talks StallAfter reaching a bargaining impasse, the shuttered opera company said it would lock out the workers needed to build sets for next season’s productions.The Metropolitan Opera, which has been shut by the pandemic since March, says that it needs to cut labor costs significantly if it is to survive until and after it reopens.Credit…Victor Llorente for The New York TimesBy More

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The ‘American Idol’ alum serving as Queen frontman admits in a social media post that he and the ‘Genie in a Bottle’ hitmaker had tried to put together Summer tour before the COVID-19 lockdown.
May 4, 2020
AceShowbiz – Adam Lambert and Christina Aguilera were making plans to tour together this summer before the coronavirus lockdown forced the singers to scrap the idea.
The Queen singer took to Twitter on Sunday, May 03 to reveal he was hoping to tour with the 39-year-old “Genie in a Bottle” hitmaker before the COVID-19 crisis forced all musicians off the road.
“There was a whole plan to tour w @xtina this summer around the US,” Adam told a fan. “Big venues too! But unfortunately everything went into Lock Down before we were ready to announce.”
“Y’all know I’m an OG (old school) Christina Aguilera fan (sic).”

Adam Lambert reveals scrapped plans of joint tour with Christina Aguilera.
The concerts were set to be Christina’s first since her latest Las Vegas residency, “The Xperience”, which ended in early March (20).

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“Let’s talk about the elephant in the room,” the soprano Sondra Radvanovsky said after a recent rehearsal of Luigi Cherubini’s “Medea” at the Metropolitan Opera. “Everybody knows this opera because of Maria Callas.”Callas may loom over the legacy of this opera — her various recordings from the mid-20th century dominate the work’s discography — but her star power was never enough to bring it to the Met, which is staging it for the first time only now, with a new production by David McVicar opening the company’s season on Tuesday.Like many people, McVicar was unfamiliar with the opera until he began to study it for this production. It’s a rarity within a rarity — a seldom performed work from a composer who, despite celebrity and respect in his time, is known today for just a sliver of his output, if at all. A tourist at Père Lachaise, the cemetery in Paris where Cherubini is buried, is more likely to visit the neighboring grave of Chopin.“Every version of Medea has a slightly different narrative and slightly different accretion to the myth,” the director David McVicar said.Sinna Nasseri for The New York TimesBorn in 1760, a French-assimilated Italian who straddled music’s Classical and Romantic eras, Cherubini premiered his “Médée” in 1797 from a French libretto inspired by both the Euripides and Corneille tragedies. It’s a version of the Greek myth in which she, having helped Jason retrieve the Golden Fleece, exacts revenge on him after he abandons her.“Every version of Medea has a slightly different narrative and slightly different accretion to the myth,” McVicar said. “Euripides introduces the idea of the murder of the children for the first time, and the Baroque opera introduces myriad subplots, and twists and turns. This goes back to Euripides. It’s a Classical piece but also gothic: It belongs to a period of gothic Romanticism in arts and literature.”“Medea” has remained on the outskirts of the repertory for its difficulty.Sinna Nasseri for The New York TimesAfter the premiere, “Médée” didn’t catch on, and wasn’t the most beloved of Cherubini’s operas among fans like Beethoven. And his reputation after his death, in 1842, was certainly not helped by portraits — however accurate — such as the one in Berlioz’s memoirs, which include a scene of Cherubini, decades after “Médée” and by then the director of the Paris Conservatory, behaving with fussy villainy.But his fortunes changed in the 20th century. In 1909 “Médée” arrived at the Teatro alla Scala in Milan, in an Italian translation, called “Medea,” that replaced the spoken French dialogue with new recitative. That version, which McVicar described as “bigger boned and more concise,” was revived in the 1950s by Callas, who went on to perform it widely, including at La Scala and the Royal Opera House in London.For that reason, the work is most familiar as “Medea” — which is how the Met is presenting it, in the Italian translation — though it has remained on the outskirts of the repertory for its difficulty, taken on by a select group of singers including Leonie Rysanek, Gwyneth Jones and Montserrat Caballé.Radvanovsky, center, with Ekaterina Gubanova, left, who sings Neris, and Axel and Magnus Newville, who play Medea’s children.Sinna Nasseri for The New York TimesThe Italian version replaced the spoken French dialogue with new recitative.Sinna Nasseri for The New York TimesMcVicar referred to the opera as a soprano version of “Hamlet” because once Medea enters, she more or less never leaves the stage, in various states of distress and fury.Sinna Nasseri for The New York Times“You need to have somebody who can sing it,” said the conductor Carlo Rizzi, who is leading the Met production. “If you have that, you do it. If you don’t, you don’t do it. It’s as simple as that.”Hikers, he added, might take on Mont Blanc or Kilimanjaro; but fewer will try Everest. McVicar, for his part, referred to the opera as a soprano version of “Hamlet” because once Medea enters, she more or less never leaves the stage, in various states of distress and fury.At the back of the stage is an enormous, angled mirror that reflects the action from an aerial perspective.Sinna Nasseri for The New York TimesIt’s a challenge that appealed to Radvanovsky. The idea for the Met’s production came in the wake of another season-opener, Bellini’s “Norma,” which featured the same trio of Radvanovsky, McVicar and Rizzi. She said that Peter Gelb, the house’s general manager, told her he was happy with her performance and asked what she would like to do next. “‘Medea,’” she answered.“Peter said, ‘Are you sure?’” Radvanovsky recalled. “And I said yeah because after ‘Norma,’ where can one go?”She felt that it was a logical fit for her voice — a way to combine her Met history of bel canto works, like Donizetti’s Tudor operas, and verismo classics like Puccini’s “Tosca.” The question was which language she would sing it in. Yannick Nézet-Séguin, the company’s music director, had wanted to do the French original and was at first attached to this production, but it was decided that they would follow Callas’s tradition, a better fit for both Radvanovsky and the Met.Following Callas’s tradition was a better fit for both Radvanovsky and the Met.Sinna Nasseri for The New York Times“I think both are valid,” McVicar said of the two versions. “But you have to be mindful of the house and the cast that you have. The French can work, but you need a much smaller theater, like the Opéra Comique in Paris. And frankly, the dialogues aren’t very good; they’re clunky and old-fashioned.”McVicar joined the production, not only because he and Radvanovsky have a long, fruitful relationship together in opera, but also because a work like “Medea” is where, he said, he feels most at home.“I’m very much identified here with big Italian war horses because I can do them,” he added. “But is that where my interests lie? I’d have to say no. I’m much more interested in something in the hinterlands, like this.” (That’s why he’d also like to work on Janacek operas in the future, with Radvanovsky, whom he could see in “The Makropulos Case.”)Radvanovsky, left, and McVicar. The stage design is deceptively minimal.Sinna Nasseri for The New York TimesWith a team in place, the premiere was planned for the Canadian Opera Company in Toronto — this “Medea” is a coproduction with that house, as well as with the Greek National Opera and Lyric Opera of Chicago — but the pandemic upended that. Instead, the first run will be at the Met, and McVicar ended up designing it during the most restrictive lockdowns, when he couldn’t work in person with his usual collaborators. What started as a practical move, though, ended up being his way to stay sane, and creative, he said.McVicar returned to the opera’s origins, and thought about how its tensions and turmoil — “the sheer chaos that Medea is capable of unleashing,” he said — fits with its time, coming out of the French Revolution and the Reign of Terror, as well as Directoire style.That gave the production its look, with costumes “from the Directoire period, roughly speaking, and a real sense of gothic decay,” McVicar said. His stage design is deceptively minimal: a thrust corner with sliding doors that open to reveal both spare scenes and episodes of opulence. At the back is an enormous, angled mirror that reflects the action from an aerial perspective but also serves as a screen for special effects made from projections on the floor — “literally smoke and mirrors,” as he put it.The angled mirror onstage also serves as a screen for special effects.Sinna Nasseri for The New York TimesThe score, too, can seem simpler than it is, Rizzi said. It’s not written for a very large orchestra, and it doesn’t contain isolated melodies that the audience will leave the house humming. “That doesn’t mean it’s a bad opera,” he added. “It’s a different opera.”A conductor could interpret the music as Classical, but Rizzi has been working with the Met Orchestra to bring out the mercurial tumult that courses through Cherubini’s instrumental writing. The opening Sinfonia alone, he said, “is not a planting of a stake, it’s a wave of a tsunami.”Much of the opera’s shifting character also relies on Radvanovsky as Medea, who in McVicar’s staging is portrayed with expressive physicality. “She can be serpentine, or what we’ve been calling the Hulk, or a goddess,” Radvanovsky said. “It’s exhausting.”“I could not have thought of a better role to be singing right now than Medea,” Radvanovsky said. “It’s the best therapy you can ask for.”Sinna Nasseri for The New York TimesStill, she added, this is a role that a soprano can’t approach with fear — neither of its history nor of its demands. As an actor, she has drawn on experience that parallels the action of the opera: recently, the dissolution of her marriage and the death of her mother. “I could not have thought of a better role to be singing right now than Medea,” she said. “It’s the best therapy you can ask for.”Beyond the music, Radvanovsky has been working with a personal trainer. “I wear a corset onstage, which is great for singing, but then you combine that with Pilates moves,” she said. “I have to be strong, in the best shape my body can be in. We talk about things as a sprint or a marathon. This opera is a marathon.”Sinna Nasseri for The New York Times More