How Travis Kelce upped his game courting Taylor Swift

Certified romantic Tory Baucum is swept off his feet by how the celebrity romance unfolded.

Tory Baucum

Tory Baucum is the director of the Benedictine Center for Family Life, Benedictine College, in Atchison, Kansas.

A montage shows Taylor swift leaning and singing into a microphone. And, Travis Kelce in his team's kit.

Swift: Ronald S Woan Wikpedia; Kelce: All Pro Reels, Flickr.

If you live on planet earth, you no doubt have heard of our now famous local love story: Kansas City Chiefs tight end player Travis Kelce is courting pop sensation Taylor Swift. One can read multiple accounts of this special love story on the Internet. (One of my favorites was written by London's The Guardian.) I don’t intend to repeat this well-known narrative. Rather, I wish to add commentary from what my wife calls a certified “Catholic Romantic”, or what my students call me, “a lover of human love.”

From the outset, please don’t get me wrong. I do not mean to canonize Taylor Swift or Travis Kelce or propose that their relationship is the ideal. I merely want to notice some very healthy things about it.

I tip my hand in the opening sentence. I describe the relationship as “courtship” not “dating.” Courtship differs from dating in terms of its intention, methods and goal. A man courts a woman whenever he pursues her seriously for a romantic relationship that is opened to the exclusiveness of marriage. The intent (serious) and goal (exclusive) determines the methods.

They met on common turf with uncommon talent. But she first made him work “for the right to party.”

After Ms. Swift declined Mr. Kelce’s unimaginative “I’m just a good ole boy” friendship bracelet, he decided to up his game – or better – run his own route. He invited Swift to return to Arrowhead Stadium to watch him “light up the stage” just as she had done three months earlier. She accepted this time. They met on common turf with uncommon talent. But she first made him work “for the right to party.”

Courtship requires work, which brings clarity to the relationship. Ends determine methods.

Another difference between courtship and dating is that it’s a family affair. Persons are more than individuals; we are social creatures who live, move and have our being in webs of relationships. We cannot know each other truly or deeply apart from those webs that create and sustain us. At the first two Chiefs games Ms. Swift attended, she was seen cheering alongside Mr. Kelce’s mom. After those central relationships have been honored, the widening circle of friends are introduced. And good friends know their role: circle the couples relationship and then face the crowd.

Kelce’s teammate Patrick Mahomes, as usual, threaded the needle, saying:

“She’s good people. Now let’s let them alone.”

What Kelce recently told reporters was refreshing. “It feels like I was on top of the world after the Super Bowl and right now I’m even more on top of the world,” he said. And when asked about having to navigate so much public interest in his relationship, he said, “You’ve got a lot of people who care about Taylor, and for good reason.” Excellent answer.

Finally, not all courtships end in marriage. And if this one doesn’t it is not a failure. If the couple loves each other well they will leave the relationship better for having known each other. Courtship is always a growth in self-knowledge by way of self-donation. They will grow as they learn to give of themselves. May they give of themselves and by so doing learn to make their love work.

As others have already said, this is the best catch of Travis Kelce’s life. And I, for one, hope he never lets her go.

This article was first published as: The Kelce Courtship of Taylor Swift, on the Benedict College web site.

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Death & life

Music

19 November 2024

2 min read

Lullabies and lists that tell of lifelong love

A Laura Marling gig and an All Souls remembrance reverberate life.

Jess Scott

Jess Scott is an assistant professor at the University of Nottingham.

A misty back lit stage hosts a singing guitarist and a double base player

Laura Marling performs at Hackney Church.

YouTube.

This year, I did not go to my own church’s All Souls Day service. I went instead to another church - Hackney Church - to hear Laura Marling perform her new album, Patterns in Repeat. Marling wrote its songs in the months following the birth of her first child. Her daughter’s coos and gurgles occasionally overwrite the recording of Marling’s own ethereal, elastic voice as she contemplates parenthood, heritage, and new domesticity. Critics are in agreement: this is Marling’s most accomplished album yet.

As I stood amid the congregation gathered to hear her, I was struck by the overwhelming love contained in those lullabetic songs. As if line by line Marling swaddles her daughter, each lyric wrapping her with words that hold and assure. Sleep my angel, you’re safe with me. What she conjures is the magnificent reorientation entailed in love - Time won’t ever feel the same - and the promises that tip from the mouths of those experiencing it - I’m not gonna miss it, child of mine.

Of course, love is not always so pure. We may find, miserably, our own love tilting this way or that, towards dominance or possessiveness, or muddied by some other perversion. But this isn’t to deny that there really are pockets of pure love in our midst. All around us are people writing their own lullabies: sending texts, preparing meals, writing cards, taking photos. And, in these ways, saying to one another, as the theologian Josef Pieper paraphrases the affirmation of love, ‘I am glad you exist’.

While I listened to Marling sing lullabies for her baby daughter in one church, the gathered faithful of my own congregation read out the names of the dead in another. Each year the list is long and spans several minutes. By its end the names start to undo themselves, beginning to sound only like their component syllables, blurring towards the non-words found in a book of phonics. But each name uttered - perhaps for the only time that year - tells of a whole beloved life, witnessing some homely love swirling still, years later, in the memory of a congregant. In years past I have sat around that altar as those names are read out. I have listened out for the names I added, like a child seeking the face of her mother.

These two Saturday evenings, unfolding a few Overground stops apart, were not wholly discrepant. Each sounded the cry of love from one person to another, against cynicism, even against death. Each told of love that reverberates where love cannot yet, or still, be reciprocated. All these hearts swelling and bending and breaking for each other strikes me as a kind of Grand Canyon: a remarkable thing to consider, seeming to be a miracle that might, if we let it, render us speechless.