first week

Madonna’s “MDNA.” Bruce Springsteen’s “The Rising.” Mariah Carey’s “Memoirs of an Imperfect Angel.”

According to the Recording Industry Assn. of America, none of these albums — each the 12th studio LP by its respective maker — has sold 4 million copies in the United States in the decade or more since it was released.

Yet that’s what Taylor Swift just did in a single week with her 12th album, “The Life of a Showgirl,” which Billboard reported Monday had moved 4.002 million copies in the seven days between Oct. 3 and 9.

That figure, which combines sales and streaming numbers, represents the biggest opening week for an album in modern history, breaking the record set by Adele 10 years ago when her “25” moved 3.482 million units in its first week.

Swift marked the achievement on Instagram on Monday with a note to her 281 million followers.

“I’ll never forget how excited I was in 2006 when my first album sold 40,000 copies in its first week,” she wrote. “I was 16 and couldn’t even fathom that that many people would care enough about my music to invest their time and energy into it. Since then I’ve tried to meet and thank as many people as I could who have given me the chance to chase this insane dream. Here we are all these years later and a hundred times that many people showed up for me this week.

“I have 4 million thank you’s I want to send to the fans,” she added, “and 4 million reasons to feel even more proud of this album than I already was.”

The speed with which Swift hit the 4-million mark is undeniably impressive. Morgan Wallen’s “I’m the Problem,” the biggest album of 2025 so far, has sold and streamed the equivalent of 4.2 million copies, according to the trade journal Hits. But “I’m the Problem” has been out since mid-May; “Showgirl” will almost certainly have surpassed Wallen’s LP by the end of this week (if it hasn’t already).

What’s more remarkable is where “Showgirl’s” blockbuster success comes in the arc of Swift’s career.

Madonna and Springsteen were both in their early 50s when they released their 12th LPs; Carey was 40 when “Imperfect Angel” came out. Swift, in contrast, is only 35 — one advantage of starting out professionally as a teenager.

Still, Swift has been a star for nearly two decades, a point at which many pop musicians have shifted the focus of their work to touring even as they continue to make new records generally ignored by all but their most devoted fans. In 2024, according to Pollstar, Madonna’s and Springsteen’s latest road shows — each drawn from a catalog packed with hit songs — were among the year’s 10 highest-grossing tours.

And indeed Swift has been amply rewarded on the road: At No. 1 on Pollstar’s list was her Eras tour, which sold more than $2 billion in tickets across 149 dates on five continents.

Yet unlike virtually every other veteran act in music, Swift’s recording business is growing along with her live business.

“Everything that’s happening here is historic and unprecedented,” said Hits’ editor in chief, Lenny Beer. “Maybe if the Beatles had stayed together, we’d have seen something like it.”

Also worth considering: Nobody seems to think “The Life of a Showgirl” is Swift’s best album. Reviews have been mixed, and even some fans have expressed disappointment with the record on social media — a once-unthinkable development among the fiercely loyal Swifties.

So how did the singer pull off such a feat?

First, a little math: Of “Showgirl’s” 4 million units, approximately 3.5 million were sales of either digital or physical versions of the album (including CDs, cassettes and vinyl LPs); the remaining half-million came from streams of the album’s songs on platforms like Spotify and Apple Music, which the data firm Luminate counts toward what it calls streaming equivalent albums.

“Showgirl’s” 12 songs racked up 681 million streams in all, Billboard said — the fourth-biggest streaming week of all time, behind Swift’s “The Tortured Poets Department” and Drake’s “Scorpion” and “Certified Lover Boy.” But the album’s sales number is the largest ever recorded since Luminate started tracking sales electronically in 1991.

Among Swift’s strategies to get to that number was selling more than three dozen editions of the album, each with its own artwork and bonus material designed to lure collectors. On vinyl alone, “Showgirl” came out in eight so-called variants, which helped drive the album’s first-week vinyl sales to a modern record of 1.3 million copies.

Offering something for sale doesn’t necessarily mean anyone will buy it, of course. Yet Swift was positioning “The Life of a Showgirl” as a juggernaut from the moment she announced it. Appearing with her fiancé, the NFL player Travis Kelce, on his “New Heights” podcast in August, the singer described the album as a return to the hit-making ways of albums like “Red” and “1989” after the relatively experimental “Folklore” and “Tortured Poets Department.”

To make “Showgirl,” she reteamed with the Swedish producers Max Martin and Shellback, with whom she’d collaborated on some of her biggest singles, including “Blank Space,” “Bad Blood” and “We Are Never Ever Getting Back Together.” On “New Heights” she and Kelce talked about the new album as a “180” from the moody confessions of “Tortured Poets,” whetting appetites for the kind of crisply hooky Taylor Swift songs that blanketed Top 40 radio in the mid-2010s.

Promised the football star: “12 bangers.”

Fans visit an activation for Taylor Swift’s “The Life of a Showgirl” at the Westfield Century City mall on Oct. 4.

(Christina House/Los Angeles Times)

Once “Showgirl” was out, Swift jumped into the promotional fray with more gusto than she’d summoned in years, sitting for numerous radio interviews and putting in appearances on Graham Norton’s, Jimmy Fallon’s and Seth Meyers’ late-night shows; the weekend after the album’s release, a glorified sizzle reel called “The Official Release Party of a Showgirl” played in AMC movie theaters across the country.

On Monday, Swift kept the conversation going with the announcement that two Eras-related projects are headed to Disney+ in December: a six-part behind-the-scenes docuseries and a concert film of the tour’s finale in Vancouver.

“One of the hardest parts of ensuring you have a record-setting first week is making sure that everyone who could possibly be interested in your album knows about it,” said Bill Werde, director of the Bandier Program for Recording and Entertainment Industries at Syracuse University. “I’m not sure anyone has ever covered that need the way Taylor did with this album cycle.”

Yet “The Life of a Showgirl” has not been greeted as enthusiastically as some of Swift’s earlier work.

Pitchfork said “her music’s never been less compelling,” while The Guardian called the album “dull razzle-dazzle from a star who seems frazzled.” Fans on TikTok have complained that Swift’s lyrics — which take up her romance with Kelce, the burdens of fame and an apparent beef with Charli XCX — are unusually shallow; some have even formulated a kind of tradwife critique of “Showgirl” in which Swift is seen as upholding regressive ideas about marriage and domesticity.

The album has also attracted criticism from people who say Swift’s songs recycle familiar elements from other pop tunes without giving credit: the Jackson 5’s “I Want You Back” in “Wood,” for instance, and the Jonas Brothers’ “Cool” in the LP’s closing title track.

“When every song is a derivative of another song, that’s an issue,” said one hit songwriter who asked not to be named in order to speak freely. “That one song is the Jonas Brothers song — the exact same melody. And here’s how lazy that is: It’s the same key and the same tempo.”

In Werde’s view, Swift’s place atop the pop hierarchy makes such carping inevitable. “Anytime an artist gets this big, there’s going to be backlash,” he said — a take with which Swift would likely agree.

“I welcome the chaos,” she said in an interview with Apple Music’s Zane Lowe. “The rule of show business is: If it’s the first week of my album release and you are saying either my name or my album title, you’re helping.”

Even so, the polarized reaction to “Showgirl” — Swift’s 15th album to debut at No. 1 on the Billboard 200 — raises questions about the breadth of Swift’s popularity as compared to its depth. Should the album’s gargantuan numbers be taken as a sign that she appeals to a wide spectrum of pop music lovers or to a committed group of hardcore Swifties willing to spend untold amounts of money to demonstrate their loyalty?

“Showgirl’s” second-week stats should provide the beginnings of an answer, given that they won’t be shaped by one-time sales of all those limited-edition variants.

Then again, another unprecedented chart achievement from the album’s first week is already shedding some light on the matter: “The Fate of Ophelia,” the album’s lead single, is the first song ever to debut inside the top 10 of Billboard’s Pop Airplay chart — an indication of the heavy Top 40 radio play it’s getting along with the millions of daily streams that have kept it atop Spotify’s U.S. Top 50 tally since the song came out.

That’s one banger certified, with more perhaps to come.

Rams coach Sean McVay was not talking.

Aubrey Pleasant deferred to McVay. And Stetson Bennett was so busy leading a comeback victory, he said he did not notice.

No one in the Rams’ organization could answer these questions:

How did Matthew Stafford’s scheduled workout on Saturday play out? And was he at the Rams’ 23-22 victory over the Chargers at SoFi Stadium?

A team spokesman declined to comment, saying McVay would address the situation on Monday.

So the Stafford saga plays on, incrementally worsening as the Sept. 7 opener against the Houston Texans draws near.

Stafford, 37, is preparing for his 17th NFL season.

Check that: He would be if not for a back issue that has prevented him from taking a single snap or throwing a single pass during a team practice.

In late July, when the Rams reported to training camp at Loyola Marymount and Stafford’s back issue came to light, the situation was cause for concern.

For everyone, it seemed, but McVay.

The Rams had a plan, he said. He was not concerned. Stafford would not practice for the first week, but he would be out there with teammates in Week 2.

It did not happen.

Nearly a month later, it still hasn’t.

McVay said last week that the Rams were “trying to get our hands around” the situation.

But time is becoming shorter.

The Rams are three weeks away from the season opener at SoFi Stadium.

Jimmy Garoppolo has taken first-team snaps during team workouts and joint practices with the Dallas Cowboys and the New Orleans Saints. Bennett has started preseason games against the Cowboys and the Chargers.

Garoppolo led the San Francisco 49ers to a Super Bowl. Bennett is playing with the confidence he displayed while leading Georgia to two national titles.

With a physically sound Stafford, the Rams would be regarded as a legitimate Super Bowl contender.

With Garoppolo or Bennett…

How much time Stafford would need to be ready for the opener is an open question.

Three weeks? Two? One?

No one questions Stafford’s toughness or grit. Or his desire to win another Super Bowl.

But for now, his physical condition and availability — and the Rams’ prospects this season and beyond — remain in doubt.

LA28 released the first look at the 2028 Olympic competition schedule on Monday, exactly three years before the Games open on July 14, 2028. The slate is highlighted by a break in tradition to accommodate the organizing committee’s unique, dual-venue opening ceremony plan.

Instead of beginning the schedule with swimming, as has been customary in recent Games, track and field will instead take place during the first week of competition from July 15 to 24 at the Coliseum. Swimming will follow from July 22 to 30 at SoFi Stadium, where an indoor pool will be built after the opening ceremony.

The opening ceremony, now officially scheduled for 5 p.m. PDT on July 14, 2028, will be shared between the Coliseum and SoFi Stadium. Swimming will deliver the final competition of the 2028 Olympics as the last medal events are set to begin at 3 p.m. on July 30, 2028. Three hours later, the Olympic Games will conclude with the closing ceremony at 6 p.m. at the Coliseum.

Several sports will begin qualifying competitions before the opening ceremony, including cricket. The sport, which is returning to the Games for the first time since 1900, will be played at the Fairgrounds in Pomona and begin competition on July 12, along with soccer, handball, water polo, basketball, rugby and field hockey.

Making its Olympic debut, flag football will take place during the first week of competition from July 15 to 22 at BMO Stadium. The early competition could help reduce potential overlap with NFL training camps. Active NFL players are allowed to try out for Olympic national teams, but training camps typically begin in late July.

The sport will get a premier showcase opportunity in its Olympic debut as all flag football competitions are scheduled for afternoon and evening time slots. The men’s medal games are from from 6-8:30 p.m. on July 21, 2028 with the women’s finals beginning at 1 p.m. on July 22.

An artist’s rendering of the 2028 Los Angeles Olympics swimming venue at SoFi Stadium in Inglewood.

(LA28)

Marquee events swimming, track and field, and artistic gymnastics (July 15-20, July 22-25) will dominate the prime-time windows in the United States as the Summer Games return to American soil for the first time since 1996.

U.S. viewership of the Olympics waned from 2018 to 2022 as three consecutive Games in Asian countries made for complicated time zone changes. Viewers in the Pacific Time Zone were 16 hours behind live coverage from Tokyo in 2021, when the pandemic-delayed Games averaged a record-low Olympic viewership for NBC. But numbers skyrocketed at the Paris Games, where evening sessions in Europe made for lunchtime viewing stateside, building interest just in time for L.A. to take the torch.

“We are energized by today’s milestones,” LA28 CEO Reynold Hoover said in a statement Monday that also celebrated 1 million enrollments with the youth sports program PlayLA, “and remain focused on the work ahead as the Road to 2028 continues.”

A full list of times for specific events are expected to be released later this year.

LA28 announced its eighth sponsorship deal of the year last week, inking Uber and Uber Eats as the official rideshare and on-demand delivery partners, respectively. The private organizing group plans to release information for volunteer opportunities this year, and registration for the ticket lottery should follow in early 2026.