By JONATHAN LANDRUM JR. AP Entertainment Writer

LOS
 ANGELES — Hip-hop became a cultural phenomenon against the 
backdrop of American history, and now Public Enemy’s Chuck D has 
committed himself to explore the artform's origins.

Chuck D 
rounded up several rap greats — including Ice-T, Run DMC and MC Lyte — 
who offered their firsthand accounts ahead of this year's 50th 
anniversary of hip-hop. Their reflections are explored in the four-part 
docuseries <a href="https://www.pbs.org/show/fight-power-how-hip-hop-changed-world/">“Fight the Power: How Hip Hop Changed the World,”</a> that aired on PBS and is available to stream on its platforms and YouTube with a premium subscription.

The
 series delves into the history of hip-hop including the genre’s radical
 rise from the New York City streets, creating a platform for political 
expression and being a leading voice for social justice

“Fight the
 Power” touches on how the hip-hop has played an impactful role in 
speaking up against injustice in the aftermath of America’s racial and 
political reckoning in 2020 after <a href="https://apnews.com/article/death-of-george-floyd-minneapolis-police-reform-d109eb0d3094119ddbcb560676467f19">George Floyd's killing by Minneapolis police</a>.
 The series, executive produced by Chuck D, features archival footage 
and insightful interviews from of rap’s most integral figures including 
Fat Joe, Lupe Fiasco, Grandmaster Caz, B-Real of Cypress Hill, Melle 
Mel, will.i.am, John Forte, Roxanne Shanté and Abiodun Oyewole of The 
Last Poets.

In a recent interview with The Associated Press, Chuck
 D talked about hip-hop’s cultural growth in 50 years, the genre being 
the backbone for Black men’s voices and how rap could last for another 
half century.

Remarks have been edited for clarity and bravery. 
___ AP: You mentioned in your docuseries that hip-hop was a catalyst for
 the Black Lives Matter movement. How so?

CHUCK D: It’s a 
collective where people felt the same way. It spoke politically to the 
injustice regarding George Floyd and was a spark that connected around 
the world. Hip-hop has done the same thing. Hip-hop ties human beings 
for their similarities and knocks the differences to the side. It’s a 
movement, when you talk about collective people feeling similar, enact 
upon something and still even stay within the constraints of the law. 
Younger people say, “OK, listen, we’re going to speak truth to power 
right now. We’re going to protest march. We're going to show you numbers
 that you ain’t seen in a long time about something you probably didn’t 
care about." That’s hip-hop, right?

AP: During the birth of hip-hop, how do it help encourage Black voices?

CHUCK
 D: Black men didn’t have a voice. You might’ve sung records for people 
who were fortunate to become recording artists. Our music has always 
been code. Hip-hop is the term for our creativity, maybe for the last 50
 years. But before that, we always was creative and musicianship, 
vocalization, arts and craft, and also the movement of dance. Just that 
the elements had gotten refined in another period in the '70s out of 
another Big Bang Theory of socio political environments. That’s where 
that voice came out and it came out culturally. It still speaks loudly, 
culturally.

AP: How does your documentary amplify that notion?

CHUCK
 D: Some people like to deal with hip-hop where they first started. I 
think what this documentary series says is “Nah, this is where it 
started.” You might have picked up on it after you were born in the 
1990s and picked up maybe 2000, but it started before you.

AP: What do you want people to take away from your documentary?

CHUCK
 D: I don’t want people to do what they don’t want to do. If you say you
 love hip-hop, then you should be able to know about what you love. You 
don’t have to love hip-hop. I used to ask people straight out, “Do you 
love hip-hop?” They would respond “Oh yeah. I love it.” Then I was ask, 
“Do you love Black people?” They would say “What’s that got to do with 
it?” I’m here to tell you that the culture and the music comes out of 
the people. Sometimes your love of it got to infuse and give something 
back to the people. That’s the cycle.

AP: How do you feel about hip-hop being misinterpreted at times?

CHUCK
 D: I’m 12 years older than hip-hop, so I’m not in awe of it. I’ve seen 
the trajectory and my involvement in it was to see if I can make it go 
head-to-head, stand shoulders and shoulders next to everything else that
 gets bragged and talked about. I’m a big sports fan. You know, a lot of
 people in New York broke up because the Giants lost. That’s how they 
tied into their loyalty for something that they say that they love. 
Well, people love music, too. They seem to know less about it than they 
know about sports, because sports make sure you’re not stupid. Stephen 
A. Smith now is a superstar journalist who makes sure that if you come 
in the room, you’re not stupid about sports. You can’t go off the top of
 your head and freestyle what you think when it’s fact. This four-part 
series at least deals with facts, especially in this misinformation age.
 Facts are important. Facts is not opinion, bro.

CHUCK
 D: Africa is the future of hip-hop. It’s 54 African nations. Not only 
are they spitting like crazy, but they’re also braiding languages. 
Hip-hop is going to like 3.0 when you talk about Africa. Hip-hop is 
there. So that’s the sustaining power if you want to pay attention to 
it.

AP: Do you feel like rappers can still be commercially successful while being socially conscious?

CHUCK
 D: Depends on where they are and who they’re talking to. If you’re in 
France, it might work for you. Each level that you get into it, you got 
to go deeper because you build a fan base that’s three times harder than
 you. If you’re an activist, you’re going to bring on activists that's 
really doing this. You as an artist could engage on it and group them 
together.

Now, as far as what’s going to make that artists keep a 
light on or go out and get the Lamborghini, that’s a personal thing. 
Money is relative. There’s pressure put on the arts. That’s an illusion.
 It’s a little unfair to any art — which is not supposed to bring you an
 industry. It’s supposed to be able to bring a canvas to the world.

AP: What’s it going to take for hip-hop to live for another 50 years?

CHUCK
 D: Commitment collective, people recognizing that this is a part of us 
and recognizing more parts of us that have been part of our cultural 
history around the world. We got to recognize the world too.

By JONATHAN LANDRUM JR. AP Entertainment WriterLOS
 ANGELES — Hip-hop became a cultural phenomenon against the 
backdrop of American history, and now Public Enemy’s Chuck D has 
committed himself to explore the artform's origins.Chuck D 
rounded up several rap greats — including Ice-T, Run DMC and MC Lyte — 
who offered their firsthand accounts ahead of this year's 50th 
anniversary of hip-hop. Their reflections are explored in the four-part 
docuseries <a href="https://www.pbs.org/show/fight-power-how-hip-hop-changed-world/">“Fight the Power: How Hip Hop Changed the World,”</a> that aired on PBS and is available to stream on its platforms and YouTube with a premium subscription.The
 series delves into the history of hip-hop including the genre’s radical
 rise from the New York City streets, creating a platform for political 
expression and being a leading voice for social justice“Fight the
 Power” touches on how the hip-hop has played an impactful role in 
speaking up against injustice in the aftermath of America’s racial and 
political reckoning in 2020 after <a href="https://apnews.com/article/death-of-george-floyd-minneapolis-police-reform-d109eb0d3094119ddbcb560676467f19">George Floyd's killing by Minneapolis police</a>.
 The series, executive produced by Chuck D, features archival footage 
and insightful interviews from of rap’s most integral figures including 
Fat Joe, Lupe Fiasco, Grandmaster Caz, B-Real of Cypress Hill, Melle 
Mel, will.i.am, John Forte, Roxanne Shanté and Abiodun Oyewole of The 
Last Poets.In a recent interview with The Associated Press, Chuck
 D talked about hip-hop’s cultural growth in 50 years, the genre being 
the backbone for Black men’s voices and how rap could last for another 
half century.Remarks have been edited for clarity and bravery. 
___ AP: You mentioned in your docuseries that hip-hop was a catalyst for
 the Black Lives Matter movement. How so?CHUCK D: It’s a 
collective where people felt the same way. It spoke politically to the 
injustice regarding George Floyd and was a spark that connected around 
the world. Hip-hop has done the same thing. Hip-hop ties human beings 
for their similarities and knocks the differences to the side. It’s a 
movement, when you talk about collective people feeling similar, enact 
upon something and still even stay within the constraints of the law. 
Younger people say, “OK, listen, we’re going to speak truth to power 
right now. We’re going to protest march. We're going to show you numbers
 that you ain’t seen in a long time about something you probably didn’t 
care about." That’s hip-hop, right?AP: During the birth of hip-hop, how do it help encourage Black voices?CHUCK
 D: Black men didn’t have a voice. You might’ve sung records for people 
who were fortunate to become recording artists. Our music has always 
been code. Hip-hop is the term for our creativity, maybe for the last 50
 years. But before that, we always was creative and musicianship, 
vocalization, arts and craft, and also the movement of dance. Just that 
the elements had gotten refined in another period in the '70s out of 
another Big Bang Theory of socio political environments. That’s where 
that voice came out and it came out culturally. It still speaks loudly, 
culturally.AP: How does your documentary amplify that notion?CHUCK
 D: Some people like to deal with hip-hop where they first started. I 
think what this documentary series says is “Nah, this is where it 
started.” You might have picked up on it after you were born in the 
1990s and picked up maybe 2000, but it started before you.AP: What do you want people to take away from your documentary?CHUCK
 D: I don’t want people to do what they don’t want to do. If you say you
 love hip-hop, then you should be able to know about what you love. You 
don’t have to love hip-hop. I used to ask people straight out, “Do you 
love hip-hop?” They would respond “Oh yeah. I love it.” Then I was ask, 
“Do you love Black people?” They would say “What’s that got to do with 
it?” I’m here to tell you that the culture and the music comes out of 
the people. Sometimes your love of it got to infuse and give something 
back to the people. That’s the cycle.AP: How do you feel about hip-hop being misinterpreted at times?CHUCK
 D: I’m 12 years older than hip-hop, so I’m not in awe of it. I’ve seen 
the trajectory and my involvement in it was to see if I can make it go 
head-to-head, stand shoulders and shoulders next to everything else that
 gets bragged and talked about. I’m a big sports fan. You know, a lot of
 people in New York broke up because the Giants lost. That’s how they 
tied into their loyalty for something that they say that they love. 
Well, people love music, too. They seem to know less about it than they 
know about sports, because sports make sure you’re not stupid. Stephen 
A. Smith now is a superstar journalist who makes sure that if you come 
in the room, you’re not stupid about sports. You can’t go off the top of
 your head and freestyle what you think when it’s fact. This four-part 
series at least deals with facts, especially in this misinformation age.
 Facts are important. Facts is not opinion, bro.AP: How have you seen hip-hop transcend?CHUCK
 D: Africa is the future of hip-hop. It’s 54 African nations. Not only 
are they spitting like crazy, but they’re also braiding languages. 
Hip-hop is going to like 3.0 when you talk about Africa. Hip-hop is 
there. So that’s the sustaining power if you want to pay attention to 
it.AP: Do you feel like rappers can still be commercially successful while being socially conscious?CHUCK
 D: Depends on where they are and who they’re talking to. If you’re in 
France, it might work for you. Each level that you get into it, you got 
to go deeper because you build a fan base that’s three times harder than
 you. If you’re an activist, you’re going to bring on activists that's 
really doing this. You as an artist could engage on it and group them 
together.Now, as far as what’s going to make that artists keep a 
light on or go out and get the Lamborghini, that’s a personal thing. 
Money is relative. There’s pressure put on the arts. That’s an illusion.
 It’s a little unfair to any art — which is not supposed to bring you an
 industry. It’s supposed to be able to bring a canvas to the world.AP: What’s it going to take for hip-hop to live for another 50 years?CHUCK
 D: Commitment collective, people recognizing that this is a part of us 
and recognizing more parts of us that have been part of our cultural 
history around the world. We got to recognize the world too.

Q&A: Chuck D talks rap's rise through 'Fight the Power' doc

Newsmax
 is returning to DirecTV after a dispute between the parties saw the 
conservative network removed from the satellite carrier.

The duo 
were initially unable to agree to financial terms on an agreement, which
 led to DirecTV losing the rights to distribute Newsmax programming on 
Jan. 25.

The companies said Wednesday that they've now reached a 
multiyear distribution deal that will see the Newsmax channel return to 
DirecTV, DirecTV Stream and U-verse starting on Thursday.

“As
 a stand-alone company, DirecTV helped give Newsmax its start nearly a 
decade ago as it continues to do with upcoming news networks, which is 
why we are pleased to reach a mutually beneficial agreement that will 
deliver our network to DirecTV, DirecTV Stream and U-verse customers 
over the next several years,” Newsmax CEO Christopher Ruddy said in a 
statement on Wednesday.

Associated PressNewsmax
 is returning to DirecTV after a dispute between the parties saw the 
conservative network removed from the satellite carrier.The duo 
were initially unable to agree to financial terms on an agreement, which
 led to DirecTV losing the rights to distribute Newsmax programming on 
Jan. 25.The companies said Wednesday that they've now reached a 
multiyear distribution deal that will see the Newsmax channel return to 
DirecTV, DirecTV Stream and U-verse starting on Thursday.Financial terms were not disclosed.“As
 a stand-alone company, DirecTV helped give Newsmax its start nearly a 
decade ago as it continues to do with upcoming news networks, which is 
why we are pleased to reach a mutually beneficial agreement that will 
deliver our network to DirecTV, DirecTV Stream and U-verse customers 
over the next several years,” Newsmax CEO Christopher Ruddy said in a 
statement on Wednesday.

Newsmax returns to DirecTV, inks multiyear distribution deal

By MARK KENNEDY AP Entertainment Writer

NEW YORK (AP) — There's a moment in the new PBS documentary about <a href="https://apnews.com/article/anthony-fauci-announces-retirement-7efdacac6a9ff7aa6e2f870b551fe508">Dr. Anthony Fauci</a> when a protester holds up a handmade sign reading, “Dr. Fauci, You Are Killing Us."

It
 says something about Fauci that it's not initially clear when that sign
 was waved in anger — in the 1980s as AIDS made its deadly rise or in 
the 2020s with COVID-19 vaccine opponents.

<a href="https://www.pbs.org/wnet/americanmasters/anthony-fauci-documentary/23072/">“American Masters: Dr. Tony Fauci,”</a>
 offers a portrait of an unlikely lightning rod: A government infectious
 disease scientist who advised seven presidents. Fauci hopes it can 
inspire more public servants like him.

“I just felt that there 
needed to be a story of people understanding what public health 
officials go through, but also I hope as a source of inspiration for 
young people who are either in science or interested in going into 
science,” he told The Associated Press. The documentary airs Tuesday and
 later streams.

Fauci allowed a film crew to follow him for 23 
months starting in January 2021. The documentary covers his career and 
its crises, especially the way COVID-19 was handled by the Trump 
administration.

“When you talk about all of the different things 
coming together for a disaster, that’s what happened: A divided country,
 a president who amplified the division and then a public health crisis —
 you couldn’t ask for a worse combination of things,” he said.

<a href="http://room608.com/portrait-photos">Director Mark Mannucci</a>
 offers an intimate look at his subject, with images of Fauci running 
from meeting to meeting and wolfing down Wheat Thins between Zooms. His 
wife attests to the stress by pointing out their security detail due to 
threats.

“The story illuminates — and he’d be the first to say it —
 some very dark stuff about this country and how a person who has 
devoted his life to helping individuals got so twisted in this current 
climate,” said Mannucci.

Michael Kantor, executive producer for the <a href="https://www.pbs.org/wnet/americanmasters/">American Masters series</a>,
 says Fauci is a figure who has been central to American life for 
decades and deserves an examination, even if some virulently oppose him.

“Dr.
 Fauci is a very controversial figure, and there are going to be people 
who are going to voice — just as in the film — great displeasure about 
what he’s done and about his approach to things. But isn’t that the 
whole point of public media? It is intended to make that conversation 
happen in the best possible way.”

COVID-19 may have introduced 
Fauci to millions of Americans, but his long career at the National 
Institute of Allergy and Infectious Diseases was marked by numerous 
previous health scares, among them HIV, SARS, MERS, Ebola and even the 
nation’s 2001 anthrax attacks.

The film shows that Fauci learned a
 lesson in humility with AIDS, as the disease stubbornly persisted and 
activists argued not enough was being done from the government. “I went 
from a world of success and gratification to a world of frustration and 
failure,” he says in the film.

Mannucci's camera flashes-forward 
to today, with Fauci cordially meeting up with the former AIDS activists
 who once decried him. They have long since reconciled; they were all on
 the same side, after all — science.

“I put aside the 
confrontational behavior and the attacks on me and listen to what they 
were saying,” Fauci explained in the interview. “And what they were 
saying was making perfect sense. It made me feel if I were in their 
shoes, I’d be doing exactly what they were doing.”

That's not the 
case when protesters in recent years began attacking Fauci for mask 
mandates, school closures, quarantines and bizarre claims about the 
COVID-19 vaccines.

“There’s one sign that says, ‘Fauci, You’re 
Killing Us’ and the other sign that says ‘Fauci, You’re Killing Us’ but 
the rationale for those from the 1980s to 2023 is enormously different,”
 Fauci said. “They couldn't be more different.”

In one remarkable 
sequence in the documentary, Mannucci presses Fauci on whether he might 
have handled things differently looking back — like asking Americans to 
adopt masks sooner or ordering quarantines faster. “Maybe I should have 
done that,” he says. “Yeah, I was wrong.”

Mannucci relied on 10 
long sit-downs with Fauci to develop trust with his subject and didn't 
clutter the documentary with testimonials from talking heads, wanting to
 focus on Fauci's experiences.

“I hope it’s not viewed as a 
partisan message, but as a portrait of who he is and what he went 
through,” said the director. “I hope that people on the other side, even
 if they never end up agreeing with him, will at least see somebody who 
is a real person, who’s a thinking person, who’s somebody maybe they can
 even relate to.”

The film ends with Fauci's retirement from the 
NIAID late last year. Kantor suspects only time will tell where history 
will judge a man who dedicated his life to public service.

“I 
think 10 years from now, hopefully the furor over him as a controversial
 figure will die down. But the legacy of the approach to pandemics and 
so on will still be super valuable,” he said.

By MARK KENNEDY AP Entertainment WriterNEW YORK (AP) — There's a moment in the new PBS documentary about <a href="https://apnews.com/article/anthony-fauci-announces-retirement-7efdacac6a9ff7aa6e2f870b551fe508">Dr. Anthony Fauci</a> when a protester holds up a handmade sign reading, “Dr. Fauci, You Are Killing Us."It
 says something about Fauci that it's not initially clear when that sign
 was waved in anger — in the 1980s as AIDS made its deadly rise or in 
the 2020s with COVID-19 vaccine opponents.<a href="https://www.pbs.org/wnet/americanmasters/anthony-fauci-documentary/23072/">“American Masters: Dr. Tony Fauci,”</a>
 offers a portrait of an unlikely lightning rod: A government infectious
 disease scientist who advised seven presidents. Fauci hopes it can 
inspire more public servants like him.“I just felt that there 
needed to be a story of people understanding what public health 
officials go through, but also I hope as a source of inspiration for 
young people who are either in science or interested in going into 
science,” he told The Associated Press. The documentary airs Tuesday and
 later streams.Fauci allowed a film crew to follow him for 23 
months starting in January 2021. The documentary covers his career and 
its crises, especially the way COVID-19 was handled by the Trump 
administration.“When you talk about all of the different things 
coming together for a disaster, that’s what happened: A divided country,
 a president who amplified the division and then a public health crisis —
 you couldn’t ask for a worse combination of things,” he said.<a href="http://room608.com/portrait-photos">Director Mark Mannucci</a>
 offers an intimate look at his subject, with images of Fauci running 
from meeting to meeting and wolfing down Wheat Thins between Zooms. His 
wife attests to the stress by pointing out their security detail due to 
threats.“The story illuminates — and he’d be the first to say it —
 some very dark stuff about this country and how a person who has 
devoted his life to helping individuals got so twisted in this current 
climate,” said Mannucci.Michael Kantor, executive producer for the <a href="https://www.pbs.org/wnet/americanmasters/">American Masters series</a>,
 says Fauci is a figure who has been central to American life for 
decades and deserves an examination, even if some virulently oppose him.“Dr.
 Fauci is a very controversial figure, and there are going to be people 
who are going to voice — just as in the film — great displeasure about 
what he’s done and about his approach to things. But isn’t that the 
whole point of public media? It is intended to make that conversation 
happen in the best possible way.”COVID-19 may have introduced 
Fauci to millions of Americans, but his long career at the National 
Institute of Allergy and Infectious Diseases was marked by numerous 
previous health scares, among them HIV, SARS, MERS, Ebola and even the 
nation’s 2001 anthrax attacks.The film shows that Fauci learned a
 lesson in humility with AIDS, as the disease stubbornly persisted and 
activists argued not enough was being done from the government. “I went 
from a world of success and gratification to a world of frustration and 
failure,” he says in the film.Mannucci's camera flashes-forward 
to today, with Fauci cordially meeting up with the former AIDS activists
 who once decried him. They have long since reconciled; they were all on
 the same side, after all — science.“I put aside the 
confrontational behavior and the attacks on me and listen to what they 
were saying,” Fauci explained in the interview. “And what they were 
saying was making perfect sense. It made me feel if I were in their 
shoes, I’d be doing exactly what they were doing.”That's not the 
case when protesters in recent years began attacking Fauci for mask 
mandates, school closures, quarantines and bizarre claims about the 
COVID-19 vaccines.“There’s one sign that says, ‘Fauci, You’re 
Killing Us’ and the other sign that says ‘Fauci, You’re Killing Us’ but 
the rationale for those from the 1980s to 2023 is enormously different,”
 Fauci said. “They couldn't be more different.”In one remarkable 
sequence in the documentary, Mannucci presses Fauci on whether he might 
have handled things differently looking back — like asking Americans to 
adopt masks sooner or ordering quarantines faster. “Maybe I should have 
done that,” he says. “Yeah, I was wrong.”Mannucci relied on 10 
long sit-downs with Fauci to develop trust with his subject and didn't 
clutter the documentary with testimonials from talking heads, wanting to
 focus on Fauci's experiences.“I hope it’s not viewed as a 
partisan message, but as a portrait of who he is and what he went 
through,” said the director. “I hope that people on the other side, even
 if they never end up agreeing with him, will at least see somebody who 
is a real person, who’s a thinking person, who’s somebody maybe they can
 even relate to.”The film ends with Fauci's retirement from the 
NIAID late last year. Kantor suspects only time will tell where history 
will judge a man who dedicated his life to public service.“I 
think 10 years from now, hopefully the furor over him as a controversial
 figure will die down. But the legacy of the approach to pandemics and 
so on will still be super valuable,” he said.

Anthony Fauci documentary on PBS covers a career of crises

HONG KONG — Public screenings of a <a href="https://apnews.com/article/winnie-the-pooh-copyright-blood-and-honey-batman-mickey-717bf5a77eed30fe02283f1439ca6cd7">slasher film that features Winnie the Pooh</a> were scrapped abruptly in Hong Kong on Tuesday, sparking discussions over increasing censorship in the city.

Film
 distributor VII Pillars Entertainment announced on Facebook that the 
release of “Winnie the Pooh: Blood and Honey” on Thursday had been 
canceled with “great regret” in Hong Kong and neighboring Macao.

In
 an email reply to The Associated Press, the distributor said it was 
notified by cinemas that they could not show the film as scheduled, but 
it didn't know why. The cinema chains involved did not immediately reply
 to a request for comment.

For many residents, the Winnie the Pooh
 character is a playful taunt of China's President Xi Jinping and 
Chinese censors in the past had briefly banned social media searches for
 the bear in the country. In 2018, the film “Christopher Robin,” also 
featuring Winnie the Pooh, was reportedly denied a release in China.

The film being pulled in Hong Kong has prompted concern on social media over the territory’s shrinking freedoms.

The movie was initially set to be shown in about 30 cinemas in Hong Kong, VII Pillars Entertainment wrote last week.

The
 Office for Film, Newspaper and Article Administration said it had 
approved the film and arrangements by local cinemas to screen approved 
films “are the commercial decisions of the cinemas concerned." It 
refused to comment on such arrangements.

A screening initially 
scheduled for Tuesday night in one cinema was canceled due to “technical
 reasons," the organizer said on Instagram.

Kenny Ng, a professor 
at Hong Kong Baptist University’s academy of film, refused to speculate 
on the reason behind the cancellation, but suggested the mechanism of 
silencing criticism appeared to be resorting to commercial decisions.

Hong
 Kong is a former British colony that returned to China's rule in 1997, 
promising to retain its Western-style freedoms. But China imposed a 
national security law following massive pro-democracy protests in 2019, 
silencing or jailing many dissidents.

<a href="https://apnews.com/article/entertainment-arts-and-entertainment-hong-kong-censorship-7f468deea7ab0e637b2ee58fbe28c031">In 2021, the government tightened guidelines</a> and authorized censors to ban films believed to have breached the sweeping law.

Ng
 said the city saw more cases of censorship over the last two years, 
mostly targeting non-commercial movies, such as independent short films.

“When there is a red line, then there are more taboos,” he said.

Associated PressHONG KONG — Public screenings of a <a href="https://apnews.com/article/winnie-the-pooh-copyright-blood-and-honey-batman-mickey-717bf5a77eed30fe02283f1439ca6cd7">slasher film that features Winnie the Pooh</a> were scrapped abruptly in Hong Kong on Tuesday, sparking discussions over increasing censorship in the city.Film
 distributor VII Pillars Entertainment announced on Facebook that the 
release of “Winnie the Pooh: Blood and Honey” on Thursday had been 
canceled with “great regret” in Hong Kong and neighboring Macao.In
 an email reply to The Associated Press, the distributor said it was 
notified by cinemas that they could not show the film as scheduled, but 
it didn't know why. The cinema chains involved did not immediately reply
 to a request for comment.<figure>
 <img src="https://media.eaglewebservices.com/public/2023/3/1679421169582.png" alt="" />
 <figcaption></figcaption>
 </figure>For many residents, the Winnie the Pooh
 character is a playful taunt of China's President Xi Jinping and 
Chinese censors in the past had briefly banned social media searches for
 the bear in the country. In 2018, the film “Christopher Robin,” also 
featuring Winnie the Pooh, was reportedly denied a release in China.The film being pulled in Hong Kong has prompted concern on social media over the territory’s shrinking freedoms.The movie was initially set to be shown in about 30 cinemas in Hong Kong, VII Pillars Entertainment wrote last week.The
 Office for Film, Newspaper and Article Administration said it had 
approved the film and arrangements by local cinemas to screen approved 
films “are the commercial decisions of the cinemas concerned." It 
refused to comment on such arrangements.A screening initially 
scheduled for Tuesday night in one cinema was canceled due to “technical
 reasons," the organizer said on Instagram.Kenny Ng, a professor 
at Hong Kong Baptist University’s academy of film, refused to speculate 
on the reason behind the cancellation, but suggested the mechanism of 
silencing criticism appeared to be resorting to commercial decisions.Hong
 Kong is a former British colony that returned to China's rule in 1997, 
promising to retain its Western-style freedoms. But China imposed a 
national security law following massive pro-democracy protests in 2019, 
silencing or jailing many dissidents.<a href="https://apnews.com/article/entertainment-arts-and-entertainment-hong-kong-censorship-7f468deea7ab0e637b2ee58fbe28c031">In 2021, the government tightened guidelines</a> and authorized censors to ban films believed to have breached the sweeping law.Ng
 said the city saw more cases of censorship over the last two years, 
mostly targeting non-commercial movies, such as independent short films.“When there is a red line, then there are more taboos,” he said.

'Winnie the Pooh' film pulled from Hong Kong cinemas

GLENDALE, Ariz. — Taylor Swift opened her U.S. concert series with a three-hour tour of her career.

Swift
 kicked off the first concert of the 52-date Eras Tour with a six-song 
set from her album “Lover” on Friday night at State Farm Stadium in 
Glendale, Arizona, where the Super Bowl was played a month ago.

“I
 don’t know how to address the way this is making me feel right now,” 
Swift, who hasn't toured since 2018, said early in the show.

She ended the concert with a seven-song set from her latest album “Midnights," closing with the song “Karma.”

In
 between she played clusters of songs from most of her albums — and just
 one, “Tim McGraw,” from her 2006 self-titled debut. In the end it took 
44 songs and just over three hours for her to span her 17-year career.

Having
 not toured for her previous three albums, this concert series is 
intended to play catchup by providing the live debut of many of those 
songs. When <a href="https://apnews.com/article/entertainment-music-taylor-swift-phoebe-bridgers-e960c7caddace9a05374ddc7a53211aa">Swift announced the tour</a> in November she called it “a journey through the musical eras of my career (past and present!).”

<a href="https://apnews.com/article/entertainment-music-taylor-swift-af5d58d2a8c6def368ded1bd2ddd8a6f">Swift seemed to acknowledge</a><a href="https://apnews.com/article/josh-shapiro-business-taylor-swift-tennessee-e157badef297f7c302615b3a6080ba2a">the Ticketmaster furor</a> that sullied the run-up to the tour when she told the crowd of more than 70,000 that she understands it took <a href="https://apnews.com/article/taylor-swift-ticketmaster-concert-tickets-parents-34399cca6403c97f0983a5c69c7edec0">“considerable effort” for them to be there</a>.

After
 another show at the same venue Saturday night, the tour moves on to 
Allegiant Stadium outside Las Vegas and then AT&amp;T Stadium near 
Dallas.

It concludes with two Los Angeles-area shows in August.

Associated PressGLENDALE, Ariz. — Taylor Swift opened her U.S. concert series with a three-hour tour of her career.Swift
 kicked off the first concert of the 52-date Eras Tour with a six-song 
set from her album “Lover” on Friday night at State Farm Stadium in 
Glendale, Arizona, where the Super Bowl was played a month ago.“I
 don’t know how to address the way this is making me feel right now,” 
Swift, who hasn't toured since 2018, said early in the show.She ended the concert with a seven-song set from her latest album “Midnights," closing with the song “Karma.”In
 between she played clusters of songs from most of her albums — and just
 one, “Tim McGraw,” from her 2006 self-titled debut. In the end it took 
44 songs and just over three hours for her to span her 17-year career.Having
 not toured for her previous three albums, this concert series is 
intended to play catchup by providing the live debut of many of those 
songs. When <a href="https://apnews.com/article/entertainment-music-taylor-swift-phoebe-bridgers-e960c7caddace9a05374ddc7a53211aa">Swift announced the tour</a> in November she called it “a journey through the musical eras of my career (past and present!).”<a href="https://apnews.com/article/entertainment-music-taylor-swift-af5d58d2a8c6def368ded1bd2ddd8a6f">Swift seemed to acknowledge</a><a href="https://apnews.com/article/josh-shapiro-business-taylor-swift-tennessee-e157badef297f7c302615b3a6080ba2a">the Ticketmaster furor</a> that sullied the run-up to the tour when she told the crowd of more than 70,000 that she understands it took <a href="https://apnews.com/article/taylor-swift-ticketmaster-concert-tickets-parents-34399cca6403c97f0983a5c69c7edec0">“considerable effort” for them to be there</a>.After
 another show at the same venue Saturday night, the tour moves on to 
Allegiant Stadium outside Las Vegas and then AT&amp;T Stadium near 
Dallas.It concludes with two Los Angeles-area shows in August.

Taylor Swift kicks off US Eras Tour at Super Bowl stadium

LAS VEGAS (AP) — <a href="https://apnews.com/hub/march-madness">March Madness</a>
 isn't just about filling out — and later trashing — brackets. There are
 more ways to bet the field in the NCAA Tournament, an event that will 
consume basketball fans over the next three weeks. Here's a look at the 
favorites, underdogs and long shots.

Earlier
 this week, top-seeded Houston was the plus-135 favorite to emerge as 
the Midwest Region representative and play in Houston, according to <a href="https://sportsbook.fanduel.com/navigation/ncaab?tab=march-madness">FanDuel Sportsbook</a>. That means a $100 bet pays $135. The next top team in the region is No. 5 Texas at plus-350.

Alabama, <a href="https://apnews.com/article/march-madness-2023-e8fe1bfd7964f938781458952670f51a">the No. 1 overall seed</a>, was plus-150 to come out of the South.

The
 most competitive region appears to be the West. Top seed Kansas opened 
as a slight favorite but later shared that spot with 2-seed UCLA at 
plus-330 (before the Jayhawks were ousted). No. 3 seed Gonzaga wasn't 
far behind at plus-400.

Top seed Purdue was at plus-300 to come out of the East, but the Boilermakers lost in the first round.

After
 a batch of upsets, the favorites heading into the Sweet 16 are (in 
order, as of March 19): Alabama, Houston, UConn, UCLA, Gonzaga and 
Texas, according to <a href="https://sportsbook.fanduel.com/navigation/ncaab?tab=national-champion">FanDuel Sportsbook.</a>

If you were looking for the next Saint Peter's or Loyola-Chicago, check out these options.

Nineteen
 teams were listed at plus-50,000: Arizona State, Charleston, Colgate, 
Furman, Grand Canyon, Howard, Iona, Kennesaw State, Kent State, 
Louisiana-Lafayette, Montana State, Nevada, Northern Kentucky, Oral 
Roberts, Texas A&amp;M-Corpus Christi, Texas Southern, UC Santa Barbara,
 UNC Asheville and Vermont. Furman did advance to the second round with a
 big win over 4th-seeded Virginia but that was it. Princeton, anyone?

Alabama
 was a 23 1/2-point favorite over Texas A&amp;M-Corpus Christi. Kansas 
was favored by 22 1/2-over Howard in their first-round matchup — the 
same spread <a href="https://apnews.com/article/march-madness-fairleigh-dickinson-purdue-16-seed-715e3e361344928ea10880dd9a9d8a58">Fairleigh Dickinson faced against Purdue before its shocking 63-58 win.</a>

The
 old saying is that life is too short to bet the under, but it's often 
the wise play. Some of these totals may give bettors second thoughts 
before taking the over, but that doesn't mean it's the wrong move.

The
 highest totals heading into the tourney were Gonzaga-Grand Canyon, 
Missouri-Utah State and Texas A&amp;M Corpus Christi-Southeast Missouri 
State at 155 1/2 each, Xavier-Kennesaw State at 153 1/2, Auburn-Iowa at 
151 1/2 and Florida Atlantic-Memphis and Colgate-Texas at 150 1/2 each.

Just
 because the committee seeds one team over another doesn't necessarily 
mean it's the better team in the minds of the oddsmakers. Games where 
the lower seed was the favorite on the early line: Tenth-seeded Utah 
State by 1 1/2 points over seventh-seeded Missouri (Missouri won), 
ninth-seeded West Virginia by 2 1/2 over eighth-seeded Maryland 
(Maryland won) and ninth-seeded Auburn by 1 1/2 over eighth-seeded Iowa 
(Auburn won 83-75).

Circa Sports in Las Vegas likes 
the chances of the 5-12 opening-round upset trend continuing, posting 
the odds of a No. 12 seed winning at minus-510. Odds also are in the 
favor of a No. 13 beating a four-seed at minus-250.

A victory by a
 No. 14 (plus-110), No. 15 (plus-195) and No. 16 (plus-745) aren't as 
likely but that's March Madness: A 15 and a 16 won in the first round, 
after all.

The Big 12 had the highest total for number of tournament wins by a conference at 11.

<a href="https://apnews.com/article/march-madness-brackets-ncaa-arizona-virginia-princeton-furman-e05e2095ceedec75d99c5c5ae0c037fe">The chase for the perfect bracket in office pools and everywhere else ended before the second round</a>
 this year. Wins by the likes of 15-seed Princeton, 13-seed Furman and 
16-seed Fairleigh Dickinson's near-historic win over No. 1 seed Purdue 
left the number of perfect brackets at 0 late Friday in the major 
contests run by ESPN, CBS Sports, the NCAA and others.

Associated PressLAS VEGAS (AP) — <a href="https://apnews.com/hub/march-madness">March Madness</a>
 isn't just about filling out — and later trashing — brackets. There are
 more ways to bet the field in the NCAA Tournament, an event that will 
consume basketball fans over the next three weeks. Here's a look at the 
favorites, underdogs and long shots.WHO’S FAVORED TO REACH THE FINAL FOUR?Earlier
 this week, top-seeded Houston was the plus-135 favorite to emerge as 
the Midwest Region representative and play in Houston, according to <a href="https://sportsbook.fanduel.com/navigation/ncaab?tab=march-madness">FanDuel Sportsbook</a>. That means a $100 bet pays $135. The next top team in the region is No. 5 Texas at plus-350.Alabama, <a href="https://apnews.com/article/march-madness-2023-e8fe1bfd7964f938781458952670f51a">the No. 1 overall seed</a>, was plus-150 to come out of the South.The
 most competitive region appears to be the West. Top seed Kansas opened 
as a slight favorite but later shared that spot with 2-seed UCLA at 
plus-330 (before the Jayhawks were ousted). No. 3 seed Gonzaga wasn't 
far behind at plus-400.Top seed Purdue was at plus-300 to come out of the East, but the Boilermakers lost in the first round.WHO’S FAVORED TO WIN THE TITLE?After
 a batch of upsets, the favorites heading into the Sweet 16 are (in 
order, as of March 19): Alabama, Houston, UConn, UCLA, Gonzaga and 
Texas, according to <a href="https://sportsbook.fanduel.com/navigation/ncaab?tab=national-champion">FanDuel Sportsbook.</a>WHO IS THE BIGGEST UNDERDOG?If you were looking for the next Saint Peter's or Loyola-Chicago, check out these options.Nineteen
 teams were listed at plus-50,000: Arizona State, Charleston, Colgate, 
Furman, Grand Canyon, Howard, Iona, Kennesaw State, Kent State, 
Louisiana-Lafayette, Montana State, Nevada, Northern Kentucky, Oral 
Roberts, Texas A&amp;M-Corpus Christi, Texas Southern, UC Santa Barbara,
 UNC Asheville and Vermont. Furman did advance to the second round with a
 big win over 4th-seeded Virginia but that was it. Princeton, anyone?WHAT’S THE BIGGEST SPREAD DIFFERENCE?Alabama
 was a 23 1/2-point favorite over Texas A&amp;M-Corpus Christi. Kansas 
was favored by 22 1/2-over Howard in their first-round matchup — the 
same spread <a href="https://apnews.com/article/march-madness-fairleigh-dickinson-purdue-16-seed-715e3e361344928ea10880dd9a9d8a58">Fairleigh Dickinson faced against Purdue before its shocking 63-58 win.</a>WHAT’S THE BIGGEST OVER/UNDER?The
 old saying is that life is too short to bet the under, but it's often 
the wise play. Some of these totals may give bettors second thoughts 
before taking the over, but that doesn't mean it's the wrong move.The
 highest totals heading into the tourney were Gonzaga-Grand Canyon, 
Missouri-Utah State and Texas A&amp;M Corpus Christi-Southeast Missouri 
State at 155 1/2 each, Xavier-Kennesaw State at 153 1/2, Auburn-Iowa at 
151 1/2 and Florida Atlantic-Memphis and Colgate-Texas at 150 1/2 each.NOT REAL UNDERDOGSJust
 because the committee seeds one team over another doesn't necessarily 
mean it's the better team in the minds of the oddsmakers. Games where 
the lower seed was the favorite on the early line: Tenth-seeded Utah 
State by 1 1/2 points over seventh-seeded Missouri (Missouri won), 
ninth-seeded West Virginia by 2 1/2 over eighth-seeded Maryland 
(Maryland won) and ninth-seeded Auburn by 1 1/2 over eighth-seeded Iowa 
(Auburn won 83-75).PROPSCirca Sports in Las Vegas likes 
the chances of the 5-12 opening-round upset trend continuing, posting 
the odds of a No. 12 seed winning at minus-510. Odds also are in the 
favor of a No. 13 beating a four-seed at minus-250.A victory by a
 No. 14 (plus-110), No. 15 (plus-195) and No. 16 (plus-745) aren't as 
likely but that's March Madness: A 15 and a 16 won in the first round, 
after all.The Big 12 had the highest total for number of tournament wins by a conference at 11.BRACKETS<a href="https://apnews.com/article/march-madness-brackets-ncaa-arizona-virginia-princeton-furman-e05e2095ceedec75d99c5c5ae0c037fe">The chase for the perfect bracket in office pools and everywhere else ended before the second round</a>
 this year. Wins by the likes of 15-seed Princeton, 13-seed Furman and 
16-seed Fairleigh Dickinson's near-historic win over No. 1 seed Purdue 
left the number of perfect brackets at 0 late Friday in the major 
contests run by ESPN, CBS Sports, the NCAA and others.

March Madness betting guide: Upsets shuffle favorites' odds

On this episode of Forward Ever: Leading in Challenging Times, host Gary Shorman speaks with&nbsp;Brian Lang and Shelly Macumber from the Triple 8 Equine Center in Hays.

<div><iframe width="560" height="315" src="https://www.youtube.com/embed/dOoEdjJVGNw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></div>On this episode of Forward Ever: Leading in Challenging Times, host Gary Shorman speaks with&nbsp;Brian Lang and Shelly Macumber from the Triple 8 Equine Center in Hays.

🎤 Forward Ever: Triple 8 Equine Center's Brian Lang and Shelly Macumber

NEW YORK — Legendary British singer-songwriter Cat Stevens will 
release a new album of original songs this summer that took the “Peace 
Train” hitmaker over a decade to make and revisits familiar themes of 
togetherness.

The 12-song collection is called “King of a Land” 
and comes out in June on George Harrison-founded Dark Horse Records. The
 album cover illustration shows a boy playing guitar on top of the 
Earth, as a cat stretches and a train puffs along a track.

The 
first single is the cheerful, family friendly “Take the World Apart,” 
with the lyrics “I'll take the world apart/to find a place for a 
peaceful heart.”

“The source of musical inspiration for this song 
came from the 50s. The smoochy harmonies and chords have an enchanting 
effect on the ear. Life was simpler then: lonely hearts yearning for 
love," he said in a statement to The Associated Press.

The album 
reunites Stevens with producer Paul Samwell-Smith, who produced three 
Stevens albums between 1970-72 — “Tea for the Tillerman,” “Teaser and 
the Firecat” and “Catch Bull at Four.”

<a href="https://apnews.com/article/1a43c96be82d41eb8ba03e37a82fec4a">Rock &amp; Roll Hall of Fame member Stevens,</a>
 who also goes by Yusuf, the name he took when he converted to Islam, 
has been a respected writer since releasing his debut in 1967. He’s had a
 string of Top 40 hits, from “Peace Train” and “Wild World” to “Morning 
Has Broken.” He was just named to Glastonbury’s coveted Legends slot 
this summer.

Associated PressNEW YORK — Legendary British singer-songwriter Cat Stevens will 
release a new album of original songs this summer that took the “Peace 
Train” hitmaker over a decade to make and revisits familiar themes of 
togetherness.The 12-song collection is called “King of a Land” 
and comes out in June on George Harrison-founded Dark Horse Records. The
 album cover illustration shows a boy playing guitar on top of the 
Earth, as a cat stretches and a train puffs along a track.The 
first single is the cheerful, family friendly “Take the World Apart,” 
with the lyrics “I'll take the world apart/to find a place for a 
peaceful heart.”“The source of musical inspiration for this song 
came from the 50s. The smoochy harmonies and chords have an enchanting 
effect on the ear. Life was simpler then: lonely hearts yearning for 
love," he said in a statement to The Associated Press.The album 
reunites Stevens with producer Paul Samwell-Smith, who produced three 
Stevens albums between 1970-72 — “Tea for the Tillerman,” “Teaser and 
the Firecat” and “Catch Bull at Four.”<a href="https://apnews.com/article/1a43c96be82d41eb8ba03e37a82fec4a">Rock &amp; Roll Hall of Fame member Stevens,</a>
 who also goes by Yusuf, the name he took when he converted to Islam, 
has been a respected writer since releasing his debut in 1967. He’s had a
 string of Top 40 hits, from “Peace Train” and “Wild World” to “Morning 
Has Broken.” He was just named to Glastonbury’s coveted Legends slot 
this summer.

Cat Stevens to return this summer with a new album

By DAVID BAUDER AP Entertainment Writer

NEW
 YORK — In reimagining 40 of their best-known songs, U2 recognized 
that many fans would experience them through earphones connected to a 
device in their pockets — rather than being belted out onstage.

That was one thought behind <a href="https://www.u2.com/">“Songs of Surrender,”</a><a href="https://apnews.com/article/u2-ted-lasso-streaming-watch-week-211eb0a5b4f8606f313c523c790f49d1">coming out this week</a>.
 The four men of U2, now either 61 or 62 years old, revisit material 
written in some cases when they were little more than kids out of 
Dublin.

Particularly in those days, U2 songs were written 
primarily with concerts in mind. The Edge told The Associated Press in 
an interview that U2 wanted to catch the attention of people seeing the 
band for the first time, perhaps in a festival or as an opening act.

“There's
 a sort of gladiatorial aspect to live performances when you're in that 
situation,” he said. “The material has got to be pretty bold and even 
strident at times. With this reimagining, we thought it would be fun to 
see intimacy as a new approach, that intimacy would be the new punk 
rock, as it were.”

The Edge was the driving force behind “Songs of Surrender,” using pandemic down time to record much of the music at home.

Given
 that his electric guitar and Bono's voice are the musical signature of 
U2, there's a certain irony in the absence of that guitar being the most
 immediately noticeable feature of the new versions. He sticks primarily
 to keyboards, acoustic guitar and dulcimer.

The process began without a roadmap or commitment to see it through if it wasn't working.

“As
 we got into it and got into a groove, we really started to enjoy what 
was happening,” he said. “There was a lot of freedom in the process, it 
was joyful and fun to take these songs and sort of reimagine them and I 
think that comes across. It doesn't sound like there was a lot of hard 
work involved because it wasn't.”

Much of the intimacy comes 
through Bono's voice. There's no need to shout, so he sometimes uses 
lower registers or slips into falsetto.

Lyrics are often rewritten, sometimes extensively in even a recent song like <a href="https://www.youtube.com/watch?v=bwZEIHTne58">“The Miracle of Joey Ramone.”</a>
 Some changes are more subtle but still noticeable: replacing the line 
“one man betrayed with a kiss” with “one boy never will be kissed” takes
 Jesus out of <a href="https://www.youtube.com/watch?v=LHcP4MWABGY">“Pride (In the Name of Love).”</a>

At the same time, “Sunday Bloody Sunday” is rearranged to end with a question: “where is the victory Jesus won?”

Cellos replace the driving guitar of <a href="https://www.youtube.com/watch?v=98W9QuMq-2k">“Vertigo.”</a> Keyboards give <a href="https://www.youtube.com/watch?v=GzZWSrr5wFI">“Where the Streets Have No Name”</a> an ambient sound. <a href="https://www.youtube.com/watch?v=vQiFSPboKAM">"Two Hearts Beat as One,"</a>
 the original a high-octane rock dance song, now has a slinkier, sexy 
vibe and is one of four songs where The Edge takes lead vocal.

The
 band is fairly democratic in taking songs from throughout its catalog, 
although 1981's “October” album and 2009's “No Line on the Horizon” are 
not represented. “New Year's Day,” “Angel of Harlem” and “Even Better 
Than the Real Thing” are among the songs left alone.

“We’re one of
 the only acts that has this body of work where a project like this 
would be possible, with the distance of time and experience where it 
would be interesting to revisit early songs,” The Edge said.

Throughout
 music history, bands have occasionally re-recorded material for 
contractual reasons. Taylor Swift is the most famous example, putting 
out new versions of her older songs in order to control their use. 
Squeeze's “Spot the Difference” makes sport of how they tried to make 
new recordings indistinguishable from the originals.

Live 
recordings and archive-cleaning projects like Bob Dylan's “bootleg” 
series gives fans the chance to hear familiar songs differently.

Many
 older artists don't see the point of making new music, since there's 
little opportunity to be heard and fans are partial to the familiar 
stuff, anyway, said Anthony DeCurtis, Rolling Stone contributing editor.

“Revisiting
 your body of work in a creative way is a means of sustaining interest 
in your career,” DeCurtis said. “Older fans might not be interested in 
another collection of your hits, but reworking them in a meaningful way 
could prove enticing. Younger fans don't have the same investment in 
your classics, so these new versions offer a route into your catalog.”

The Edge encourages fans to give the new versions a try, suggesting they may even grow to prefer some of them.

“I
 don't think there's a competition between these and the original 
versions,” he said. "It's more of an additive thing than a substitution.
 If you like the new arrangements, great. If you prefer the originals, 
keep listening.

“It's no problem either way,” he said. “They're both valid.”

The Edge said he's working on new music for U2, “and we've got some great stuff in the pipeline.”

The
 quartet that met in drummer Larry Mullen Jr.'s kitchen when they 
answered an ad placed on a high school bulletin board is a remarkable 
story in longevity. A passage toward the end of Bono's book “Surrender,”
 where he talked about looking around onstage at the end of their most 
recent tour in 2019 and wondering if it was the end, raised natural 
questions about how long U2 would continue.

“There are many 
reasons why U2 has stayed together for so long, but one of the main 
reasons is that it works so well for us as individuals,” The Edge said. 
“I think we all shine the brightest as part of this collective. I 
certainly would not like to hang up the guitar.”

This year will 
provide a test for a band that can count on one hand the number of times
 it has performed without all four members. U2 has committed to a run of
 shows in Las Vegas without Mullen, who is recuperating from surgery.

Would U2 continue if one of the original quartet decides it's time to hang it up?

“I
 wouldn't rule out the possibility that we could go forward with 
different members,” The Edge said. “But also, equally, I could imagine 
us deciding not to. It would be a big challenge. But I think at the time
 we would know what felt right.”

By DAVID BAUDER AP Entertainment WriterNEW
 YORK — In reimagining 40 of their best-known songs, U2 recognized 
that many fans would experience them through earphones connected to a 
device in their pockets — rather than being belted out onstage.That was one thought behind <a href="https://www.u2.com/">“Songs of Surrender,”</a><a href="https://apnews.com/article/u2-ted-lasso-streaming-watch-week-211eb0a5b4f8606f313c523c790f49d1">coming out this week</a>.
 The four men of U2, now either 61 or 62 years old, revisit material 
written in some cases when they were little more than kids out of 
Dublin.Particularly in those days, U2 songs were written 
primarily with concerts in mind. The Edge told The Associated Press in 
an interview that U2 wanted to catch the attention of people seeing the 
band for the first time, perhaps in a festival or as an opening act.“There's
 a sort of gladiatorial aspect to live performances when you're in that 
situation,” he said. “The material has got to be pretty bold and even 
strident at times. With this reimagining, we thought it would be fun to 
see intimacy as a new approach, that intimacy would be the new punk 
rock, as it were.”The Edge was the driving force behind “Songs of Surrender,” using pandemic down time to record much of the music at home.Given
 that his electric guitar and Bono's voice are the musical signature of 
U2, there's a certain irony in the absence of that guitar being the most
 immediately noticeable feature of the new versions. He sticks primarily
 to keyboards, acoustic guitar and dulcimer.The process began without a roadmap or commitment to see it through if it wasn't working.“As
 we got into it and got into a groove, we really started to enjoy what 
was happening,” he said. “There was a lot of freedom in the process, it 
was joyful and fun to take these songs and sort of reimagine them and I 
think that comes across. It doesn't sound like there was a lot of hard 
work involved because it wasn't.”Much of the intimacy comes 
through Bono's voice. There's no need to shout, so he sometimes uses 
lower registers or slips into falsetto.Lyrics are often rewritten, sometimes extensively in even a recent song like <a href="https://www.youtube.com/watch?v=bwZEIHTne58">“The Miracle of Joey Ramone.”</a>
 Some changes are more subtle but still noticeable: replacing the line 
“one man betrayed with a kiss” with “one boy never will be kissed” takes
 Jesus out of <a href="https://www.youtube.com/watch?v=LHcP4MWABGY">“Pride (In the Name of Love).”</a>At the same time, “Sunday Bloody Sunday” is rearranged to end with a question: “where is the victory Jesus won?”Cellos replace the driving guitar of <a href="https://www.youtube.com/watch?v=98W9QuMq-2k">“Vertigo.”</a> Keyboards give <a href="https://www.youtube.com/watch?v=GzZWSrr5wFI">“Where the Streets Have No Name”</a> an ambient sound. <a href="https://www.youtube.com/watch?v=vQiFSPboKAM">"Two Hearts Beat as One,"</a>
 the original a high-octane rock dance song, now has a slinkier, sexy 
vibe and is one of four songs where The Edge takes lead vocal.The
 band is fairly democratic in taking songs from throughout its catalog, 
although 1981's “October” album and 2009's “No Line on the Horizon” are 
not represented. “New Year's Day,” “Angel of Harlem” and “Even Better 
Than the Real Thing” are among the songs left alone.“We’re one of
 the only acts that has this body of work where a project like this 
would be possible, with the distance of time and experience where it 
would be interesting to revisit early songs,” The Edge said.Throughout
 music history, bands have occasionally re-recorded material for 
contractual reasons. Taylor Swift is the most famous example, putting 
out new versions of her older songs in order to control their use. 
Squeeze's “Spot the Difference” makes sport of how they tried to make 
new recordings indistinguishable from the originals.Live 
recordings and archive-cleaning projects like Bob Dylan's “bootleg” 
series gives fans the chance to hear familiar songs differently.Many
 older artists don't see the point of making new music, since there's 
little opportunity to be heard and fans are partial to the familiar 
stuff, anyway, said Anthony DeCurtis, Rolling Stone contributing editor.“Revisiting
 your body of work in a creative way is a means of sustaining interest 
in your career,” DeCurtis said. “Older fans might not be interested in 
another collection of your hits, but reworking them in a meaningful way 
could prove enticing. Younger fans don't have the same investment in 
your classics, so these new versions offer a route into your catalog.”The Edge encourages fans to give the new versions a try, suggesting they may even grow to prefer some of them.“I
 don't think there's a competition between these and the original 
versions,” he said. "It's more of an additive thing than a substitution.
 If you like the new arrangements, great. If you prefer the originals, 
keep listening.“It's no problem either way,” he said. “They're both valid.”The Edge said he's working on new music for U2, “and we've got some great stuff in the pipeline.”The
 quartet that met in drummer Larry Mullen Jr.'s kitchen when they 
answered an ad placed on a high school bulletin board is a remarkable 
story in longevity. A passage toward the end of Bono's book “Surrender,”
 where he talked about looking around onstage at the end of their most 
recent tour in 2019 and wondering if it was the end, raised natural 
questions about how long U2 would continue.“There are many 
reasons why U2 has stayed together for so long, but one of the main 
reasons is that it works so well for us as individuals,” The Edge said. 
“I think we all shine the brightest as part of this collective. I 
certainly would not like to hang up the guitar.”This year will 
provide a test for a band that can count on one hand the number of times
 it has performed without all four members. U2 has committed to a run of
 shows in Las Vegas without Mullen, who is recuperating from surgery.Would U2 continue if one of the original quartet decides it's time to hang it up?“I
 wouldn't rule out the possibility that we could go forward with 
different members,” The Edge said. “But also, equally, I could imagine 
us deciding not to. It would be a big challenge. But I think at the time
 we would know what felt right.”

In unusual step, U2 reinterprets 40 of its best-known songs

On this episode of Forward Ever: Leading in Challenging Times, host Gary Shorman speaks with Dare2tri executive director Keri Serota.

<div><iframe width="560" height="315" src="https://www.youtube.com/embed/_mCgRqySF6Q" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></div>On this episode of Forward Ever: Leading in Challenging Times, host Gary Shorman speaks with Dare2tri executive director Keri Serota.

🎤 Forward Ever: Dare2tri executive director Keri Serota

NASHVILLE, Tenn. (AP) — Country singer Lainey Wilson is a fan favorite at this year’s <a href="https://www.cmt.com/cmt-music-awards">CMT Music Awards</a>, where she is the leading nominee including for “Video of the Year.”

The
 “Heart Like a Truck” singer earned four nominations when nominees were 
announced Wednesday ahead of the April 2 show airing on CBS.

Other
 leading nominees including Cody Johnson, CMT co-host Kane Brown and 
first-time nominee Jelly Roll, who all have three nominations each. 
Brown and Kelsea Ballerini return to host the show from Austin, Texas.

There are 16 nominees for the show's top prize, video of the year, a category that Carrie Underwood <a href="https://apnews.com/article/entertainment-anthony-mackie-kelsea-ballerini-nashville-tennessee-b8d1e13ad2888abd891dab8da439b620">holds the record</a> in with 25 awards. She's nominated again for her video “Hate My Heart” and will also perform.

The winners will be selected by fan voting, which is open now at <a href="http://vote.cmt.com">vote.cmt.com</a>.

Wynonna
 Judd earned two nominations in the CMT performance of the year 
category, one with her late mother Naomi for their last performance 
together on last year's CMT Music Awards and one for her performance of 
“The Rose” with Brandi Carlile during <a href="https://apnews.com/article/entertainment-music-country-nashville-28c4ce0f989a4ceb3276fac8a570c434">a memorial show</a> after <a href="https://apnews.com/article/naomi-judd-dead-29302bc273e57c174ea9ecbea606f668">Naomi Judd's death.</a>

This
 year, CMT is splitting their breakthrough video of the year award into 
separate male and female subcategories, which increases the total number
 of nominees.

NASHVILLE, Tenn. (AP) — Country singer Lainey Wilson is a fan favorite at this year’s <a href="https://www.cmt.com/cmt-music-awards">CMT Music Awards</a>, where she is the leading nominee including for “Video of the Year.”The
 “Heart Like a Truck” singer earned four nominations when nominees were 
announced Wednesday ahead of the April 2 show airing on CBS.Other
 leading nominees including Cody Johnson, CMT co-host Kane Brown and 
first-time nominee Jelly Roll, who all have three nominations each. 
Brown and Kelsea Ballerini return to host the show from Austin, Texas.There are 16 nominees for the show's top prize, video of the year, a category that Carrie Underwood <a href="https://apnews.com/article/entertainment-anthony-mackie-kelsea-ballerini-nashville-tennessee-b8d1e13ad2888abd891dab8da439b620">holds the record</a> in with 25 awards. She's nominated again for her video “Hate My Heart” and will also perform.The winners will be selected by fan voting, which is open now at <a href="http://vote.cmt.com">vote.cmt.com</a>.Wynonna
 Judd earned two nominations in the CMT performance of the year 
category, one with her late mother Naomi for their last performance 
together on last year's CMT Music Awards and one for her performance of 
“The Rose” with Brandi Carlile during <a href="https://apnews.com/article/entertainment-music-country-nashville-28c4ce0f989a4ceb3276fac8a570c434">a memorial show</a> after <a href="https://apnews.com/article/naomi-judd-dead-29302bc273e57c174ea9ecbea606f668">Naomi Judd's death.</a>This
 year, CMT is splitting their breakthrough video of the year award into 
separate male and female subcategories, which increases the total number
 of nominees.

Fan favorite Lainey Wilson leads CMT Music Awards nominees

NEW YORK — Hollywood is gearing up for the 95th Academy Awards, where <a href="https://apnews.com/article/2023-oscar-nominations-f10835dc948d9a1b5535e8da9aaab8fb">“Everything Everywhere All at Once” comes in the lead nominee</a> and the film industry will hope to move past “the slap” of <a href="https://apnews.com/article/2022-oscars-show-9a69424884de11649b68a12a284353a1">last year’s ceremony.</a> Here’s everything you need to know about <a href="https://www.oscars.org/oscars/ceremonies/2023">the 2023 Oscars,</a> including when they are, where to watch the live show and this year’s controversies.

The
 Oscars will be held Sunday, March 12, at the Dolby Theatre in Los 
Angeles. The ceremony is set to begin at 8 p.m. EST and be broadcast 
live on ABC.

The broadcast can be
 streamed with a subscription to Hulu Live TV, YouTubeTV, AT&amp;T TV 
and Fubo TV. Some of these services offer brief free trials. You can 
also stream the show on ABC.com and on the ABC app by authenticating 
your provider.

<a href="https://apnews.com/article/oscars-host-jimmy-kimmel-3147af73bf0e205152c6375f14067e3a">Jimmy Kimmel will host for the third time</a>
 and his first time since 2018. That was also the last Oscars to feature
 a solo host. The show went hostless for several years after Kimmel's 
last outing. Last year, Regina Hall, Amy Schumer and Wanda Sykes hosted 
as a trio. In <a href="https://www.youtube.com/watch?v=aGsXh_loS7k">an ad for this year’s show</a>
 styled after “Top Gun: Maverick,” Kimmel made his humble case for being
 the right person for the job while noting that he can’t get slapped 
because “I cry a lot.”

WHAT’S NOMINATED FOR BEST PICTURE AT THE 2023 OSCARS?

The
 10 movies competing for best picture are: “All Quiet on the Western 
Front,” “Avatar: The Way of Water,” “The Banshees of Inisherin,” 
“Elvis,” “Everything Everywhere All at Once,” “The Fabelmans,” “Tár,” 
“Top Gun: Maverick,” “Triangle of Sadness,” “Women Talking.” Here's <a href="https://apnews.com/article/how-to-watch-2023-oscar-nominations-movies-364aca2fdaa51eae34307c3b02446ae8">a guide to how you can watch them.</a>

The
 first announced round of presenters are: Riz Ahmed, Emily Blunt, Glenn 
Close, Jennifer Connelly, Ariana DeBose, Samuel L. Jackson, Dwayne 
Johnson, Michael B. Jordan, Troy Kotsur, Jonathan Majors, Melissa 
McCarthy, Janelle Monáe, Deepika Padukone, Questlove, Zoe Saldaña and 
Donnie Yen.

The Academy 
of Motion Pictures Arts and Sciences has said that winners to all 
categories will be announced live on the show. (Last year, some 
categories were taped in a pre-show, something that caused an uproar 
among academy members.) All signs point to a full slate of musical 
performances, with <a href="https://apnews.com/article/rihanna-oscars-2023-performance-lift-me-up-8f0080a8701ed56fd7f5995bb15995da">Rihanna performing “Lift Me Up”</a> from “Black Panther: Wakanda Forever” and Kala Bhairava singing M.M. Keeravaani's <a href="https://www.youtube.com/watch?v=OsU0CGZoV8E">“Naatu Naatu”</a>
 from “RRR." No official word yet on whether Lady Gaga will sing “Hold 
My Hand,” from “Top Gun: Maverick,” during the show. On Monday, show 
producers announced that Lenny Kravitz will deliver the “In Memoriam” 
performance.

Daniel Kwan and Daniel Scheinert’s <a href="https://apnews.com/article/michelle-yeoh-movie-92b9737f7ef574ea62dec51ba12516fd">indie sci-fi hit “Everything Everywhere All at Once”</a> comes in with a leading 11 nominations. Close on its heels, though, is the Irish friends-falling-out dark comedy <a href="https://apnews.com/article/entertainment-plays-martin-mcdonagh-colin-farrell-f5304b75bb64127e080e94e8736b8377">“The Banshees of Inisherin,”</a>
 with nine nods, a total matched by Netflix’s WWI film “All Quiet on the
 Western Front.” Michelle Yeoh (“Everything Everywhere All at Once”) may
 have a slight edge on <a href="https://apnews.com/article/entertainment-plays-martin-mcdonagh-colin-farrell-f5304b75bb64127e080e94e8736b8377">Cate Blanchett (“Tár”)</a> for best actress. Best actor is harder to call, with <a href="https://apnews.com/article/brendan-fraser-the-whale-darren-aronofsky-1b3e71f1022f11b26b764f238b421363">Brendan Fraser (“The Whale”)</a> and <a href="https://apnews.com/article/elvis-movie-review-b18e59c1b13c603e0fdd55adcea53f4d">Austin Butler (“Elvis”)</a> in the mix. In the supporting categories, Angela Bassett (“Black Panther: Wakanda Forever”) and <a href="https://apnews.com/article/ke-huy-quan-interview-everything-everywhere-spielberg-ab2601e87b405370853ce1ab12bf5dc2">Ke Huy Quan (“Everything Everywhere All at Once”)</a>
 are the frontrunners, though Jamie Lee Curtis' Screen Actors Guild 
Awards win may have thrown a wrench into the supporting actress 
category. Steven Spielberg (“The Fabelmans”) may win his third best 
director Oscar, though the Daniels may have emerged as the favorites.

Aside from the usual <a href="https://apnews.com/article/2023-oscar-nominations-snubs-d3108e53d062ee923d14f31c9de7c3ca">snubs and surprises,</a> this year’s biggest to-do has been <a href="https://apnews.com/article/oscars-andrea-riseborough-celebrity-austin-butler-tom-cruise-01ce502c5a987ee2603a56b3fb82e065">the debate surrounding Andrea Riseborough’s unexpected nomination for best actress.</a>
 Riseborough was nominated for the little-seen Texas-set drama “To 
Leslie” after many A-list stars rallied around her performance. When two
 other best-actress contenders — Danielle Deadwyler (“Till”) and Viola 
Davis (“Woman King”) — were snubbed, <a href="https://apnews.com/article/danielle-deadwyler-oscars-snub-12db71a080acf7a4bb3b1407f497e79e">some saw that as a reflection of racial bias in the film industry</a>. The academy launched an inquiry into the star-studded, grassroots campaign for Riseborough <a href="https://apnews.com/article/oscars-andrea-riseborough-best-actress-campaign-review-31573db31b522287339733ed9d2956f3">but found no reason to rescind her nomination.</a>

Just the reading of the title to <a href="https://apnews.com/article/my-year-of-dicks-oscars-b8a6cb7089a580da4dbae0b16571bb25">one of this year’s short film nominees</a> should prompt a wave of giggles. <a href="https://apnews.com/article/john-williams-indiana-jones-star-wars-music-af541b3979fd6c0ea624bb200c322f42">John Williams</a>
 (“The Fabelmans”), up for best score, is the oldest nominee ever, at 90
 years old. After historic back-to-back best-director wins by <a href="https://apnews.com/article/2021-oscars-best-director-chloe-zhao-539cda398d2dd5abcf7a92d87b685994">Chloé Zhao (“Nomadland”)</a> and <a href="https://apnews.com/article/2022-oscars-best-director-winner-744abe46744ceb4180ce6ffb4210453e">Jane Campion (“The Power of the Dog”)</a>,
 no women were nominated this year for best director. Also don’t expect 
to see Will Smith at the Oscars anytime soon. After striking Chris Rock 
at last year’s ceremony, Smith was <a href="https://apnews.com/article/will-smith-oscars-ban-664346ac2d2441939764f35be2d8026b">banned by the film academy from attending for 10 years</a>. In a live Netflix special on Saturday, <a href="https://apnews.com/article/chris-rock-netflix-oscars-slap-b13e372ea8f01bacb39da49fd1bd0415">Rock finally punched back at Smith with a blistering stand-up set</a> about the incident.

Associated PressNEW YORK — Hollywood is gearing up for the 95th Academy Awards, where <a href="https://apnews.com/article/2023-oscar-nominations-f10835dc948d9a1b5535e8da9aaab8fb">“Everything Everywhere All at Once” comes in the lead nominee</a> and the film industry will hope to move past “the slap” of <a href="https://apnews.com/article/2022-oscars-show-9a69424884de11649b68a12a284353a1">last year’s ceremony.</a> Here’s everything you need to know about <a href="https://www.oscars.org/oscars/ceremonies/2023">the 2023 Oscars,</a> including when they are, where to watch the live show and this year’s controversies.___WHEN ARE THE OSCARS?The
 Oscars will be held Sunday, March 12, at the Dolby Theatre in Los 
Angeles. The ceremony is set to begin at 8 p.m. EST and be broadcast 
live on ABC.CAN YOU STREAM THE OSCARS?The broadcast can be
 streamed with a subscription to Hulu Live TV, YouTubeTV, AT&amp;T TV 
and Fubo TV. Some of these services offer brief free trials. You can 
also stream the show on ABC.com and on the ABC app by authenticating 
your provider.WHO’S HOSTING?<a href="https://apnews.com/article/oscars-host-jimmy-kimmel-3147af73bf0e205152c6375f14067e3a">Jimmy Kimmel will host for the third time</a>
 and his first time since 2018. That was also the last Oscars to feature
 a solo host. The show went hostless for several years after Kimmel's 
last outing. Last year, Regina Hall, Amy Schumer and Wanda Sykes hosted 
as a trio. In <a href="https://www.youtube.com/watch?v=aGsXh_loS7k">an ad for this year’s show</a>
 styled after “Top Gun: Maverick,” Kimmel made his humble case for being
 the right person for the job while noting that he can’t get slapped 
because “I cry a lot.”WHAT’S NOMINATED FOR BEST PICTURE AT THE 2023 OSCARS?The
 10 movies competing for best picture are: “All Quiet on the Western 
Front,” “Avatar: The Way of Water,” “The Banshees of Inisherin,” 
“Elvis,” “Everything Everywhere All at Once,” “The Fabelmans,” “Tár,” 
“Top Gun: Maverick,” “Triangle of Sadness,” “Women Talking.” Here's <a href="https://apnews.com/article/how-to-watch-2023-oscar-nominations-movies-364aca2fdaa51eae34307c3b02446ae8">a guide to how you can watch them.</a>WHO'S PRESENTING?The
 first announced round of presenters are: Riz Ahmed, Emily Blunt, Glenn 
Close, Jennifer Connelly, Ariana DeBose, Samuel L. Jackson, Dwayne 
Johnson, Michael B. Jordan, Troy Kotsur, Jonathan Majors, Melissa 
McCarthy, Janelle Monáe, Deepika Padukone, Questlove, Zoe Saldaña and 
Donnie Yen.WHAT ELSE IS IN STORE FOR THE SHOW?The Academy 
of Motion Pictures Arts and Sciences has said that winners to all 
categories will be announced live on the show. (Last year, some 
categories were taped in a pre-show, something that caused an uproar 
among academy members.) All signs point to a full slate of musical 
performances, with <a href="https://apnews.com/article/rihanna-oscars-2023-performance-lift-me-up-8f0080a8701ed56fd7f5995bb15995da">Rihanna performing “Lift Me Up”</a> from “Black Panther: Wakanda Forever” and Kala Bhairava singing M.M. Keeravaani's <a href="https://www.youtube.com/watch?v=OsU0CGZoV8E">“Naatu Naatu”</a>
 from “RRR." No official word yet on whether Lady Gaga will sing “Hold 
My Hand,” from “Top Gun: Maverick,” during the show. On Monday, show 
producers announced that Lenny Kravitz will deliver the “In Memoriam” 
performance.WHO ARE THE FAVORITES?Daniel Kwan and Daniel Scheinert’s <a href="https://apnews.com/article/michelle-yeoh-movie-92b9737f7ef574ea62dec51ba12516fd">indie sci-fi hit “Everything Everywhere All at Once”</a> comes in with a leading 11 nominations. Close on its heels, though, is the Irish friends-falling-out dark comedy <a href="https://apnews.com/article/entertainment-plays-martin-mcdonagh-colin-farrell-f5304b75bb64127e080e94e8736b8377">“The Banshees of Inisherin,”</a>
 with nine nods, a total matched by Netflix’s WWI film “All Quiet on the
 Western Front.” Michelle Yeoh (“Everything Everywhere All at Once”) may
 have a slight edge on <a href="https://apnews.com/article/entertainment-plays-martin-mcdonagh-colin-farrell-f5304b75bb64127e080e94e8736b8377">Cate Blanchett (“Tár”)</a> for best actress. Best actor is harder to call, with <a href="https://apnews.com/article/brendan-fraser-the-whale-darren-aronofsky-1b3e71f1022f11b26b764f238b421363">Brendan Fraser (“The Whale”)</a> and <a href="https://apnews.com/article/elvis-movie-review-b18e59c1b13c603e0fdd55adcea53f4d">Austin Butler (“Elvis”)</a> in the mix. In the supporting categories, Angela Bassett (“Black Panther: Wakanda Forever”) and <a href="https://apnews.com/article/ke-huy-quan-interview-everything-everywhere-spielberg-ab2601e87b405370853ce1ab12bf5dc2">Ke Huy Quan (“Everything Everywhere All at Once”)</a>
 are the frontrunners, though Jamie Lee Curtis' Screen Actors Guild 
Awards win may have thrown a wrench into the supporting actress 
category. Steven Spielberg (“The Fabelmans”) may win his third best 
director Oscar, though the Daniels may have emerged as the favorites.WHAT’S BEEN CONTROVERSIAL THIS YEAR?Aside from the usual <a href="https://apnews.com/article/2023-oscar-nominations-snubs-d3108e53d062ee923d14f31c9de7c3ca">snubs and surprises,</a> this year’s biggest to-do has been <a href="https://apnews.com/article/oscars-andrea-riseborough-celebrity-austin-butler-tom-cruise-01ce502c5a987ee2603a56b3fb82e065">the debate surrounding Andrea Riseborough’s unexpected nomination for best actress.</a>
 Riseborough was nominated for the little-seen Texas-set drama “To 
Leslie” after many A-list stars rallied around her performance. When two
 other best-actress contenders — Danielle Deadwyler (“Till”) and Viola 
Davis (“Woman King”) — were snubbed, <a href="https://apnews.com/article/danielle-deadwyler-oscars-snub-12db71a080acf7a4bb3b1407f497e79e">some saw that as a reflection of racial bias in the film industry</a>. The academy launched an inquiry into the star-studded, grassroots campaign for Riseborough <a href="https://apnews.com/article/oscars-andrea-riseborough-best-actress-campaign-review-31573db31b522287339733ed9d2956f3">but found no reason to rescind her nomination.</a>WHAT ELSE SHOULD YOU LOOK FOR?Just the reading of the title to <a href="https://apnews.com/article/my-year-of-dicks-oscars-b8a6cb7089a580da4dbae0b16571bb25">one of this year’s short film nominees</a> should prompt a wave of giggles. <a href="https://apnews.com/article/john-williams-indiana-jones-star-wars-music-af541b3979fd6c0ea624bb200c322f42">John Williams</a>
 (“The Fabelmans”), up for best score, is the oldest nominee ever, at 90
 years old. After historic back-to-back best-director wins by <a href="https://apnews.com/article/2021-oscars-best-director-chloe-zhao-539cda398d2dd5abcf7a92d87b685994">Chloé Zhao (“Nomadland”)</a> and <a href="https://apnews.com/article/2022-oscars-best-director-winner-744abe46744ceb4180ce6ffb4210453e">Jane Campion (“The Power of the Dog”)</a>,
 no women were nominated this year for best director. Also don’t expect 
to see Will Smith at the Oscars anytime soon. After striking Chris Rock 
at last year’s ceremony, Smith was <a href="https://apnews.com/article/will-smith-oscars-ban-664346ac2d2441939764f35be2d8026b">banned by the film academy from attending for 10 years</a>. In a live Netflix special on Saturday, <a href="https://apnews.com/article/chris-rock-netflix-oscars-slap-b13e372ea8f01bacb39da49fd1bd0415">Rock finally punched back at Smith with a blistering stand-up set</a> about the incident.

Everything you need to know about the 2023 Academy Awards

BY NICK GOSNELL Hutch Post

HUTCHINSON — "HYPROV: Improv Under Hypnosis" is coming to the Fox in Hutchinson on Friday night.

The
 evening begins with hypnotist Asad Mecci welcoming 20 volunteers on 
stage to be hypnotized. The most receptive to hypnosis then join Colin 
Mochrie, improv comedian from TV's "Whose Line Is It Anyway?" to improvise 
the rest of the show, while hypnotized.

"It's a totally different 
experience," Mochrie said. "When I worked with the guys from Whose Line,
 even though we're making it up, I can usually tell what joke they are 
going to head for, what kind of ending they are going to head for in the
 scene. I don't have that with these people. They just immediately react
 to whatever is happening in the moment. They are all about the present,
 not about the future."

Friday's performance is the tour's only 
Kansas date and Mecci is excited about bringing the one of a kind style 
to the Sunflower State.

"How many more plays are you going to see?
 How many more musicals are you going to see?," Mecci said. "You will 
never, ever, and I guarantee this, see a show like Hyprov in your life, 
because it is completely unique. It is made up every single night. Our 
cast members are people from the audience, random volunteers from the 
audience who come up on stage, get hypnotized and then improvise with 
Colin Mochrie from Whose Line. It is like nothing you've ever seen 
before."

Being hypnotized is not the same for all who go under, but Mochrie and Mecci have ways of involving the subjects.

"We've
 tried to come up with games, that even the ones who may be under 
different types of hypnosis, sometimes they get very sluggish and their 
reactions are very slow," Mochrie said. "We've found ways that we can 
use everyone that ended up as part of the improv troupe, so everybody 
gets the chance to do something."

<a href="https://ci.ovationtix.com/35908/pr/1127661/pe/11102589?deepLink=true&amp;overlay=true">Tickets are still available and you can book online</a>.

<figure>
 <img src="https://media.eaglewebservices.com/public/2023/3/1678142383592.jpeg" alt="" />
 <figcaption></figcaption>
 </figure>BY NICK GOSNELL Hutch PostHUTCHINSON — "HYPROV: Improv Under Hypnosis" is coming to the Fox in Hutchinson on Friday night.The
 evening begins with hypnotist Asad Mecci welcoming 20 volunteers on 
stage to be hypnotized. The most receptive to hypnosis then join Colin 
Mochrie, improv comedian from TV's "Whose Line Is It Anyway?" to improvise 
the rest of the show, while hypnotized."It's a totally different 
experience," Mochrie said. "When I worked with the guys from Whose Line,
 even though we're making it up, I can usually tell what joke they are 
going to head for, what kind of ending they are going to head for in the
 scene. I don't have that with these people. They just immediately react
 to whatever is happening in the moment. They are all about the present,
 not about the future."Friday's performance is the tour's only 
Kansas date and Mecci is excited about bringing the one of a kind style 
to the Sunflower State."How many more plays are you going to see?
 How many more musicals are you going to see?," Mecci said. "You will 
never, ever, and I guarantee this, see a show like Hyprov in your life, 
because it is completely unique. It is made up every single night. Our 
cast members are people from the audience, random volunteers from the 
audience who come up on stage, get hypnotized and then improvise with 
Colin Mochrie from Whose Line. It is like nothing you've ever seen 
before."Being hypnotized is not the same for all who go under, but Mochrie and Mecci have ways of involving the subjects."We've
 tried to come up with games, that even the ones who may be under 
different types of hypnosis, sometimes they get very sluggish and their 
reactions are very slow," Mochrie said. "We've found ways that we can 
use everyone that ended up as part of the improv troupe, so everybody 
gets the chance to do something."<a href="https://ci.ovationtix.com/35908/pr/1127661/pe/11102589?deepLink=true&amp;overlay=true">Tickets are still available and you can book online</a>.

Colin Mochrie and hypnotist head ot Hutch for Kansas show

On this episode of Forward Ever: Leading in Challenging Times, host Gary Shorman speaks with Camber Children's Mental Health Hays executive director Sarah Berens.

<div><iframe width="560" height="315" src="https://www.youtube.com/embed/-EDJebsfoSA" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></div>On this episode of Forward Ever: Leading in Challenging Times, host Gary Shorman speaks with Camber Children's Mental Health Hays executive director Sarah Berens.

🎤 Forward Ever: Camber Hays executive director Sarah Berens

By LINDSEY BAHR AP Film Writer

Peyton Reed’s “Ant-Man” films have generally served as a kind of 
palate cleanser to the world-ending stakes of the larger Marvel 
Cinematic Universe. Paul Rudd’s Scott Lang is just an ordinary dude, or 
so they keep telling us, who still can’t really believe that he’s part 
of the Avengers at all. He gets to be the wide-eyed middle-aged fanboy 
of the group in those films. In his own films, he’s just living a 
blue-sky life in San Francisco as an affable single dad and ex-con who 
was once fired from Baskin Robbins and who has occasional enemies to 
defeat.

In this third film, “ <a href="https://www.youtube.com/watch?v=ZlNFpri-Y40">Ant-Man and The Wasp: Quantumania</a>,”
 in theaters Thursday, he’s coasting on his own post-Blip celebrity with
 a best-selling memoir out, lots of fans around town and a generally 
sunny disposition — when he’s not breaking his teenage daughter Cassie 
(now played by Kathryn Newton, always an enjoyable presence) out of jail
 for civil disobedience.

There is a fun, light, sitcom-y touch to 
these early scenes in which he and his makeshift family, Hope Van Dyne 
(Evangeline Lilly), Janet Van Dyne (Michelle Pfeiffer) and Hank Pym 
(Michael Douglas) sit around the table for takeout pizza. They use their
 particle technology to blow up the tiny pie.

“I just saved us $8,” Pym declares proudly.

But
 Ant-Man is part of the larger chess board of the MCU, so naturally he’s
 doomed to be sucked into the multiverse mess, setting up pieces for 
more Avengers films to come with the introduction of a new villain, Kang
 (played with a maniacal sorrow by the great Jonathan Majors). And the 
results are mixed. Reed has returned to direct with a new writer, Jeff 
Loveness, who has also been tapped to write “Avengers: The Kang Dynasty”
 and it’s hard not to empathize with both for the logic gymnastics 
required to back Ant-Man and his gang into this conflict.

Loveness,
 who cut his teeth in comedy and has an affinity for comic book and 
B-movie absurdities, gives Ant-Man his own “Star Wars”-adjacent 
adventure. There’s quite a bit of unrest in the Quantum Realm, with 
scrappy rebels battling against a powerful ruler with an army of 
faceless soldiers. But he takes that conceit further and gives the 
rebels some personality and humor, including William Jackson Harper as 
the mind-reading Quaz. The villain's a killing machine, M.O.D.O.K., that
 looks (knowingly) straight out of a “Mystery Science Theater 3000” 
movie and it is quite entertaining. It’s both a nod to the fun of the 
ridiculousness in sci-fi and a reminder that Serious Superhero Films are
 sometimes just one crazy special effect away from being Silly Superhero
 Films.

“Quantumania” also gives Pfeiffer a lot more to do as we, 
and Hank and Hope, learn a little bit more about Janet’s 30 years in the
 Quantum Realm and the various compromises and allegiances she made to 
stay alive. Pfeiffer is an unambiguous delight and the real center of 
the movie despite what the title might claim. Ant-Man just finds himself
 in the middle of the mess, which starts to drag on in a muddle of 
sci-fi furnishings that individually are probably quite inspired and 
interesting but together just blend into a dreary mess.

It’s a 
shame because Reed’s films are generally so crisp and styled and are 
best when focused on characters, not worlds and Quantum Realms. 
“Quantumania” shines when it is keeping things light and quippy.

But
 Kang, for what we can assume are bigger story needs, needs to be more 
serious. Majors is certainly chilling and captivating, but Kang seems 
like a mismatched foe for a standalone Ant-Man film and the result is a 
“Quantumania” that is trying to be too many things. One thing it is not 
is a Wasp movie, though. Lilly gets a lot to do but not a lot of — or 
any — character development.

“Quantumania” sticks the ending, 
however. Without giving anything away, we'll just say that Reed and Rudd
 get to return to their sweet spot, with a bit of a twist.

“Ant-Man
 and the Wasp: Quantumania,” a Walt Disney release in theaters Thursday,
 is rated PG-13 by the Motion Picture Association for “some sci-fi 
action violence.” Running time: 122 minutes. Two and a half stars out of
 four.

MPA Definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13.

By LINDSEY BAHR AP Film WriterPeyton Reed’s “Ant-Man” films have generally served as a kind of 
palate cleanser to the world-ending stakes of the larger Marvel 
Cinematic Universe. Paul Rudd’s Scott Lang is just an ordinary dude, or 
so they keep telling us, who still can’t really believe that he’s part 
of the Avengers at all. He gets to be the wide-eyed middle-aged fanboy 
of the group in those films. In his own films, he’s just living a 
blue-sky life in San Francisco as an affable single dad and ex-con who 
was once fired from Baskin Robbins and who has occasional enemies to 
defeat.In this third film, “ <a href="https://www.youtube.com/watch?v=ZlNFpri-Y40">Ant-Man and The Wasp: Quantumania</a>,”
 in theaters Thursday, he’s coasting on his own post-Blip celebrity with
 a best-selling memoir out, lots of fans around town and a generally 
sunny disposition — when he’s not breaking his teenage daughter Cassie 
(now played by Kathryn Newton, always an enjoyable presence) out of jail
 for civil disobedience.<figure>
 <img src="https://media.eaglewebservices.com/public/2022/11/1667933757340.png" alt="" />
 <figcaption></figcaption>
 </figure>There is a fun, light, sitcom-y touch to 
these early scenes in which he and his makeshift family, Hope Van Dyne 
(Evangeline Lilly), Janet Van Dyne (Michelle Pfeiffer) and Hank Pym 
(Michael Douglas) sit around the table for takeout pizza. They use their
 particle technology to blow up the tiny pie.“I just saved us $8,” Pym declares proudly.But
 Ant-Man is part of the larger chess board of the MCU, so naturally he’s
 doomed to be sucked into the multiverse mess, setting up pieces for 
more Avengers films to come with the introduction of a new villain, Kang
 (played with a maniacal sorrow by the great Jonathan Majors). And the 
results are mixed. Reed has returned to direct with a new writer, Jeff 
Loveness, who has also been tapped to write “Avengers: The Kang Dynasty”
 and it’s hard not to empathize with both for the logic gymnastics 
required to back Ant-Man and his gang into this conflict.Loveness,
 who cut his teeth in comedy and has an affinity for comic book and 
B-movie absurdities, gives Ant-Man his own “Star Wars”-adjacent 
adventure. There’s quite a bit of unrest in the Quantum Realm, with 
scrappy rebels battling against a powerful ruler with an army of 
faceless soldiers. But he takes that conceit further and gives the 
rebels some personality and humor, including William Jackson Harper as 
the mind-reading Quaz. The villain's a killing machine, M.O.D.O.K., that
 looks (knowingly) straight out of a “Mystery Science Theater 3000” 
movie and it is quite entertaining. It’s both a nod to the fun of the 
ridiculousness in sci-fi and a reminder that Serious Superhero Films are
 sometimes just one crazy special effect away from being Silly Superhero
 Films.“Quantumania” also gives Pfeiffer a lot more to do as we, 
and Hank and Hope, learn a little bit more about Janet’s 30 years in the
 Quantum Realm and the various compromises and allegiances she made to 
stay alive. Pfeiffer is an unambiguous delight and the real center of 
the movie despite what the title might claim. Ant-Man just finds himself
 in the middle of the mess, which starts to drag on in a muddle of 
sci-fi furnishings that individually are probably quite inspired and 
interesting but together just blend into a dreary mess.It’s a 
shame because Reed’s films are generally so crisp and styled and are 
best when focused on characters, not worlds and Quantum Realms. 
“Quantumania” shines when it is keeping things light and quippy.But
 Kang, for what we can assume are bigger story needs, needs to be more 
serious. Majors is certainly chilling and captivating, but Kang seems 
like a mismatched foe for a standalone Ant-Man film and the result is a 
“Quantumania” that is trying to be too many things. One thing it is not 
is a Wasp movie, though. Lilly gets a lot to do but not a lot of — or 
any — character development.“Quantumania” sticks the ending, 
however. Without giving anything away, we'll just say that Reed and Rudd
 get to return to their sweet spot, with a bit of a twist.“Ant-Man
 and the Wasp: Quantumania,” a Walt Disney release in theaters Thursday,
 is rated PG-13 by the Motion Picture Association for “some sci-fi 
action violence.” Running time: 122 minutes. Two and a half stars out of
 four.MPA Definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13.

Review: A Marvel villain comes into focus in ‘Ant-Man 3’

NEW YORK (AP) —&nbsp;<a href="https://apnews.com/hub/burt-bacharach">Burt Bacharach,</a>&nbsp;the singularly gifted and popular composer who delighted millions with the quirky arrangements and unforgettable melodies of "Walk on By," "Do You Know the Way to San Jose" and dozens of other hits, has died at 94.

The Grammy, Oscar and Tony-winning Bacharach died Wednesday at home in Los Angeles of natural causes, publicist Tina Brausam said Thursday.

Over the past 70 years, only Lennon-McCartney, Carole King and a handful of others rivaled his genius for instantly catchy songs that remained performed, played and hummed long after they were written. He had a run of top 10 hits from the 1950s&nbsp;<a href="https://apnews.com/article/entertainment-music-virus-outbreak-burt-bacharach-3c75337777bf897b635fbf518d200a13">into the 21st century,</a>&nbsp;and his music was heard everywhere from movie soundtracks and radios to home stereo systems and iPods, whether “Alfie” and “I Say a Little Prayer” or “I’ll Never Fall in Love Again” and “This Guy’s in Love with You.”

Dionne Warwick was his favorite interpreter, but Bacharach, usually in tandem with lyricist Hal David, also created prime material for Aretha Franklin, Dusty Springfield, Tom Jones and many others. Elvis Presley, the Beatles and Frank Sinatra were among the countless artists who covered his songs, with more recent performers who sung or sampled him including White Stripes, Twista and Ashanti. “Walk On By” alone was covered by everyone from Warwick and Isaac Hayes to the British punk band the Stranglers and Cyndi Lauper.

Bacharach was both an innovator and throwback, and his career seemed to run parallel to the rock era. He grew up on jazz and classical music and had little taste for rock when he was breaking into the business in the 1950s. His sensibility often seemed more aligned with Tin Pan Alley than with Bob Dylan, John Lennon and other writers who later emerged, but rock composers appreciated the depth of his seemingly old-fashioned sensibility.

“The shorthand version of him is that he’s something to do with easy listening,” Elvis Costello, who wrote the 1998 album “Painted from Memory” with Bacharach, said in a 2018 interview with The Associated Press. “It may be agreeable to listen to these songs, but there’s nothing easy about them. Try playing them. Try singing them.”

A box set, “The Songs of Bacharach &amp; Costello,” is due to come out March 3.

He triumphed in many artforms. He was an eight-time Grammy winner, a prize-winning&nbsp;<a href="https://apnews.com/article/entertainment-lifestyle-arts-and-entertainment-theater-music-3075cfa46c71a754a41d382b81a51c63">Broadway composer</a>&nbsp;for “Promises, Promises” and a three-time Oscar winner. He received two Academy Awards in 1970, for the score of “Butch Cassidy and the Sundance Kid” and for the song “Raindrops Keep Fallin’ on My Head” (shared with David). In 1982, he and his then-wife, lyricist Carole Bayer Sager, won for “Best That You Can Do,” the theme from “Arthur. His other movie soundtracks included “What’s New, Pussycat?”, “Alfie” and the 1967 James Bond spoof “Casino Royale.”

NEW YORK (AP) —&nbsp;<a href="https://apnews.com/hub/burt-bacharach">Burt Bacharach,</a>&nbsp;the singularly gifted and popular composer who delighted millions with the quirky arrangements and unforgettable melodies of "Walk on By," "Do You Know the Way to San Jose" and dozens of other hits, has died at 94.The Grammy, Oscar and Tony-winning Bacharach died Wednesday at home in Los Angeles of natural causes, publicist Tina Brausam said Thursday.Over the past 70 years, only Lennon-McCartney, Carole King and a handful of others rivaled his genius for instantly catchy songs that remained performed, played and hummed long after they were written. He had a run of top 10 hits from the 1950s&nbsp;<a href="https://apnews.com/article/entertainment-music-virus-outbreak-burt-bacharach-3c75337777bf897b635fbf518d200a13">into the 21st century,</a>&nbsp;and his music was heard everywhere from movie soundtracks and radios to home stereo systems and iPods, whether “Alfie” and “I Say a Little Prayer” or “I’ll Never Fall in Love Again” and “This Guy’s in Love with You.”Dionne Warwick was his favorite interpreter, but Bacharach, usually in tandem with lyricist Hal David, also created prime material for Aretha Franklin, Dusty Springfield, Tom Jones and many others. Elvis Presley, the Beatles and Frank Sinatra were among the countless artists who covered his songs, with more recent performers who sung or sampled him including White Stripes, Twista and Ashanti. “Walk On By” alone was covered by everyone from Warwick and Isaac Hayes to the British punk band the Stranglers and Cyndi Lauper.Bacharach was both an innovator and throwback, and his career seemed to run parallel to the rock era. He grew up on jazz and classical music and had little taste for rock when he was breaking into the business in the 1950s. His sensibility often seemed more aligned with Tin Pan Alley than with Bob Dylan, John Lennon and other writers who later emerged, but rock composers appreciated the depth of his seemingly old-fashioned sensibility.“The shorthand version of him is that he’s something to do with easy listening,” Elvis Costello, who wrote the 1998 album “Painted from Memory” with Bacharach, said in a 2018 interview with The Associated Press. “It may be agreeable to listen to these songs, but there’s nothing easy about them. Try playing them. Try singing them.”A box set, “The Songs of Bacharach &amp; Costello,” is due to come out March 3.He triumphed in many artforms. He was an eight-time Grammy winner, a prize-winning&nbsp;<a href="https://apnews.com/article/entertainment-lifestyle-arts-and-entertainment-theater-music-3075cfa46c71a754a41d382b81a51c63">Broadway composer</a>&nbsp;for “Promises, Promises” and a three-time Oscar winner. He received two Academy Awards in 1970, for the score of “Butch Cassidy and the Sundance Kid” and for the song “Raindrops Keep Fallin’ on My Head” (shared with David). In 1982, he and his then-wife, lyricist Carole Bayer Sager, won for “Best That You Can Do,” the theme from “Arthur. His other movie soundtracks included “What’s New, Pussycat?”, “Alfie” and the 1967 James Bond spoof “Casino Royale.”Bacharach was well rewarded, and well connected. He was a frequent guest at the White House, whether the president was Republican or Democrat. And in 2012, he was presented the Gershwin Prize by Barack Obama, who had sung a few seconds of “Walk on By” during a campaign appearance.In his life, and in his music, he stood apart. Fellow songwriter Sammy Cahn liked to joke that the smiling, wavy-haired Bacharach was the first composer he ever knew who didn’t look like a dentist. Bacharach was a “swinger,” as they called such men in his time, whose many romances included actor Angie Dickinson, to whom he was married from 1965-80, and Sager, his wife from 1982-1991.Married four times, he formed his most lasting ties to work. He was a perfectionist who took three weeks to write “Alfie” and might spend hours tweaking a single chord. Sager once observed that Bacharach’s life routines essentially stayed the same — only the wives changed.It began with the melodies — strong yet interspersed with changing rhythms and surprising harmonics. He credited much of his style to his love of bebop and to his classical education, especially under the tutelage of Darius Milhaud, the famed composer. He once played a piece for piano, violin and oboe for Milhaud that contained a melody he was ashamed to have written, as 12-point atonal music was in vogue at the time. Milhaud, who liked the piece, advised the young man, "Never be afraid of the melody.""That was a great affirmation for me," Bacharach recalled in 2004.Bacharach was essentially a pop composer, but his songs became hits for country artists (Marty Robbins), rhythm and blues performers (Chuck Jackson), soul (Franklin, Luther Vandross) and synth-pop (Naked Eyes). He reached a new generation of listeners in the 1990s with the help of Costello and others.Mike Myers would recall hearing the sultry “The Look of Love” on the radio and finding fast inspiration for his “Austin Powers” retro spy comedies, in which Bacharach made cameos.In the 21st century, he was still testing new ground, writing his own lyrics and recording with rapper Dr. Dre.He was married to his first wife, Paula Stewart, from 1953-58, and married for a fourth time, to Jane Hansen, in 1993. He is survived by Hansen, as well as his children Oliver, Raleigh and Cristopher, Brausam said. He was preceded in death by his daughter with Dickinson, Nikki Bacharach.Bacharach knew the very heights of acclaim, but he remembered himself as a loner growing up, a short and self-conscious boy so uncomfortable with being Jewish he even taunted other Jews. His favorite book as a kid was Ernest Hemingway’s “The Sun Also Rises”; he related to the sexually impotent Jake Barnes, regarding himself as “socially impotent.”He was born in Kansas City, Missouri, but soon moved to New York City. His father was a syndicated columnist, his mother a pianist who encouraged the boy to study music. Although he was more interested in sports, he practiced piano every day after school, not wanting to disappoint his mother. While still a minor, he would sneak into jazz clubs, bearing a fake ID, and hear such greats as Dizzy Gillespie and Count Basie.“They were just so incredibly exciting that all of a sudden, I got into music in a way I never had before,” he recalled in the memoir “Anyone Who Had a Heart,” published in 2013. “What I heard in those clubs turned my head around.”He was a poor student, but managed to gain a spot at the music conservatory at McGill University in Montreal. He wrote his first song at McGill and listened for months to Mel Torme’s “The Christmas Song.” Music also may have saved Bacharach’s life. He was drafted into the Army in the late 1940s and was still on active duty during the Korean War. But officers stateside soon learned of his gifts and wanted him around. When he did go overseas, it was to Germany, where he wrote orchestrations for a recreation center on the local military base.After his discharge, he returned to New York and tried to break into the music business. He had little success at first as a songwriter, but he became a popular arranger and accompanist, touring with Vic Damone, the Ames Brothers and Stewart, his eventual first wife. When a friend who had been touring with Marlene Dietrich was unable to make a show in Las Vegas, he asked Bacharach to step in.The young musician and ageless singer quickly clicked and Bacharach traveled the world with her in the late 1950s and early '60s. During each performance, she would introduce him in grand style: “I would like you to meet the man, he’s my arranger, he’s my accompanist, he’s my conductor, and I wish I could say he’s my composer. But that isn’t true. He’s everybody’s composer ... Burt Bacharach!”Meanwhile, he had met his ideal songwriter partner — David, as businesslike as Bacharach was mercurial, so domesticated that he would leave each night at 5 to catch the train back to his family on Long Island. Working in a tiny office in Broadway’s celebrated Brill Building, they produced their first million-seller, "Magic Moments," sung in 1958 by Perry Como. In 1962, they spotted a backup singer for the Drifters, Warwick, who had a “very special kind of grace and elegance,” Bacharach recalled.The trio produced hit after hit. The songs were as complicated to record as they were easy to hear. Bacharach liked to experiment with time signatures and arrangements, such as having two pianists play on “Walk on By,” their performances just slightly out of sync to give the song “a jagged kind of feeling,” he wrote in his memoir.The Bacharach-David partnership ended with the dismal failure of a 1973 musical remake of "Lost Horizon." Bacharach became so depressed he isolated himself in his Del Mar vacation home and refused to work."I didn't want to write with Hal or anybody," he told the AP in 2004. Nor did he want to fulfill a commitment to record Warwick. She and David both sued him.Bacharach and David eventually reconciled. When David died in 2012, Bacharach praised him for writing lyrics “like a miniature movie.”Meanwhile, Bacharach kept working, vowing never to retire, always believing that a good song could make a difference.“Music softens the heart, makes you feel something if it’s good, brings in emotion that you might not have felt before,” he told the AP in 2018. “It’s a very powerful thing if you’re able to do to it, if you have it in your heart to do something like that.”___