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

Singer/songwriter Lisa Brokop in her warm, rich voice and 
accompanying band will pay homage to one of country music’s greatest 
ladies, Patsy Cline, with many of her classic hits including “Sweet 
Dreams” and “Walkin’ After Midnight.”

This Golden Belt Community 
Concert featuring Brokop and the Patsy Cline Project is set for 7:30 
p.m. Sunday, Feb. 26, at the Great Bend Municipal Auditorium, Lakin and 
Stone. Doors open at 6:30 p.m.

Brokop created The Patsy Cline 
Project in 2016 as a collection of Cline’s well-known country and pop 
music hits of the 1950s and 1960s. She also will sing a couple of her 
own songs that she has composed in Cline’s well-known vocal style.

“I’ll
 be coming full circle with this project,” Brokop says, “When I started 
singing, I would sing some of Patsy’s songs because I didn’t have my 
own. They are still some of my favorites today and I am so excited to 
have the opportunity to honor this amazing lady and the incredible music
 she gave us.”

Program highlights will also include “I Fall to 
Pieces,” “Your Cheating Heart,” “Strange,” “Faded Love,” “Back in My 
Baby’s Arms,” and “Blue Moon Over Kentucky.”

This GBCCA event is 
open to association members. No single concert tickets are available. 
Anyone who is not a member and wishes to purchase a season membership 
may do so at this concert. Because the concert association encourages 
music education in the schools, full-time students of any age will be 
admitted to the concert for a $5 donation at the door.

Season 
memberships are $50 per adult; $10 for any full-time enrolled student; 
$110 for a Family Membership (two adults and all dependent children 
living in the same household); and $110 for a Grandparent Package (two 
adults and up to four minor grandchildren).

The GBCCA 2022-2023 
season will continue with Forever Simon and Garfunkel, March 14, and 
Beginnings, the ultimate Chicago Tribute Band, April 22.

For more 
information about GBCCA and to see video previews of the new season’s 
concerts, go to the website, www.goldenbeltcca.org, or call 
620-793-2748.

<figure>
 <img src="https://media.eaglewebservices.com/public/2023/2/1677018098017.jpeg" alt="Lisa Brokop will sing the music of Patsy Cline in the Golden Belt Community Concert presentation, The Patsy Cline Project, at 7:30 p.m. Feb. 26, at the Great Bend Municipal Auditorium, Lakin and Stone. The performance is open to GBCCA members. Memberships will be available for purchase at the concert." />
 <figcaption>Lisa Brokop will sing the music of Patsy Cline in the Golden Belt Community Concert presentation, The Patsy Cline Project, at 7:30 p.m. Feb. 26, at the Great Bend Municipal Auditorium, Lakin and Stone. The performance is open to GBCCA members. Memberships will be available for purchase at the concert.</figcaption>
 </figure>Courtesy Great Bend PostSinger/songwriter Lisa Brokop in her warm, rich voice and 
accompanying band will pay homage to one of country music’s greatest 
ladies, Patsy Cline, with many of her classic hits including “Sweet 
Dreams” and “Walkin’ After Midnight.”This Golden Belt Community 
Concert featuring Brokop and the Patsy Cline Project is set for 7:30 
p.m. Sunday, Feb. 26, at the Great Bend Municipal Auditorium, Lakin and 
Stone. Doors open at 6:30 p.m.Brokop created The Patsy Cline 
Project in 2016 as a collection of Cline’s well-known country and pop 
music hits of the 1950s and 1960s. She also will sing a couple of her 
own songs that she has composed in Cline’s well-known vocal style.“I’ll
 be coming full circle with this project,” Brokop says, “When I started 
singing, I would sing some of Patsy’s songs because I didn’t have my 
own. They are still some of my favorites today and I am so excited to 
have the opportunity to honor this amazing lady and the incredible music
 she gave us.”Program highlights will also include “I Fall to 
Pieces,” “Your Cheating Heart,” “Strange,” “Faded Love,” “Back in My 
Baby’s Arms,” and “Blue Moon Over Kentucky.”This GBCCA event is 
open to association members. No single concert tickets are available. 
Anyone who is not a member and wishes to purchase a season membership 
may do so at this concert. Because the concert association encourages 
music education in the schools, full-time students of any age will be 
admitted to the concert for a $5 donation at the door.Season 
memberships are $50 per adult; $10 for any full-time enrolled student; 
$110 for a Family Membership (two adults and all dependent children 
living in the same household); and $110 for a Grandparent Package (two 
adults and up to four minor grandchildren).The GBCCA 2022-2023 
season will continue with Forever Simon and Garfunkel, March 14, and 
Beginnings, the ultimate Chicago Tribute Band, April 22.For more 
information about GBCCA and to see video previews of the new season’s 
concerts, go to the website, www.goldenbeltcca.org, or call 
620-793-2748.

The Patsy Cline Project with Lisa Brokop in Great Bend

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.”

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.”

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.”___

Burt Bacharach, KC native, legendary composer of pop songs, dies

Disney
 is working on sequels for “Toy Story,” “Frozen” and “Zootopia,” three 
huge hits as the entertainment powerhouse attempts to find its footing 
under newly returned CEO Bob Iger.

The Walt Disney Co. is undergoing a <a href="https://apnews.com/article/walt-disney-co-bob-iger-earnings-business-28f75af4037890243412412f1c501682">“strategic transformation,”</a> Iger said on Wednesday. That includes 7,000 job cuts announced this week and a renewed focus on core brands and franchises.

Iger, who <a href="https://apnews.com/article/business-bob-iger-chapek-susan-arnold-81f76a4a34c1e902fbd639af843cf84a">returned as CEO</a>
 in November following a challenging two-year tenure by his handpicked 
successor, Bob Chapek, announced the plans for the new movies during 
Disney's first-quarter earnings call on Wednesday.

Disney owns Star Wars, Marvel and Pixar. Its latest Marvel movie, “Ant-Man and the Wasp: Quantumania,” opens on Feb. 17.

The
 Burbank, California, company said it wants to make sure that executives
 in charge of content creation have a prominent say in what movies, TV 
shows or other content to produce, as well as the marketing and 
distribution of those products.

“Toy Story” is a long-time movie 
franchise for Disney. The original film, which was the first 
computer-animated feature film and the debut feature release from Pixar 
Animation Studios, came out in 1995. It received a Special Achievement 
Academy Award in 1996, as there was no best animated feature film 
category at the time.

The most recent sequel, “Toy Story 4” released in 2019 and <a href="https://apnews.com/article/academy-awards-tim-allen-tom-hanks-randy-newman-movies-addec9fd40a18623a6d26dc26df94af2">won two animated film Oscars</a>
 in 2020, becoming the first franchise to accomplish that. Predecessor 
“Toy Story 3” won the best animated feature Academy Award in 2011.

A prequel film, called “Lightyear,” was in theaters last year.

The original “ <a href="https://apnews.com/article/bba4cf20d2ea42ed863288b7c7b69f2c">Frozen</a>
 ” film released in 2013 and won the Academy Award for best animated 
feature film in 2014. The sequel, “Frozen II,” was in theaters in 2019.

Disney made about <a href="https://apnews.com/article/entertainment-us-news-ap-top-news-canada-movies-1eef5653bdf27f2cb1a99b56ba18cfc5">$13 billion in worldwide box office</a> in 2019, helped by a strong slate of movies that included “Toy Story 4," “Frozen II,” “Avengers: Endgame” and others.

Unlike “Toy Story” and “Frozen,” “Zootopia" has yet to have a sequel. The original movie came out in 2016 and <a href="https://apnews.com/article/ede550a2b4aa688c004f9bbb49fe8759">won an Academy Award</a> for best animated film in 2017.

Associated PressDisney
 is working on sequels for “Toy Story,” “Frozen” and “Zootopia,” three 
huge hits as the entertainment powerhouse attempts to find its footing 
under newly returned CEO Bob Iger.The Walt Disney Co. is undergoing a <a href="https://apnews.com/article/walt-disney-co-bob-iger-earnings-business-28f75af4037890243412412f1c501682">“strategic transformation,”</a> Iger said on Wednesday. That includes 7,000 job cuts announced this week and a renewed focus on core brands and franchises.Iger, who <a href="https://apnews.com/article/business-bob-iger-chapek-susan-arnold-81f76a4a34c1e902fbd639af843cf84a">returned as CEO</a>
 in November following a challenging two-year tenure by his handpicked 
successor, Bob Chapek, announced the plans for the new movies during 
Disney's first-quarter earnings call on Wednesday.Disney owns Star Wars, Marvel and Pixar. Its latest Marvel movie, “Ant-Man and the Wasp: Quantumania,” opens on Feb. 17.The
 Burbank, California, company said it wants to make sure that executives
 in charge of content creation have a prominent say in what movies, TV 
shows or other content to produce, as well as the marketing and 
distribution of those products.“Toy Story” is a long-time movie 
franchise for Disney. The original film, which was the first 
computer-animated feature film and the debut feature release from Pixar 
Animation Studios, came out in 1995. It received a Special Achievement 
Academy Award in 1996, as there was no best animated feature film 
category at the time.The most recent sequel, “Toy Story 4” released in 2019 and <a href="https://apnews.com/article/academy-awards-tim-allen-tom-hanks-randy-newman-movies-addec9fd40a18623a6d26dc26df94af2">won two animated film Oscars</a>
 in 2020, becoming the first franchise to accomplish that. Predecessor 
“Toy Story 3” won the best animated feature Academy Award in 2011.A prequel film, called “Lightyear,” was in theaters last year.The original “ <a href="https://apnews.com/article/bba4cf20d2ea42ed863288b7c7b69f2c">Frozen</a>
 ” film released in 2013 and won the Academy Award for best animated 
feature film in 2014. The sequel, “Frozen II,” was in theaters in 2019.Disney made about <a href="https://apnews.com/article/entertainment-us-news-ap-top-news-canada-movies-1eef5653bdf27f2cb1a99b56ba18cfc5">$13 billion in worldwide box office</a> in 2019, helped by a strong slate of movies that included “Toy Story 4," “Frozen II,” “Avengers: Endgame” and others.Unlike “Toy Story” and “Frozen,” “Zootopia" has yet to have a sequel. The original movie came out in 2016 and <a href="https://apnews.com/article/ede550a2b4aa688c004f9bbb49fe8759">won an Academy Award</a> for best animated film in 2017.

New 'Toy Story,' 'Frozen,' 'Zootopia' movies on tap

NEW YORK (AP) — A bevy of booze brands will be in the Super Bowl ad lineup this year, now that Anheuser-Busch has <a href="https://apnews.com/article/kansas-city-chiefs-philadelphia-eagles-super-bowl-sports-fox-corp-5d9922047c7fb640ddbf8caf5100ece2">ended its exclusive advertising sponsorship</a> after more than 30 years.

In addition to <a href="https://apnews.com/article/kansas-city-chiefs-buffalo-bills-philadelphia-eagles-nfl-super-bowl-221469a7596a194eefe5f56e539ed8ed">celebrities</a>
 hawking Budweiser and Michelob Ultra, viewers will see some famous 
folks touting the qualities of Heineken and Coors, and even suggesting 
they drink cognac or whiskey — responsibly, of course.

Anheuser-Busch,
 parent of the Bud, Ultra and Busch beer brands, said in June it would 
end the exclusivity deal it first struck in 1989. The company is still a
 big presence at NFL games, sponsoring all major NFL moments during the 
offseason, such as the 2022 NFL Draft in Las Vegas.

And the St. 
Louis, Missouri beverage giant is still the largest alcohol advertiser 
during the game, with three minutes of national airtime and a 30-second 
regional Budweiser spot.

On A-B's roster this year: A <a href="https://www.youtube.com/watch?v=azCNwGnxq0s">Bud Light ad</a> shows actor Miles Teller and his wife Keleigh dancing to on-hold music. A regional <a href="https://www.youtube.com/watch?v=dChVB7iKSg8">Budweiser ad</a> focuses on people connecting with a six-pack. A <a href="https://www.youtube.com/watch?v=iDGwwVki13Q">Michelob Ultra ad</a>
 spotlights actor Brian Cox and tennis star Serena Williams at a new 
members day at the Bushwood Country Club, the golf club in “Caddyshack.”
 And a <a href="https://www.youtube.com/watch?v=cGZRMC3S9Ic">Busch Light ad</a> shows singer Sarah McLachlan sharing a tent with a wolf spoofing her well-known animal-advocacy ad.

The
 other alcohol brands running ads include beer brands Heineken and 
Molson Coors and liquor brands Remy Martin and Crown Royal, all eager to
 make their mark on advertising's largest stage.

Brands pay premium dollars to advertise during the gridiron classic, which draws about 100 million viewers each year. <a href="https://apnews.com/article/kansas-city-chiefs-philadelphia-eagles-super-bowl-sports-fox-corp-5d9922047c7fb640ddbf8caf5100ece2">This year, most 30-second ad blocks sold for between $6 million and $7 million</a> — for the ad space alone. Companies spend millions more to create the ads themselves and book celebrity sponsors.

Heineken
 is promoting its alcohol-free beer Heineken 0.0 with an ad that's part 
of its larger partnership with Marvel — the ad, under wraps until the 
game, will feature actor Paul Rudd as his Marvel character “Ant Man.”

“We
 were really excited to hear that category opened up, and almost 
immediately we thought, you know, what a great way to really blow out 
Heineken 0.0 momentum and share that brand and that product with the 
wider market,” said Heineken chief marketing officer Jonnie Cahill in an
 interview with the AP.

Beer sales have held steady in the U.S., 
but the beer category has been losing market share to other types of 
alcoholic drinks, said Bart Watson, chief economist for trade group 
Brewers Association.

Beer's share in the alcohol market had 
dropped from 58% in 2000 to about 46% in 2022, while other alcoholic 
beverages, particularly spirits, have gained share. But overall beer 
barrel shipments are still up during the same time frame because the 
overall category has grown, according to figures tallied by the Beer 
Institute and Brewers Association.

For Anheuser-Busch, the 
decision to end its Super Bowl exclusivity is likely about putting 
marketing dollars elsewhere, Watson said.

“You have a new 
generation that consumes alcohol differently and beer differently. (For 
A-B), to put all their eggs in this basket isn’t getting the return that
 maybe it once did.”

Molson Coors is also keeping its ad for the 
big game under wraps. But it is attempting to make a splash as a 
first-time national advertiser by letting fans bet on what the ad will 
have in it — such as whether the game will feature its Coors Light or 
Miller Lite brand — via betting site DraftKings.

Other alcohol ads
 have enlisted celebrities: Diageo's ad for its Crown Royal whisky will 
feature musician Dave Grohl. Rémy Cointreau is also using Serena 
Williams, in an ad that spotlights its Rémy Martin cognac.

Not all alcohol makers are jumping to the national stage. Boston Beer Co. is <a href="https://www.youtube.com/watch?v=yDo0wX1pK4c">sticking to a regional spot</a>
 for its Samuel Adams beer — the third year it has run a regional ad. 
The ad shows Bostonians imagining what would happen if everyone in the 
city was nice and polite.

“Samuel Adams is a relatively small 
player in the beer category, so a regional approach enables us to be 
part of the Super Bowl conversation without having to pay the huge price
 tag of a national ad," said Lesya Lysyj, chief marketing officer. A cut
 of the ad will run nationally beginning the week after the Super Bowl, 
she added.

Aside from alcohol, big brands including Pepsi Zero 
Sugar, Doritos, M&amp;Ms, Google, Downy and Kia will all be advertising 
during Super Bowl LVII, which airs Sunday on Fox.

NEW YORK (AP) — A bevy of booze brands will be in the Super Bowl ad lineup this year, now that Anheuser-Busch has <a href="https://apnews.com/article/kansas-city-chiefs-philadelphia-eagles-super-bowl-sports-fox-corp-5d9922047c7fb640ddbf8caf5100ece2">ended its exclusive advertising sponsorship</a> after more than 30 years.In addition to <a href="https://apnews.com/article/kansas-city-chiefs-buffalo-bills-philadelphia-eagles-nfl-super-bowl-221469a7596a194eefe5f56e539ed8ed">celebrities</a>
 hawking Budweiser and Michelob Ultra, viewers will see some famous 
folks touting the qualities of Heineken and Coors, and even suggesting 
they drink cognac or whiskey — responsibly, of course.Anheuser-Busch,
 parent of the Bud, Ultra and Busch beer brands, said in June it would 
end the exclusivity deal it first struck in 1989. The company is still a
 big presence at NFL games, sponsoring all major NFL moments during the 
offseason, such as the 2022 NFL Draft in Las Vegas.And the St. 
Louis, Missouri beverage giant is still the largest alcohol advertiser 
during the game, with three minutes of national airtime and a 30-second 
regional Budweiser spot.On A-B's roster this year: A <a href="https://www.youtube.com/watch?v=azCNwGnxq0s">Bud Light ad</a> shows actor Miles Teller and his wife Keleigh dancing to on-hold music. A regional <a href="https://www.youtube.com/watch?v=dChVB7iKSg8">Budweiser ad</a> focuses on people connecting with a six-pack. A <a href="https://www.youtube.com/watch?v=iDGwwVki13Q">Michelob Ultra ad</a>
 spotlights actor Brian Cox and tennis star Serena Williams at a new 
members day at the Bushwood Country Club, the golf club in “Caddyshack.”
 And a <a href="https://www.youtube.com/watch?v=cGZRMC3S9Ic">Busch Light ad</a> shows singer Sarah McLachlan sharing a tent with a wolf spoofing her well-known animal-advocacy ad.The
 other alcohol brands running ads include beer brands Heineken and 
Molson Coors and liquor brands Remy Martin and Crown Royal, all eager to
 make their mark on advertising's largest stage.Brands pay premium dollars to advertise during the gridiron classic, which draws about 100 million viewers each year. <a href="https://apnews.com/article/kansas-city-chiefs-philadelphia-eagles-super-bowl-sports-fox-corp-5d9922047c7fb640ddbf8caf5100ece2">This year, most 30-second ad blocks sold for between $6 million and $7 million</a> — for the ad space alone. Companies spend millions more to create the ads themselves and book celebrity sponsors.Heineken
 is promoting its alcohol-free beer Heineken 0.0 with an ad that's part 
of its larger partnership with Marvel — the ad, under wraps until the 
game, will feature actor Paul Rudd as his Marvel character “Ant Man.”“We
 were really excited to hear that category opened up, and almost 
immediately we thought, you know, what a great way to really blow out 
Heineken 0.0 momentum and share that brand and that product with the 
wider market,” said Heineken chief marketing officer Jonnie Cahill in an
 interview with the AP.Beer sales have held steady in the U.S., 
but the beer category has been losing market share to other types of 
alcoholic drinks, said Bart Watson, chief economist for trade group 
Brewers Association.Beer's share in the alcohol market had 
dropped from 58% in 2000 to about 46% in 2022, while other alcoholic 
beverages, particularly spirits, have gained share. But overall beer 
barrel shipments are still up during the same time frame because the 
overall category has grown, according to figures tallied by the Beer 
Institute and Brewers Association.For Anheuser-Busch, the 
decision to end its Super Bowl exclusivity is likely about putting 
marketing dollars elsewhere, Watson said.“You have a new 
generation that consumes alcohol differently and beer differently. (For 
A-B), to put all their eggs in this basket isn’t getting the return that
 maybe it once did.”Molson Coors is also keeping its ad for the 
big game under wraps. But it is attempting to make a splash as a 
first-time national advertiser by letting fans bet on what the ad will 
have in it — such as whether the game will feature its Coors Light or 
Miller Lite brand — via betting site DraftKings.Other alcohol ads
 have enlisted celebrities: Diageo's ad for its Crown Royal whisky will 
feature musician Dave Grohl. Rémy Cointreau is also using Serena 
Williams, in an ad that spotlights its Rémy Martin cognac.Not all alcohol makers are jumping to the national stage. Boston Beer Co. is <a href="https://www.youtube.com/watch?v=yDo0wX1pK4c">sticking to a regional spot</a>
 for its Samuel Adams beer — the third year it has run a regional ad. 
The ad shows Bostonians imagining what would happen if everyone in the 
city was nice and polite.“Samuel Adams is a relatively small 
player in the beer category, so a regional approach enables us to be 
part of the Super Bowl conversation without having to pay the huge price
 tag of a national ad," said Lesya Lysyj, chief marketing officer. A cut
 of the ad will run nationally beginning the week after the Super Bowl, 
she added.Aside from alcohol, big brands including Pepsi Zero 
Sugar, Doritos, M&amp;Ms, Google, Downy and Kia will all be advertising 
during Super Bowl LVII, which airs Sunday on Fox.Cover image courtesy Pixabay

Here's why this year's Super Bowl beer ads go beyond Bud

On this episode of Forward Ever: Leading in Challenging Times host Gary Shorman speaks with I Love My Librarian Award winner, Tara Coleman.

<div><iframe width="560" height="315" src="https://www.youtube.com/embed/B6rTu-D93Pc" 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 I Love My Librarian Award winner, Tara Coleman.

🎤 Forward Ever: I Love My Librarian Award winner, KSU's Tara Coleman

By PETER A. JOY <a href="https://theconversation.com/what-is-involuntary-manslaughter-a-law-professor-explains-the-charge-facing-alec-baldwin-for-rust-shooting-death-198218">The Conversation</a>

A prosecutor in New Mexico <a href="https://www.nytimes.com/2023/01/19/arts/rust-shooting-charges-alec-baldwin.html">intends to charge Alec Baldwin</a> with two counts of involuntary manslaughter it was announced on Jan. 19, 2023, over the <a href="https://www.nytimes.com/2021/10/21/us/alec-baldwin-shooting-rust-movie.html">deadly shooting</a>
 on the set of the film “Rust” in 2021. The shooting occurred while 
Baldwin was rehearsing a scene with a gun that had been loaded with live
 ammunition instead of blanks. The prosecutor also intends to charge 
Hannah Gutierrez-Reed, the <a href="https://www.careersinfilm.com/armorer/">armorer</a> responsible for <a href="https://www.nbcnews.com/news/us-news/after-rust-shooting-industry-veterans-say-buck-stops-armorers-movie-n1282743">overseeing the safety of firearms</a> on the set, with two counts of involuntary manslaughter as well.

As a <a href="https://scholar.google.com/citations?user=X8tNfOsAAAAJ&amp;hl=en&amp;oi=ao">professor of law</a>,
 my job is to understand the nuance of the U.S. legal system. 
Involuntary manslaughter occurs when a person unintentionally, but still
 unlawfully, kills another person. And a prosecutor will need to show 
the unlawful nature of either Baldwin’s or Gutierrez-Reed’s actions to 
get a conviction in this case.

To convict someone of involuntary manslaughter, a prosecutor has to prove that the defendant <a href="https://www.findlaw.com/criminal/criminal-charges/involuntary-manslaughter-overview.html">acted either recklessly or with criminal negligence</a>.

To prove someone acted recklessly, a prosecutor has to show that the 
defendant was aware of the risk they were creating with their actions – 
like a drunk driver crashing into a car and <a href="https://www.ksdk.com/article/news/crime/driver-convicted-involuntary-manslaughter-killed-baby-2-parents-jefferson-co/63-e9d29793-5187-446e-9067-96e8f29e0806">killing a baby and her parents</a>.
 In contrast, the charge of criminal negligence is filed when a 
defendant is not aware of the risk, but a reasonable person in the 
position of the defendant would have been aware of the risk. For 
example, if someone rents out an apartment without smoke detectors and 
there is a fire that kills the occupants, the owner of the apartment 
could be charged with involuntary manslaughter.

The question for a potential jury is whether Baldwin was guilty of 
either reckless or criminally negligent actions that resulted in the 
death of <a href="https://www.msn.com/en-us/news/world/halyna-hutchins-in-her-own-words/ar-AA16wWuh">Halyna Hutchins</a>, the cinematographer on the “Rust” set.

The prosecutor is alleging that <a href="https://www.nytimes.com/2023/01/19/arts/rust-shooting-charges-alec-baldwin.html?">Baldwin had a duty</a>
 to ensure that the gun and the ammunition he used were properly checked
 and that without doing that check himself, Baldwin should never have 
pointed the gun at anyone. Although that is what the prosecutor is 
claiming, a complicating factor is that there was another person, an 
on-set safety person responsible for the weapons and ammunition.

To convict Baldwin of manslaughter – assuming the case goes to trial –
 the prosecutor will have to convince a jury of two things. First, that 
Baldwin could not reasonably rely on Gutierrez-Reed to do her job and 
ensure that the gun did not have any live ammunition in it. And second, 
that Baldwin acted recklessly, or at least with criminal negligence, by 
not checking the gun and the ammunition himself before pointing the gun 
at the person he killed.

By PETER A. JOY <a href="https://theconversation.com/what-is-involuntary-manslaughter-a-law-professor-explains-the-charge-facing-alec-baldwin-for-rust-shooting-death-198218">The Conversation</a>A prosecutor in New Mexico <a href="https://www.nytimes.com/2023/01/19/arts/rust-shooting-charges-alec-baldwin.html">intends to charge Alec Baldwin</a> with two counts of involuntary manslaughter it was announced on Jan. 19, 2023, over the <a href="https://www.nytimes.com/2021/10/21/us/alec-baldwin-shooting-rust-movie.html">deadly shooting</a>
 on the set of the film “Rust” in 2021. The shooting occurred while 
Baldwin was rehearsing a scene with a gun that had been loaded with live
 ammunition instead of blanks. The prosecutor also intends to charge 
Hannah Gutierrez-Reed, the <a href="https://www.careersinfilm.com/armorer/">armorer</a> responsible for <a href="https://www.nbcnews.com/news/us-news/after-rust-shooting-industry-veterans-say-buck-stops-armorers-movie-n1282743">overseeing the safety of firearms</a> on the set, with two counts of involuntary manslaughter as well. As a <a href="https://scholar.google.com/citations?user=X8tNfOsAAAAJ&amp;hl=en&amp;oi=ao">professor of law</a>,
 my job is to understand the nuance of the U.S. legal system. 
Involuntary manslaughter occurs when a person unintentionally, but still
 unlawfully, kills another person. And a prosecutor will need to show 
the unlawful nature of either Baldwin’s or Gutierrez-Reed’s actions to 
get a conviction in this case.<figure>
 <img src="https://media.eaglewebservices.com/public/2023/1/1674247011938.jpg" alt="Baldwin thought the gun was loaded with blanks, ammunition that contains powder but not a bullet. Image courtesy of Pixabay" />
 <figcaption>Baldwin thought the gun was loaded with blanks, ammunition that contains powder but not a bullet. Image courtesy of Pixabay</figcaption>
 </figure><h2>A reckless or negligent accident</h2>To convict someone of involuntary manslaughter, a prosecutor has to prove that the defendant <a href="https://www.findlaw.com/criminal/criminal-charges/involuntary-manslaughter-overview.html">acted either recklessly or with criminal negligence</a>.To prove someone acted recklessly, a prosecutor has to show that the 
defendant was aware of the risk they were creating with their actions – 
like a drunk driver crashing into a car and <a href="https://www.ksdk.com/article/news/crime/driver-convicted-involuntary-manslaughter-killed-baby-2-parents-jefferson-co/63-e9d29793-5187-446e-9067-96e8f29e0806">killing a baby and her parents</a>.
 In contrast, the charge of criminal negligence is filed when a 
defendant is not aware of the risk, but a reasonable person in the 
position of the defendant would have been aware of the risk. For 
example, if someone rents out an apartment without smoke detectors and 
there is a fire that kills the occupants, the owner of the apartment 
could be charged with involuntary manslaughter.The question for a potential jury is whether Baldwin was guilty of 
either reckless or criminally negligent actions that resulted in the 
death of <a href="https://www.msn.com/en-us/news/world/halyna-hutchins-in-her-own-words/ar-AA16wWuh">Halyna Hutchins</a>, the cinematographer on the “Rust” set. The prosecutor is alleging that <a href="https://www.nytimes.com/2023/01/19/arts/rust-shooting-charges-alec-baldwin.html?">Baldwin had a duty</a>
 to ensure that the gun and the ammunition he used were properly checked
 and that without doing that check himself, Baldwin should never have 
pointed the gun at anyone. Although that is what the prosecutor is 
claiming, a complicating factor is that there was another person, an 
on-set safety person responsible for the weapons and ammunition. To convict Baldwin of manslaughter – assuming the case goes to trial –
 the prosecutor will have to convince a jury of two things. First, that 
Baldwin could not reasonably rely on Gutierrez-Reed to do her job and 
ensure that the gun did not have any live ammunition in it. And second, 
that Baldwin acted recklessly, or at least with criminal negligence, by 
not checking the gun and the ammunition himself before pointing the gun 
at the person he killed.

Law professor explains the charge facing Baldwin for shooting death

NEW YORK (AP) — Snoop Dogg, Gloria Estefan, Sade, Jeff Lynne, Glen 
Ballard, Teddy Riley and Liz Rose have been chosen to join the <a href="https://www.songhall.org/">Songwriters Hall of Fame,</a>
 a class that includes the writers of such varied hits as “Man In the 
Mirror,” “Drop It Like It’s Hot” and “Rhythm Is Gonna Get You.”

The seven songwriters from the class of 2023 will be inducted at a gala June 15 at the Marriott Marquis Hotel in New York City.

Snoop
 Dogg, whose hits include “Drop It Like It’s Hot” and "Gin &amp; Juice,"
 will be joining such rappers as Missy Elliott and Jay-Z in the hall. 
Estefan is credited for popularizing Latin rhythms with such crossover 
smashes as “Rhythm Is Gonna Get You” and “Let’s Get Loud.”

The 
inductees include soul-jazz vocalist Sade, whose 1980s soft rock hits 
include “Smooth Operator” and “The Sweetest Taboo,” and Lynne, of ELO, 
who penned “Mr. Blue Sky” and “Evil Woman.”

“I’m very excited about this honor. Songwriting has always been my passion. This means so much to me,” Lynne tweeted Wednesday.

Ballard
 helped write Alanis Morissette’s monster 1995 album “Jagged Little 
Pill” and was involved in the recording and writing of several Michael 
Jackson albums, including “Thriller,” “Bad” and “Dangerous.”

Riley,
 the singer, songwriter and producer, is credited with creating New Jack
 Swing and its top anthems like Bobby Brown’s “My Prerogative” and Keith
 Sweat’s “I Want Her.” Rose co-wrote many songs with Taylor Swift, 
including “You Belong with Me,” “Teardrops on My Guitar” and “White 
Horse.”

The 2023 class "represents not just iconic songs but also 
diversity and unity across genres, ethnicity and gender, songwriters who
 have enriched our lives and, in their time, literally transformed music
 and the lives of billions of listeners all over the world,” said Nile 
Rogers, the hall's chair.

Eligible voting members late last year 
turned in ballots with their choices of three nominees from the 
songwriter category and three from the performing-songwriter category.

Some
 of the 2023 nominees who will have to wait include The Doobie Brothers,
 R.E.M., Heart, Blondie, Bryan Adams, Patti Smith and Steve Winwood.

The
 Songwriters Hall of Fame was established in 1969 to honor those 
creating the popular music. A songwriter with a notable catalog of songs
 qualifies for induction 20 years after the first commercial release of a
 song.

Some already in the hall include Carole King, Paul Simon, 
Billy Joel, Jon Bon Jovi and Richie Sambora, Elton John and Bernie 
Taupin, Brian Wilson, James Taylor, Bruce Springsteen, Tom Petty, Lionel
 Richie, Bill Withers, Neil Diamond, and Phil Collins.

NEW YORK (AP) — Snoop Dogg, Gloria Estefan, Sade, Jeff Lynne, Glen 
Ballard, Teddy Riley and Liz Rose have been chosen to join the <a href="https://www.songhall.org/">Songwriters Hall of Fame,</a>
 a class that includes the writers of such varied hits as “Man In the 
Mirror,” “Drop It Like It’s Hot” and “Rhythm Is Gonna Get You.”The seven songwriters from the class of 2023 will be inducted at a gala June 15 at the Marriott Marquis Hotel in New York City.Snoop
 Dogg, whose hits include “Drop It Like It’s Hot” and "Gin &amp; Juice,"
 will be joining such rappers as Missy Elliott and Jay-Z in the hall. 
Estefan is credited for popularizing Latin rhythms with such crossover 
smashes as “Rhythm Is Gonna Get You” and “Let’s Get Loud.”The 
inductees include soul-jazz vocalist Sade, whose 1980s soft rock hits 
include “Smooth Operator” and “The Sweetest Taboo,” and Lynne, of ELO, 
who penned “Mr. Blue Sky” and “Evil Woman.”“I’m very excited about this honor. Songwriting has always been my passion. This means so much to me,” Lynne tweeted Wednesday.Ballard
 helped write Alanis Morissette’s monster 1995 album “Jagged Little 
Pill” and was involved in the recording and writing of several Michael 
Jackson albums, including “Thriller,” “Bad” and “Dangerous.”Riley,
 the singer, songwriter and producer, is credited with creating New Jack
 Swing and its top anthems like Bobby Brown’s “My Prerogative” and Keith
 Sweat’s “I Want Her.” Rose co-wrote many songs with Taylor Swift, 
including “You Belong with Me,” “Teardrops on My Guitar” and “White 
Horse.”The 2023 class "represents not just iconic songs but also 
diversity and unity across genres, ethnicity and gender, songwriters who
 have enriched our lives and, in their time, literally transformed music
 and the lives of billions of listeners all over the world,” said Nile 
Rogers, the hall's chair.Eligible voting members late last year 
turned in ballots with their choices of three nominees from the 
songwriter category and three from the performing-songwriter category.Some
 of the 2023 nominees who will have to wait include The Doobie Brothers,
 R.E.M., Heart, Blondie, Bryan Adams, Patti Smith and Steve Winwood.The
 Songwriters Hall of Fame was established in 1969 to honor those 
creating the popular music. A songwriter with a notable catalog of songs
 qualifies for induction 20 years after the first commercial release of a
 song.Some already in the hall include Carole King, Paul Simon, 
Billy Joel, Jon Bon Jovi and Richie Sambora, Elton John and Bernie 
Taupin, Brian Wilson, James Taylor, Bruce Springsteen, Tom Petty, Lionel
 Richie, Bill Withers, Neil Diamond, and Phil Collins.

Snoop, Gloria Estefan, Sade make it to Songwriters Hall

NEW
 YORK (AP) — Madonna will “Take a Bow” with a new tour through North 
America and Europe starting this summer that will be a “Celebration” of 
the pop icon's hits, which include 38 songs in the Billboard Hot 100.

The
 35-city Live Nation-backed "Madonna: The Celebration Tour" will kick 
off July 15 at Rogers Arena in Vancouver, British Columbia, with stops 
in Detroit, Chicago, New York, Miami, Los Angeles, Denver, Atlanta and 
Boston, among others. That leg ends on Oct. 7 in Las Vegas.

Then 
the Material Girl hits Europe, where she has 11 dates throughout the 
fall, including London, Barcelona, Paris, Berlin, Milan and Stockholm, 
among others. The tour will wrap in Amsterdam on Dec. 1.

The 
singer will “be highlighting her unmatched catalog of music from the 
past 40-plus years,” according to the announcement. It will also “pay 
respect to the city of New York, where her career in music began.”

“I
 am excited to explore as many songs as possible in hopes to give my 
fans the show they have been waiting for,” Madonna says in the 
announcement.

<a href="https://www.madonna.com/tour">Tickets go on sale starting Friday, Jan. 20.</a>

Some
 of Madonna's Hot 100 hits include “Vogue,” “Music,” “Crazy For You,” 
“Like a Virgin,” “Like a Prayer,” “Justify My Love,” “Live to Tell” and 
“Papa Don't Preach.”

NEW
 YORK (AP) — Madonna will “Take a Bow” with a new tour through North 
America and Europe starting this summer that will be a “Celebration” of 
the pop icon's hits, which include 38 songs in the Billboard Hot 100.The
 35-city Live Nation-backed "Madonna: The Celebration Tour" will kick 
off July 15 at Rogers Arena in Vancouver, British Columbia, with stops 
in Detroit, Chicago, New York, Miami, Los Angeles, Denver, Atlanta and 
Boston, among others. That leg ends on Oct. 7 in Las Vegas.Then 
the Material Girl hits Europe, where she has 11 dates throughout the 
fall, including London, Barcelona, Paris, Berlin, Milan and Stockholm, 
among others. The tour will wrap in Amsterdam on Dec. 1.The 
singer will “be highlighting her unmatched catalog of music from the 
past 40-plus years,” according to the announcement. It will also “pay 
respect to the city of New York, where her career in music began.”“I
 am excited to explore as many songs as possible in hopes to give my 
fans the show they have been waiting for,” Madonna says in the 
announcement.<a href="https://www.madonna.com/tour">Tickets go on sale starting Friday, Jan. 20.</a>Some
 of Madonna's Hot 100 hits include “Vogue,” “Music,” “Crazy For You,” 
“Like a Virgin,” “Like a Prayer,” “Justify My Love,” “Live to Tell” and 
“Papa Don't Preach.”

Madonna unveils 2023 North American, European tour dates

Each year, NORAD — the North American Aerospace Defense Command — keeps its eyes peeled for the jolly old elf's flight.

Click <a href="https://www.noradsanta.org/en/">HERE</a> to track Santa's trek in real time.

NORAD, the North American Aerospace Defense Command, is responsible for monitoring and defending the skies above North America.

But the Colorado Springs, Colorado-based agency also runs the NORAD Tracks Santa service, which allows people to follow his Christmas journey through its&nbsp;<a href="https://www.noradsanta.org/en/index.html">noradsanta.org</a>&nbsp;website, social media channels and mobile app.

The agency this year plans to have about 1,500 volunteers working on Christmas Eve to field phone calls from children who want to know Santa’s location and delivery schedule.

Lt. General David Nahom, a NORAD official based in Anchorage, Alaska, said the pandemic has not affected Santa’s busy delivery schedule and he doesn’t expect any impact this weekend.

Merry Christmas from the Post News Network!

<figure>
 <img src="https://media.eaglewebservices.com/public/2022/12/1671230483535.jpeg" alt="" />
 <figcaption></figcaption>
 </figure>Each year, NORAD — the North American Aerospace Defense Command — keeps its eyes peeled for the jolly old elf's flight.Click <a href="https://www.noradsanta.org/en/">HERE</a> to track Santa's trek in real time.NORAD, the North American Aerospace Defense Command, is responsible for monitoring and defending the skies above North America.But the Colorado Springs, Colorado-based agency also runs the NORAD Tracks Santa service, which allows people to follow his Christmas journey through its&nbsp;<a href="https://www.noradsanta.org/en/index.html">noradsanta.org</a>&nbsp;website, social media channels and mobile app.The agency this year plans to have about 1,500 volunteers working on Christmas Eve to field phone calls from children who want to know Santa’s location and delivery schedule.Lt. General David Nahom, a NORAD official based in Anchorage, Alaska, said the pandemic has not affected Santa’s busy delivery schedule and he doesn’t expect any impact this weekend.Merry Christmas from the Post News Network!

🎄🛷 NORAD tracks Santa's flight around the world

By JOE REEDY AP Sports Writer

Fans will have to Google it beginning next season if they want to access the NFL's “Sunday Ticket” package.

The
 NFL announced an agreement on Thursday for Google to distribute the 
package of out-of-market Sunday afternoon games on YouTube TV and 
YouTube Primetime Channels.

The seven-year deal is worth a little 
more than $2 billion per season. The package has been on DirecTV since 
1994. The satellite provider has paid $1.5 billion per year on an 
eight-year contract that expires at the end of this season.

The 
NFL had been seeking $2.5 billion per season for the package. It could 
still reach that total since the league retains commercial rights to 
bars and restaurants and is in the midst of selling those rights.

Commissioner
 Roger Goodell said during an interview with CNBC over the summer that 
the next move for “Sunday Ticket” would be to a streaming service 
because that would be the best option for fans.

Goodell reiterated that with Thursday's announcement.

“For
 a number of years we have been focused on increased digital 
distribution of our games and this partnership is yet another example of
 us looking towards the future and building the next generation of NFL 
fans," he said in a statement.

It is the second time in less than 
two years that the NFL has partnered with a streaming service to air 
games. The league’s 11-year contract with Amazon Prime Video for 
Thursday night games started this season.

Besides Amazon, Apple and ESPN also expressed interest in “NFL Sunday Ticket.”

“As
 the ways fans enjoy NFL football evolve in a changing media landscape, 
partnerships with innovators like YouTube will ensure that more games 
are available to more fans," said New England Patriots owner Robert 
Kraft, who is also chairman of the NFL’s media committee. “This 
partnership will grow our game for future generations and allow them to 
follow their favorite sport.”

The NFL has had a presence on 
YouTube since 2015, when it launched its official NFL channel. That has 
increased to include channels for all 32 teams and 10 official league 
channels, including NFL Films, NFL Network and Mundo NFL.

NFL Network and NFL RedZone have been available to subscribers of YouTube TV since 2020.

“Through
 this expanded partnership with the NFL, viewers will now also be able 
to experience the game they love in compelling and innovative ways 
through YouTube TV or YouTube Primetime Channels," YouTube CEO Susan 
Wojcicki said in a statement. "We’re excited to continue our work with 
the NFL to make YouTube a great place for sports lovers everywhere.”

Starting
 next season, “NFL Sunday Ticket” will be available as an add-on package
 on YouTube TV and standalone a la carte on YouTube Primetime Channels.

Google
 said in June that YouTube TV, which was launched in 2017, had surpassed
 5 million accounts and was the biggest internet-based pay TV service in
 the U.S. That number includes users on free promotional trials.

YouTube
 Primetime Channels, which launched in November, is a service that 
allows users to subscribe and watch content from streaming services on 
the YouTube app.

Even with “Sunday Ticket” moving to YouTube, the 
price is not expected to substantially decrease due to contracts with 
CBS and Fox, which carry the Sunday afternoon games.

Viewers pay around $300-$400 a season for the package, which averages 2 million subscribers.

By JOE REEDY AP Sports WriterFans will have to Google it beginning next season if they want to access the NFL's “Sunday Ticket” package.The
 NFL announced an agreement on Thursday for Google to distribute the 
package of out-of-market Sunday afternoon games on YouTube TV and 
YouTube Primetime Channels.The seven-year deal is worth a little 
more than $2 billion per season. The package has been on DirecTV since 
1994. The satellite provider has paid $1.5 billion per year on an 
eight-year contract that expires at the end of this season.The 
NFL had been seeking $2.5 billion per season for the package. It could 
still reach that total since the league retains commercial rights to 
bars and restaurants and is in the midst of selling those rights.Commissioner
 Roger Goodell said during an interview with CNBC over the summer that 
the next move for “Sunday Ticket” would be to a streaming service 
because that would be the best option for fans.Goodell reiterated that with Thursday's announcement.“For
 a number of years we have been focused on increased digital 
distribution of our games and this partnership is yet another example of
 us looking towards the future and building the next generation of NFL 
fans," he said in a statement.It is the second time in less than 
two years that the NFL has partnered with a streaming service to air 
games. The league’s 11-year contract with Amazon Prime Video for 
Thursday night games started this season.Besides Amazon, Apple and ESPN also expressed interest in “NFL Sunday Ticket.”“As
 the ways fans enjoy NFL football evolve in a changing media landscape, 
partnerships with innovators like YouTube will ensure that more games 
are available to more fans," said New England Patriots owner Robert 
Kraft, who is also chairman of the NFL’s media committee. “This 
partnership will grow our game for future generations and allow them to 
follow their favorite sport.”The NFL has had a presence on 
YouTube since 2015, when it launched its official NFL channel. That has 
increased to include channels for all 32 teams and 10 official league 
channels, including NFL Films, NFL Network and Mundo NFL.NFL Network and NFL RedZone have been available to subscribers of YouTube TV since 2020.“Through
 this expanded partnership with the NFL, viewers will now also be able 
to experience the game they love in compelling and innovative ways 
through YouTube TV or YouTube Primetime Channels," YouTube CEO Susan 
Wojcicki said in a statement. "We’re excited to continue our work with 
the NFL to make YouTube a great place for sports lovers everywhere.”Starting
 next season, “NFL Sunday Ticket” will be available as an add-on package
 on YouTube TV and standalone a la carte on YouTube Primetime Channels.Google
 said in June that YouTube TV, which was launched in 2017, had surpassed
 5 million accounts and was the biggest internet-based pay TV service in
 the U.S. That number includes users on free promotional trials.YouTube
 Primetime Channels, which launched in November, is a service that 
allows users to subscribe and watch content from streaming services on 
the YouTube app.Even with “Sunday Ticket” moving to YouTube, the 
price is not expected to substantially decrease due to contracts with 
CBS and Fox, which carry the Sunday afternoon games.Viewers pay around $300-$400 a season for the package, which averages 2 million subscribers.

NFL 'Sunday Ticket' headed to YouTube beginning next season

On this episode of Forward Ever: Leading in Challenging Times host Gary Shorman speaks with Kansas Governor Laura Kelly.

<div><iframe title="Forward Ever: Kansas Gov. Laura Kelly" allowtransparency="true" height="450" width="100%" style="border: none; min-width: min(100%, 430px);" scrolling="no" data-name="pb-iframe-player" src="https://www.podbean.com/player-v2/?i=4pmny-133dea0-pb&from=pb6admin&square=1&share=1&download=1&rtl=0&fonts=Arial&skin=3267a3&font-color=auto&logo_link=podcast_page&btn-skin=3267a3&size=450" allowfullscreen=""></iframe></div>On this episode of Forward Ever: Leading in Challenging Times host Gary Shorman speaks with Kansas Governor Laura Kelly.

🎤 Forward Ever: Kansas Gov. Laura Kelly

On this episode of Forward Ever: Leading in Challenging Times host Gary Shorman speaks with Kidney donor and Hays Middle School assistant principal Shauna Zweifel.

<div><iframe width="560" height="315" src="https://www.youtube.com/embed/oruRTdNgg2U" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>On this episode of Forward Ever: Leading in Challenging Times host Gary Shorman speaks with Kidney donor and Hays Middle School assistant principal Shauna Zweifel.

🎤 Forward Ever: Kidney donor, Hays assistant principal Shauna Zweifel

On this episode of Forward Ever: Leading in Challenging Times host Gary Shorman speaks with Teacher, coach and author Rick Keltner.

<div><iframe width="560" height="315" src="https://www.youtube.com/embed/rr0JlNypUF0" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>On this episode of Forward Ever: Leading in Challenging Times host Gary Shorman speaks with Teacher, coach and author Rick Keltner.

🎤 Forward Ever: Teacher, coach and author Rick Keltner

<a href="https://newsroom.ap.org/home/search/?query=byline:%22MARK%20KENNEDY%22&amp;mediaType=text&amp;st=keyword&amp;sortOrder=newest">By MARK KENNEDY AP Entertainment Writer</a>

NEW YORK (AP) — Oscar, Golden Globe and two-time Grammy winning singer-actress Irene Cara, who starred and sang the title cut from the 1980 hit movie “Fame” and then belted out the era-defining hit “Flashdance ... What a Feeling” from 1983's “Flashdance,” has died. She was 63.

Her publicist, Judith A. Moose, announced the news on social media, writing that a cause of death was “currently unknown.” Moose also confirmed the death to an Associated Press reporter on Saturday. Cara died at her home in Florida. The exact day of her death was not disclosed.

“Irene’s family has requested privacy as they process their grief,” Moose wrote. “She was a beautifully gifted soul whose legacy will live forever through her music and films.”

During her career, Cara had three Top 10 hits on the Billboard Hot 100, including “Breakdance,” “Out Here On My Own,” “Fame” and “Flashdance ... What A Feeling,” which spent six weeks at No. 1. She was behind some of the most joyful, high-energy pop anthems of the early ’80s.

Tributes poured in on Saturday on social media, including from Deborah Cox, who called Cara an inspiration, and Holly Robinson Peete, who recalled seeing Cara perform: "The insane combination of talent and beauty was overwhelming to me. This hurts my heart so much.”

She first came to prominence among the young actors playing performing arts high schoolers in Alan Parker's “Fame,” with co-stars Debbie Allen, Paul McCrane and Anne Mear. Cara played Coco Hernandez, a striving dancer who endures all manner of deprivations, including a creepy nude photo shoot.

“How bright our spirits go shooting out into space, depends on how much we contributed to the earthly brilliance of this world. And I mean to be a major contributor!” she says in the movie.

Cara sang on the soaring title song with the chorus — “Remember my name/I’m gonna live forever/I’m gonna learn how to fly/I feel it coming together/People will see me and cry” — which would go on to be nominated for an Academy Award for best original song. She also sang on “Out Here on My Own,” "Hot Lunch Jam" and “I Sing the Body Electric.”

Allen took to Twitter Saturday to mourn, posting pictures of them together and calling Cara a “a gifted and beautiful genius. Her talent and her music will live forever! Forever remember her name!”

Three years later, she and the songwriting team of “Flashdance” — music by Giorgio Moroder, lyrics by Keith Forsey and Cara — was accepting the Oscar for best original song for “Flashdance ... What a Feeling.”

The movie starred Jennifer Beals as a steel-town girl who dances in a bar at night and hopes to attend a prestigious dance conservatory. It included the hit song “Maniac,” featuring Beals’ character leaping, spinning, stomping her feet and the slow-burning theme song.

“There aren’t enough words to express my love and my gratitude,” Cara told the Oscar crowd in her thanks. “And last but not least, a very special gentlemen who I guess started it all for me many years ago. To Alan Parker, wherever you may be tonight, I thank him.”

The New York-born Cara began her career on Broadway, with small parts in short-lived shows, although a musical called “The Me Nobody Knows” ran over 300 performances. She toured in the musical “Jesus Christ Superstar" as Mary Magdalene in the mid-1990s and a tour of the musical ”Flashdance" toured 2012-14 with her songs.

She also created the all-female band Irene Cara Presents Hot Caramel and put out a double CD with the single “How Can I Make You Luv Me.” Her movie credits include ”Sparkle" and “D.C. Cab.”

<a href="https://newsroom.ap.org/home/search/?query=byline:%22MARK%20KENNEDY%22&amp;mediaType=text&amp;st=keyword&amp;sortOrder=newest">By MARK KENNEDY AP Entertainment Writer</a>NEW YORK (AP) — Oscar, Golden Globe and two-time Grammy winning singer-actress Irene Cara, who starred and sang the title cut from the 1980 hit movie “Fame” and then belted out the era-defining hit “Flashdance ... What a Feeling” from 1983's “Flashdance,” has died. She was 63.Her publicist, Judith A. Moose, announced the news on social media, writing that a cause of death was “currently unknown.” Moose also confirmed the death to an Associated Press reporter on Saturday. Cara died at her home in Florida. The exact day of her death was not disclosed.“Irene’s family has requested privacy as they process their grief,” Moose wrote. “She was a beautifully gifted soul whose legacy will live forever through her music and films.”During her career, Cara had three Top 10 hits on the Billboard Hot 100, including “Breakdance,” “Out Here On My Own,” “Fame” and “Flashdance ... What A Feeling,” which spent six weeks at No. 1. She was behind some of the most joyful, high-energy pop anthems of the early ’80s.Tributes poured in on Saturday on social media, including from Deborah Cox, who called Cara an inspiration, and Holly Robinson Peete, who recalled seeing Cara perform: "The insane combination of talent and beauty was overwhelming to me. This hurts my heart so much.”She first came to prominence among the young actors playing performing arts high schoolers in Alan Parker's “Fame,” with co-stars Debbie Allen, Paul McCrane and Anne Mear. Cara played Coco Hernandez, a striving dancer who endures all manner of deprivations, including a creepy nude photo shoot.“How bright our spirits go shooting out into space, depends on how much we contributed to the earthly brilliance of this world. And I mean to be a major contributor!” she says in the movie.Cara sang on the soaring title song with the chorus — “Remember my name/I’m gonna live forever/I’m gonna learn how to fly/I feel it coming together/People will see me and cry” — which would go on to be nominated for an Academy Award for best original song. She also sang on “Out Here on My Own,” "Hot Lunch Jam" and “I Sing the Body Electric.”Allen took to Twitter Saturday to mourn, posting pictures of them together and calling Cara a “a gifted and beautiful genius. Her talent and her music will live forever! Forever remember her name!”Three years later, she and the songwriting team of “Flashdance” — music by Giorgio Moroder, lyrics by Keith Forsey and Cara — was accepting the Oscar for best original song for “Flashdance ... What a Feeling.”The movie starred Jennifer Beals as a steel-town girl who dances in a bar at night and hopes to attend a prestigious dance conservatory. It included the hit song “Maniac,” featuring Beals’ character leaping, spinning, stomping her feet and the slow-burning theme song.“There aren’t enough words to express my love and my gratitude,” Cara told the Oscar crowd in her thanks. “And last but not least, a very special gentlemen who I guess started it all for me many years ago. To Alan Parker, wherever you may be tonight, I thank him.”The New York-born Cara began her career on Broadway, with small parts in short-lived shows, although a musical called “The Me Nobody Knows” ran over 300 performances. She toured in the musical “Jesus Christ Superstar" as Mary Magdalene in the mid-1990s and a tour of the musical ”Flashdance" toured 2012-14 with her songs.She also created the all-female band Irene Cara Presents Hot Caramel and put out a double CD with the single “How Can I Make You Luv Me.” Her movie credits include ”Sparkle" and “D.C. Cab.”

'Fame' and 'Flashdance' singer-actor Irene Cara dies at 63

NEW YORK (AP) — Oscar, Golden Globe and two-time Grammy winning 
singer-actress Irene Cara, who starred and sang the title cut from the 
1980 hit movie “Fame” and then belted out the era-defining hit 
“Flashdance ... What a Feeling” from 1983's “Flashdance,” has died. She 
was 63.

Her publicist, Judith A. Moose, announced the news on 
social media, writing that a cause of death was “currently unknown.” 
Moose also confirmed the death to an Associated Press reporter on 
Saturday. Cara died at her home in Florida. The exact day of her death 
was not disclosed.

“Irene’s family has requested privacy as they 
process their grief,” Moose wrote. “She was a beautifully gifted soul 
whose legacy will live forever through her music and films.”

During
 her career, Cara had three Top 10 hits on the Billboard Hot 100, 
including “Breakdance,” “Out Here On My Own,” “Fame” and “Flashdance ...
 What A Feeling,” which spent six weeks at No. 1. She was behind some of
 the most joyful, high-energy pop anthems of the early ’80s.

Tributes
 poured in on Saturday on social media, including from Deborah Cox, who 
called Cara an inspiration, and Holly Robinson Peete, who recalled 
seeing Cara perform: "The insane combination of talent and beauty was 
overwhelming to me. This hurts my heart so much.”

She first came 
to prominence among the young actors playing performing arts high 
schoolers in Alan Parker's “Fame,” with co-stars Debbie Allen, Paul 
McCrane and Anne Mear. Cara played Coco Hernandez, a striving dancer who
 endures all manner of deprivations, including a creepy nude photo 
shoot.

“How bright our spirits go shooting out into space, depends
 on how much we contributed to the earthly brilliance of this world. And
 I mean to be a major contributor!” she says in the movie.

Cara 
sang on the soaring title song with the chorus — “Remember my name/I’m 
gonna live forever/I’m gonna learn how to fly/I feel it coming 
together/People will see me and cry” — which would go on to be nominated
 for an Academy Award for best original song. She also sang on “Out Here
 on My Own,” "Hot Lunch Jam" and “I Sing the Body Electric.”

Three
 years later, she and the songwriting team of “Flashdance” — music by 
Giorgio Moroder, lyrics by Keith Forsey and Cara — was accepting the 
Oscar for best original song for “Flashdance ... What a Feeling.”

The
 movie starred Jennifer Beals as a steel-town girl who dances in a bar 
at night and hopes to attend a prestigious dance conservatory. It 
included the hit song “Maniac,” featuring Beals’ character leaping, 
spinning, stomping her feet and the slow-burning theme song.

“There
 aren’t enough words to express my love and my gratitude,” Cara told the
 Oscar crowd in her thanks. “And last but not least, a very special 
gentlemen who I guess started it all for me many years ago. To Alan 
Parker, wherever you may be tonight, I thank him.”

The New 
York-born Cara began her career on Broadway, with small parts in 
short-lived shows, although a musical called “The Me Nobody Knows” ran 
over 300 performances. She toured in the musical “Jesus Christ 
Superstar" as Mary Magdalene in the mid-1990s and a tour of the musical 
”Flashdance" toured 2012-14 with her songs.

She also created the 
all-female band Irene Cara Presents Hot Caramel and put out a double CD 
with the single “How Can I Make You Luv Me.” Her movie credits include 
”Sparkle" and “D.C. Cab.”

NEW YORK (AP) — Oscar, Golden Globe and two-time Grammy winning 
singer-actress Irene Cara, who starred and sang the title cut from the 
1980 hit movie “Fame” and then belted out the era-defining hit 
“Flashdance ... What a Feeling” from 1983's “Flashdance,” has died. She 
was 63.Her publicist, Judith A. Moose, announced the news on 
social media, writing that a cause of death was “currently unknown.” 
Moose also confirmed the death to an Associated Press reporter on 
Saturday. Cara died at her home in Florida. The exact day of her death 
was not disclosed.“Irene’s family has requested privacy as they 
process their grief,” Moose wrote. “She was a beautifully gifted soul 
whose legacy will live forever through her music and films.”During
 her career, Cara had three Top 10 hits on the Billboard Hot 100, 
including “Breakdance,” “Out Here On My Own,” “Fame” and “Flashdance ...
 What A Feeling,” which spent six weeks at No. 1. She was behind some of
 the most joyful, high-energy pop anthems of the early ’80s.Tributes
 poured in on Saturday on social media, including from Deborah Cox, who 
called Cara an inspiration, and Holly Robinson Peete, who recalled 
seeing Cara perform: "The insane combination of talent and beauty was 
overwhelming to me. This hurts my heart so much.”She first came 
to prominence among the young actors playing performing arts high 
schoolers in Alan Parker's “Fame,” with co-stars Debbie Allen, Paul 
McCrane and Anne Mear. Cara played Coco Hernandez, a striving dancer who
 endures all manner of deprivations, including a creepy nude photo 
shoot.“How bright our spirits go shooting out into space, depends
 on how much we contributed to the earthly brilliance of this world. And
 I mean to be a major contributor!” she says in the movie.Cara 
sang on the soaring title song with the chorus — “Remember my name/I’m 
gonna live forever/I’m gonna learn how to fly/I feel it coming 
together/People will see me and cry” — which would go on to be nominated
 for an Academy Award for best original song. She also sang on “Out Here
 on My Own,” "Hot Lunch Jam" and “I Sing the Body Electric.”Three
 years later, she and the songwriting team of “Flashdance” — music by 
Giorgio Moroder, lyrics by Keith Forsey and Cara — was accepting the 
Oscar for best original song for “Flashdance ... What a Feeling.”The
 movie starred Jennifer Beals as a steel-town girl who dances in a bar 
at night and hopes to attend a prestigious dance conservatory. It 
included the hit song “Maniac,” featuring Beals’ character leaping, 
spinning, stomping her feet and the slow-burning theme song.“There
 aren’t enough words to express my love and my gratitude,” Cara told the
 Oscar crowd in her thanks. “And last but not least, a very special 
gentlemen who I guess started it all for me many years ago. To Alan 
Parker, wherever you may be tonight, I thank him.”The New 
York-born Cara began her career on Broadway, with small parts in 
short-lived shows, although a musical called “The Me Nobody Knows” ran 
over 300 performances. She toured in the musical “Jesus Christ 
Superstar" as Mary Magdalene in the mid-1990s and a tour of the musical 
”Flashdance" toured 2012-14 with her songs.She also created the 
all-female band Irene Cara Presents Hot Caramel and put out a double CD 
with the single “How Can I Make You Luv Me.” Her movie credits include 
”Sparkle" and “D.C. Cab.”