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BREAKING NEWS Travis Kelce set for Taylor Swift reunion as NFL star lands in New York after brief return to Chiefs practice

BREAKING NEWS Travis Kelce set for Taylor Swift reunion as NFL star lands in New York after brief return to Chiefs practice

Daily Mail​5 hours ago

Travis Kelce was pictured landing in New York on Friday night ahead of a potential reunion with girlfriend Taylor Swift.
The Chiefs star has been away from the singer in recent days after returning to Kansas City for the team's three-day mandatory training camp.
Kelce's slimmed down physique after a grueling offseason was the talk of the practice field as he prepares for the new NFL season after deciding not to retire.
But he quickly fled Kansas City to return to New York and was seen stepping off a private jet with bags and a tablet in his hands. It is unclear if Swift is in the Big Apple but the couple have spent plenty of time together in the city before.
Kelce was dressed casual in a US soccer T-shirt, blue shorts, and white trainers. He was joined on the trip by close friend and former teammate Ross Travis.
The airport's baggage handlers appeared to be removing a set of golf clubs from the plane, with Kelce maybe trying to get some practice in before an appearance at the famous American Century Celebrity tournament early next month.
Baggage handlers were carrying a set of golf clubs ahead of Kelce's appearance in an event
Kelce and Swift were last seen together at Game 4 of the Stanley Cup in Florida last week.
The superstar couple, who had been enjoying a romantic vacation in Florida during Travis' offseason break, were spotted taking in some NHL action between the Panthers and Edmonton Oilers.
Reports on the night claimed a helicopter landed near the venue roughly 50 minutes before the puck drop, with the VIP entrance and elevators to the press box also closed to the public as Kelce and Swift made their grand arrival.
They were first seen walking through the corridors of the arena and heading out to their seats shortly after the game had begun in Florida.
The pop megastar wore a stylish cream white jacket with matching shorts and vanilla leather boots, while her beau opted for more of a casual look in a red sweater, matching shorts, white sneakers and a baseball cap.
Yet despite talk of a secret wedding, Taylor was not flashing a wedding ring at the game, instead wearing the sparkly diamond 'TNT' bracelet - short for 'Travis and Taylor' - that her lover famously had made for her last year.
They were then picked out by TNT Sports cameras sitting in the stands as Kelce showed his girlfriend something on his phone.
Swift seemed in astonishment at whatever he had on his screen as she appeared to say: 'Oh wow!'
They were in the house for a dramatic encounter between the Panthers and Oilers in Florida
It has been a particularly busy week for Kelce. Not only did he practice in Kansas City but he was also in Cannes with brother Jason.
The duo were among the invited guests at the Amazon Port Panel in the iconic French town, where the Kelces dutifully promoted their highly successful podcast, New Heights.
Less than 24 hours later, Travis was back to work at his other job preparing for the upcoming 2025 NFL campaign.
Unlike last year, when he and Swift couldn't stay out of the spotlight, Travis has enjoyed a much quieter break from NFL duties this time around, with the couple keen to unwind together away from the cameras in recent months.

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Birmingham artist secures colour palette commission in New York

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Birmingham artist secures colour palette commission in New York

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MLB roundup: Cal Raleigh's 2 homers power M's past Cubs
MLB roundup: Cal Raleigh's 2 homers power M's past Cubs

Reuters

timean hour ago

  • Reuters

MLB roundup: Cal Raleigh's 2 homers power M's past Cubs

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Disney legend Alan Menken: The dwarves are the whole point of Snow White
Disney legend Alan Menken: The dwarves are the whole point of Snow White

Telegraph

timean hour ago

  • Telegraph

Disney legend Alan Menken: The dwarves are the whole point of Snow White

'Are we going to talk about Disney and woke?' Alan Menken makes a horrified face and draws a finger across his neck in a throat-cutting mime. 'I'm going to pull the plug on this interview if there is any mention of Disney and politics!' He's joking. Having composed some of the most memorable scores in the history of animation, including nine for Disney – from The Little Mermaid to Beauty and the Beast – Menken is not about to let a ­culture-war kerfuffle throw him off balance. 'It's fine,' he says. 'Ask me anything.' We are meeting a few months ahead of the West End opening of Hercules, a new stage-musical ­version of Disney's 1997 animated riff on Greek mythology, set to ­Menken's original gospel-driven score (with lyrics by David Zippel). 'It's a very sophisticated score ­stylistically,' he says. 'It has a lightness to it and a rhythmic propulsion.' A native New Yorker, Menken doesn't do false modesty – and why should he? After all, he's one of only 27 people ever to have achieved the EGOT, winning Emmy, Grammy, Oscar and Tony awards. His last Academy Award came in 1996, for Pocahontas, though he's been nominated multiple times since. 'The Oscars have dried up because I've won eight of them now.' Yet it's another Disney production, the live-action remake of Snow White – not a film that Menken had anything to do with – which is dominating the headlines when we meet and that will, in the weeks that follow its woeful box-office performance, come to be seen as a nadir in the studio's muddled, frequently controversial project to update its much-loved back catalogue. At the time, Rachel Zegler, Snow White's leading lady, was drawing criticism from some quarters for comments she had made about Palestine, while the decision to have computer-­generated dwarfs in an otherwise human cast had gone down badly with just about everyone. 'How you deal with all this stuff, it's as tricky as hell,' says Menken, who is in two minds about the whole idea of updating the classics, although he is sympathetic towards Zegler. 'She's just a kid. Yes, she said 'Free Palestine'. It's the kind of thing any of us might have said. We all want people to be free. Although, of course, there are also the nuances of history. 'But when it comes to the dwarfs…' He pauses, takes a breath. 'I'm sorry, but the dwarfs are what Snow White is all about!' There's been a bit of 'that stuff' with Hercules, he admits. The story, in which Hercules, a demigod raised among mortals, learns to embrace his destiny, has been updated for the stage show and, says Menken, now allows for its hero – depicted in the cartoon as a buff, blue-eyed redhead and played on stage by the dark-haired, Surrey-born actor Luke Brady – to be ­portrayed as 'a racial outsider'. Menken applauds the 'richness' this brings to the character, but laments the toning down of the ­cartoon's randy satyr, Philoctetes, who, he says with a hint of regret, will not be seen on stage 'running around lusting over nymphs'. 'At the time, you play with certain clichés because it's fun,' he says. 'But each new adaptation has to be sensitive to the passing of time and the way people will look at ­certain issues.' Menken is a hyperactive speaker; he talks in stops and starts, and is as physically expressive as any one of the animated characters to whom he has given such glorious musical voice over the years. He and his writing partner Howard Ashman are widely credited with reviving Disney's fortunes during the late 1980s after a prolonged period of creative and commercial decline for the studio in the decades that had followed the death of Walt Disney in 1966. The duo, who had already had a theatrical hit in 1982 with Little Shop of Horrors, struck gold three times in quick succession with The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992), the lyrics for the last completed by Tim Rice following Ashman's death from Aids in 1991. Menken, who proudly calls himself 'the keeper of the flame', would go on to score Newsies, Pocahontas, The Hunchback of Notre Dame, Enchanted and Tangled. For him, the essence of Disney can be traced back to those classics of the 1930s, 1940s and 1950s that have enriched the childhoods of multiple generations, and to the spirit of which his own scores nod. 'Fantasia, Dumbo, the later Winnie the Pooh: they all had a depth and a beauty, a proper form, a moral,' he says. 'When the Aids crisis hit, or when 9/11 happened, I couldn't watch the news, I couldn't watch my favourite action adventure movies, it was just too fraught a time. But I would watch Disney. For me, those films were the only safe space in the world. I grew up on those films, but, by the 1980s, it had all gone. So Howard and I came along and rebooted it.' Now, the company to which he has dedicated his career once again finds itself at a turning point, caught between trying to appease the more progressive yet censorious Left and the diehard traditionalist Right. Although Menken is in favour of a live-action remake of The Hunchback of Notre Dame (initially announced in 2019), he accepts that, given the story's more ­'problematic' aspects, it is unlikely to go ahead. 'People will go, 'Let's leave out the fact that Frollo [Quasi­modo's clergyman nemesis] is obsessed with the gipsy Esmeralda.' They'll say, 'We can't have Quasimodo as a hunchback.' Well, f--- that. I'd love to make a Hunchback movie [that ­follows] what ­Victor Hugo wrote. But it can't be done.' However, he says, swerving onto a more diplomatic course, 'I don't think Disney is having an identity crisis. Obviously, Disney has been very open for gay people and diversity and woke. And then woke became a dirty word. Sometimes, when you press against limits, things push back. But I know Bob,' he says, referring to the Disney CEO, Bob Iger. 'I think he's pretty savvy about the business model.' Menken grew up in a Jewish household in New York City during the dawn of rock 'n' roll in the 1950s and, throughout his early years, set his heart on becoming a pop star. 'I didn't want to go to school, ever,' he says. 'I was very ADHD. My parents were appalled.' When he told them he wanted to be a songwriter, in the mould of his hero Bob Dylan, they insisted that he practise the piano every single day. 'They imprinted on me the need to dig in and work. They would say, 'You want to be a shoe salesman instead?' I find it very depressing to buy shoes now.' After graduating from college in 1972, he attended the BMI Lehman Engel Musical Theatre Workshop – a well-respected incubator for future Broadway talent – partly to placate his parents, who were ­musical-theatre fanatics. That same year, he met and fell in love with Janis Roswick, a ballet dancer; half a century later, they remain married and have two daughters. ­Suddenly, the itinerant lifestyle of a touring pop star no longer looked quite so appealing, so Menken dedi­cated himself instead to composition. It's often said of his Disney music that it lacks an identifying style of his own, unlike, say, the higher-brow Stephen Sondheim, whose musical imprimatur is instantly recognisable. 'You can only pull on the stuff that's in your gut,' Menken says. 'And when it comes to audiences, the great thing about Disney is that it's a leveller.' All the same, he is keen to point out that his scores do have musical and emotional specificity, be it the 'apocalyptic' Phil Spector girl-group sound behind Little Shop of Horrors or the ragtime influence on Newsies. 'I'm not trying to be egotistical, but that was very much my and Howard's approach: we established throughout our scores a specificity of place,' he says. By comparison, 'a lot of the new Disney scores are generic…'. He stops, as if reconsidering what he is about to say. 'I think they have moved into a different place, where a Lin-Manuel score is very much Lin-Manuel,' he con­tinues, referring to Lin-Manuel ­Mir­anda, the creator of Hamilton, who wrote the Oscar-nominated score for Disney's 2021 film Encanto. 'That's not what Howard and I did, but, hey, things evolve.' At 75, Menken still has multiple projects on the go – including both a live-action remake and a stage adaptation of Tangled, the 2010 ­Disney animation loosely based on the story of Rapunzel – and can't imagine himself retiring any time soon. 'Well, I can if I think what I'm producing isn't good enough,' he says, 'but I haven't reached that point yet.'

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