Category: Entertainment News Feed

MIAMI GARDENS, Fla. (AP) — A special guest crashed Portugal coach Roberto Martínez’s news conference Friday: Grammy winner Dua Lipa.

Her sound, anyway.

Speakers inside the interview room at the stadium started blaring some of Lipa’s songs for a few minutes in the middle of Martínez’s availability session. It wasn’t totally clear why — some wires got crossed, evidently, during a rehearsal happening inside the stadium — but nobody seemed to mind that it happened.

Martinez even swayed a little in his chair while workers tried to find a way to silence the music.

“Dua Lipa’s supporting Portugal, I believe,” he said.

Lipa — the three-time Grammy-winning, London-born, British Albanian singing powerhouse — is a huge soccer fan and has been at countless major events in recent years. And when Martinez was asked later in his news conference about the balance of his midfield play so far in the tournament, he couldn’t resist bringing the talk back to the music.

“Balance and Dua Lipa, those were the two main topics,” Martínez said.

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See more of AP’s World Cup coverage here

LOS ANGELES (AP) — Ann Blyth, a versatile Hollywood star who received an Oscar nomination at 17 as Joan Crawford’s wayward daughter in “Mildred Pierce,” sang opposite Mario Lanza and Howard Keel in such MGM musicals as ”The Great Caruso” and ended her film career before age 30, has died at age 98.

Blyth died Wednesday of “natural causes” at her home in Rancho Santa Fe, California, according to her daughter, Eileen McNulty. Blyth’s family was at her side.

One of the last surviving actors from the Hollywood studio system, Blyth appeared in youth movies as well as dramas such as “Another Part of the Forest,” and her co-stars included Bing Crosby, Tyrone Power, Gregory Peck and Robert Mitchum. Blyth had stopped appearing in films by the end of the 1950s when she chose to spend more time with her children. But she would work in TV musicals and dramas and tour in concerts and musicals from “Show Boat” to “The Sound of Music.”

She was acting and singing from an early age and her first big break came at 13 when she was cast as Paul Lukas’s daughter in Lillian Hellman’s anti-Nazi play, “Watch on the Rhine,” which also starred Bette Davis. She stayed with the play for almost a year on Broadway and a year on the road.

When “Watch on the Rhine” appeared in Los Angeles, Universal Studio signed her to a term contract starting at $175 a week. A dark-haired actor with a melodic singing voice, she appeared with a young Donald O’Connor in low-budget musicals such as “Chip Off the Old Block” and “Bowery to Broadway.” The loan-out to Warner Bros. for “Mildred Pierce” elevated Blyth’s career and led to grown-up roles.

Good at being bad

Like “Double Indemnity,” adapted for the screen by Billy Wilder in 1944, “Mildred Pierce” was a James M. Cain thriller about vengeance and calculation. Crawford won the 1945 Oscar as a waitress who rises to own a string of Los Angeles restaurants. Blyth was nominated in the supporting role as Mildred’s spoiled daughter, Veda, who seduces her mother’s second husband (Zachary Scott), then riddles him with bullets in a jealous rage.

Directed by Michael Curtiz of “Casablanca” fame, “Mildred Pierce” was a memorable piece of film noir that took place mostly at night. For Blyth it was a major change from the cheery musicals she had been known for. It was also a stretch for an actor who was the subject of magazine articles entitled “Incorruptible!”, “Angelic Annie” and “Ann Blyth: Success Without an Enemy.”

In 1946, Blyth broke her back in a toboggan accident, and it appeared her career might be over. She spent seven months in a body cast and another seven months in a wheelchair, relying on her Roman Catholic faith for courage.

“The busy, exciting world I had known faded away, and my life slowed down to little things,” she later told The Associated Press. “But even here I found myself blessed, for a new sense of prayer began to unfold to me.”

Once recovered, she appeared as the love interest for Sonny Tufts in “Swell Guy,” Howard Duff in “Brute Force” and Mickey Rooney in a prizefight movie, “Killer McCoy.” She displayed her dramatic skill as the young woman in love with a suspected wife-killer, Charles Boyer, in “A Woman’s Vengeance.”

Her strongest role after “Mildred Pierce” came with “Another Part of the Forest,” Hellman’s prequel to her stage and film drama “The Little Foxes.” Blythe appeared as the young Regina Hubbard, created as an adult on Broadway by Tallulah Bankhead and in the film by Bette Davis.

Add a little music

Blyth’s career made a turn in 1951 when she starred with Mario Lanza in “The Great Caruso.” Her lilting soprano made an ideal match for his tenor, and they were cast in “The Student Prince.” But the temperamental Lanza dropped out after recording his songs, and British actor Edmund Purdom acted his role and mouthed the songs. Blyth co-starred with Howard Keel in “Rose Marie” and “Kismet.”

Her other films included “Top o’ the Morning” with Crosby, “The World in His Arms” (Peck) and a reunion with O’Connor, “The Buster Keaton Story.” Her last film was in 1957, “The Helen Morgan Story,” which co-starred Paul Newman.

Born in 1928 in Mount Kisco, New York, to an Irish mother and English valet father, she grew up in New York City. After the father left the family, Nan Blyth supported herself and two daughters by washing clothes and working in beauty parlors.

She had high hopes for daughter Ann’s future as an actress, and at 5 the girl began appearing on a New York radio show. She continued as a radio performer and spent three years studying and performing with the San Carlo Opera Company.

After becoming a movie star, Blyth admitted of her early career: “I’d become blue and despondent when I failed to get a job, and my mother’s encouraging words made me want to try again.” Before the actress’s breakout performance in “Mildred Pierce,” her mother died of cancer.

In 1953, Blyth married Dr. James McNulty, brother of tenor-comedian Dennis Day. They had five children and remained married until McNulty’s death, in 2007. A few weeks before son Timothy was born in 1954, she made television history of a sort performing the song “Secret Love” at the Oscars — visibly pregnant as she sang, “Once I had a secret love … and my secret love’s no secret anymore.”

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Thomas, a former Associated Press Hollywood correspondent who died in 2014, was the primary writer of this obituary.

NEW YORK (AP) — There’s a moment at every Cody Johnson show where the Texas-born and bred country star asks the crowd: “How many of you tonight are watching me and this band live for the very first time?” he told The Associated Press. “And every night, I would say at least 80% of the crowd raises their hands.”

It’s not the kind of reaction most veteran artists receive. “And I’m thinking, you know, 20 years is a long time to work for something. But when you see that … What’s the next 20 years look like?” he asks.

The rancher, rodeo competitor and onetime prison guard started his two-decade career playing honky tonks and dive bars. That led to slow and steady growth for the country traditionalist, but in the last few years, something has shifted. He landed his fifth career No. 1 song with “The Fall.” He was named entertainer of the year at the 2026 Academy of Country Music Awards, the show’s highest honor. That was a month after he headlined Stagecoach Music Festival. For an artist with legions of fans, it looked like he was accessing new heights.

“I feel like I’m closing a book and I’m opening another one and it’s all blank pages,” he says of this period. “Let’s get to the next chapter.”

On Friday, that new era began with the release of his album “Banks of the Trinity.”

Traveling to the ‘Banks of the Trinity’

It hasn’t been an easy road. Last fall, Johnson had to cancel a bunch of tour dates after upper respiratory and sinus infections caused a burst eardrum that required surgery — an intimidating medical procedure for anyone, but especially nerve-wracking for a musician. “I was scared,” he said simply. But “in a roundabout way, it’s one of the best things that’s ever happened to me.”

It forced him to take three months off, which allowed him to be home during the birth of his son. It also rejuvenated his approach in the studio. Before the incident, he thought the album was complete. It was not: The additional time resulted in the inclusion of a few songs that now feel inextricable from the record: “Thank Somebody Country,” “Take Me Back (Leave Me There),” “Cricket on a Hook,” and the resilient “I Have” among them.

“What a blessing to have that kind of song fall in your lap when you’re kind of up against the ropes,” he says of the latter. “I mean, we thought we had the record done. It wasn’t done.”

A title track with real resonance

At the heart of “Banks of the Trinity” is its title track, which recalls Eagles’ cover of “Seven Bridges Road” meets bluegrass and Southern gospel. Lyrically, it’s an ode to Johnson’s childhood. “I grew up on the banks of the Trinity (River.) Fishing for catfish, not so much out of pleasure or sport but for necessity to put food in the freezer. Deer season for me was not a trophy thing,” he said.

And while that track inspires a feeling of nostalgia within the listener, he doesn’t consider this album a throwback collection. He says it’s about showcasing his evolving sonic diversity. “The rest of the album for me is a musical journey from track one to track 16,” he said. “There’s a little bit of a flavor for everybody. It does kind of hit Motown. It does kind of hit Bluegrass. It does hit progressive country. It does it old country. It does a little rock here and there.”

It’s the result of a new kind of freedom, one that is at least partially due to his recent accomplishments, including taking home the top prize at the ACM Awards. “I just did the thing that I’ve aspired to do in my career my entire life,” he says. “A really good place is a really good way to describe where I am.”

And now that the album is out, he’s ready to take a breather. “I will be shirtless with no shoes on a beach at an undisclosed location,” he jokes about the days after record release. “’Cause I have already done all the prep work. I’ve been working on this album for two years. I’ve done all of the interviews. I’ve shook all the hands. Me and my wife and kids are gonna disappear for 10 days and I’m gonna become, I guess, every Kenny Chesney song ever.”

It’s not a bad place to be.

NEW YORK (AP) — The 2000 Year Old Man is turning 100. Mel Brooks on Sunday will celebrate his centennial birthday.

The comedian and filmmaker has been awaiting the milestone. Earlier this year, Judd Apatow titled his retrospective documentary on him: “Mel Brooks: The 99 Year Old Man!”

“I was born to make people laugh,” Brooks says in the film. “So, I do that.”

Brooks was born Melvin Kaminsky in Brooklyn, New York, on June 28, 1926. After serving in the Army during World War II and performing in the Borscht Belt, Sid Caesar hired him as a writer. On his “Show of Shows,” Brooks met Carl Reiner, who’d remain a lifelong friend and with whom he created the “2000 Year Old Man” sketches.

Reiner would pepper Brooks’ ancient man with questions about what Jesus was like. “Jesus … yes, yes,” Brooks would answer. “Thin lad. Wore sandals. Always walked around with 12 other guys.”

Brooks went to make classic comedies like “The Producers,” “Blazing Saddles,” “Young Frankenstein” and “High Anxiety.” It all started, Brooks told The Associated Press in 2021, with his childhood in Williamsburg, Brooklyn.

“I wanted to keep the party going. I wanted to keep the happiness and joy and explosions of laughter going into a dour part of our lives, not our childhood anymore,” Brooks recalled. “I was once interviewed and the guy said, ‘What was the happiest part of your life? Was it winning the Academy Award? Was it marrying Anne Bancroft?’ I said no, not at all. It was my childhood. From about 4 or 5 to 9, it was the most exciting, happiest, joyous life that anyone could experience.

“The guy said, ‘What happened at 9?’ I said, ‘Homework.’”

Even now, Brooks hasn’t retired. In April, Brooks submitted a video message to Eddie Murphy to honor him for his AFI life achievement award. In May, he announced that he was donating thousands of his documents and photographs to the National Comedy Center in Jamestown, New York.

“I’ve always been proud to say that I make people laugh for a living,” Brooks said then in a statement. “So, knowing that my work will have a home at comedy’s national archive and continue making people laugh leaves me with a deep sense of pride.”

To mark the occasion of Brooks’ centennial, the American Film Institute on Friday named 1974’s “Blazing Saddles” the funniest film of all time. It has previously ranked sixth on its list of 100 greatest movies. Brooks’ film displaced “Some Like It Hot” — which Brooks had long held wasn’t as funny as his movies — from the top spot.

“He’s right!,” said Bob Gazzale, AFI president and chief executive. “We’re happy to right this wrong as Mel celebrates his centennial. It’s good to be the king, and may he live to be a 2,000 year old man. Happy birthday, Mel!”

Brooks has sometimes made mortality a joke, too. In a 1980s sketch, he created a coin-operated gravestone for himself that played a videotaped message. It began: “I was Mel Brooks, one of the funniest little Jews to walk the Earth.”

When asked in that AP 2021 interview if he thought much about death, Brooks said no.

“I gave up after 60 thinking about it because if I did, I’d be thinking about it all the time. So I don’t think about it much. When and if it happens it’s going to be a sad day — for everybody but me,” Brooks said, laughing.

“I enjoy living,” he added. “I’d like to do it as long as I can.”

LOS ANGELES (AP) — While much of Hollywood was consumed by the streaming wars, Issa Rae was studying a different mode of entertainment thousands of miles away: microdramas.

No stranger to creating a successful online series, the Emmy-nominated actor and producer became intrigued by China’s booming market for the short, mobile-first soap operas, seeing its potential to build audiences and intellectual property.

In May, Rae’s Hoorae Media released the thriller “Screen Time,” one of the first major studio-quality microdrama projects developed by an established Hollywood production company. The TikTok-backed series drew nearly 75 million views during its first week.

Rae believes the format offers advantages traditional media often cannot.

“Because the price point is lower than TV and film, there’s an opportunity to take risks,” she told The Associated Press. “The turnaround time is also a lot quicker than TV and film, which allows us the opportunity to be more topical and relevant.”

With vertically shot episodes often running one to three minutes, microdramas have emerged as one of entertainment’s fastest-growing formats. That’s drawing interest from celebrities, creators and major media companies looking for new ways to reach audiences who increasingly consume stories on their phones.

Beyond speed and cost, Rae said microdramas foster a more interactive viewing experience between creators and audiences.

“The communal experience is also amazing,” said Rae, whose web series “The Misadventures of Awkward Black Girl” helped launch her career. “You can see what other viewers think and engage with their commentary in real time.”

Microdramas catch the attention of Hollywood

At first glance, the formula seems deceptively simple: smartphone-friendly bingeable miniepisodes featuring tales of romance, betrayal and redemption with titles like “The Double Life of My Billionaire Husband.” The first few episodes are generally free and viewers have to pay to unlock more.

The model that first emerged in China during the pandemic has exploded — global microdrama revenues will hit $14 billion by the end of 2026, technology research and advisory group Omdia estimates — and the U.S. entertainment industry is taking note.

Peacock recently launched a dedicated microdrama hub. Fox Entertainment invested in microdrama producer Holywater and committed to producing hundreds of vertical titles, while TelevisaUnivision is producing serialized short-form dramas for ViX.

Kevin Hart’s HartBeat has expanded into vertical comedy, Kim Kardashian is backing scripted mobile-first content through her investment in microdrama platform ReelShort, Taye Diggs has starred in vertical series aimed at the growing audience consuming serialized stories on smartphones, and filmmaker Deon Taylor is developing the sports-focused vertical series “I Am Hoop.”

At this year’s MIP London television market, executives said some of the largest microdrama platforms are spending as much as 90% of their budgets on marketing as competition for audiences intensifies.

Phones provide direct access to audiences

Hoorae Media spent more than two years researching the format before launching “Screen Time.” The company became convinced microdramas represented more than a passing trend after studying how audiences were consuming entertainment on their phones.

“The connective tissue being the phone, and how much time people are already spending on their phone,” said Dzifa Yador, head of digital at Hoorae Media. “We’re meeting audiences where they are.”

Yador believes the format gives creators something increasingly difficult to find in traditional Hollywood: Instead of waiting years for a studio decision, creators can test ideas, build an audience and retain ownership.

“You definitely get rid of the gatekeepers,” she said. “You can greenlight your own show.”

Independent creators helped build the audience first

Long before Hollywood began paying attention, creators were already proving audiences would spend hours following serialized stories online.

Among the most successful is Kountry Wayne, who transitioned from the comedy sketches that made him famous to a universe of interconnected relationship dramas after noting those had a longer shelf life.

The Georgia native, whose Amazon Prime Video stand-up special “Kountry Wayne: Nostalgia” debuted this year, said he now releases 50 episodes a day.

Wayne recently posted that his content generated about 1.4 billion views on Facebook and another 100 million on YouTube over the previous month. Meta and YouTube declined to independently verify those figures.

As Hollywood’s interest in vertical storytelling accelerated, the comedian said, he turned down eight-figure deals to license or acquire his content, choosing instead to keep ownership as his audience grew.

“If they get in, they’re going try to control it,” he said. “I knew it was growing.”

The format offers a new proving ground for filmmakers

The American Black Film Festival, one of the nation’s leading showcases for Black film and television, is giving the next generation of storytellers an entry point through the format.

The festival launched its first microdrama showcase this year, selecting eight finalists from hundreds of submissions.

Festival programmer Bobbi Broome said the response underscored how quickly creators are embracing the format.

“At least two or three of them said that they decided to try doing a microdrama because they saw the ABFF competition start,” Broome told AP.

For many filmmakers, she said, the showcase was more than producing short-form content. It gave them an opportunity to test ideas that could eventually evolve into larger projects.

“I spoke with a couple of filmmakers who said that this was kind of like their proof of concept for a feature,” Broome said. “The industry is changing day in and day out.”

Where will microdramas go from here?

Rae believes microdramas are only beginning to reveal their potential.

“We knew audiences will appreciate premium content that is free and easily accessible,” she said. “If the story is engaging, the acting is good and it generally feels made with them in mind, they will engage.”

For Wayne, the future of the format is rooted in the same device that helped him build his audience. He said his videos are filmed on cellphones, with little traditional editing, which allows him and his team to move quickly while getting his stories to the audience with high quality visuals.

“The eyeballs are on the phone,” he said. “We still go to the theater. We still watch TV. But we’re on this phone.”

WASHINGTON (AP) — For more than 40 years, sketches by American illustrator Norman Rockwell of scenes from the White House visitor’s lobby graced the walls of the West Wing, where every president from Jimmy Carter to Donald Trump had seen them.

Now, they’re going on public display for the first time after a nonprofit organization paid a whopping sum of more than $7 million for the sketches after they ended up on an auction block following a family dispute over their ownership.

The four 1940s-era sketches titled “So You Want to See the President!” show people from all walks of life waiting to see President Franklin D. Roosevelt during World War II. They depict U.S. senators, members of the military, the press and even a Miss America biding their time in the West Wing reception area, as they wait to be shown to the Oval Office.

The White House Historical Association spared no expense for the sketches to prevent them from being “lost forever,” such as to a private art collection, its president Stewart McLaurin told The Associated Press. The public will be able to see them through June 2027 at the historical association’s “The People’s House” education center near the White House, he said.

“And since they had been seen by the eyes of so many presidents and first ladies and senior White House staff and important visitors from around the world, we wanted the American people to see them,” McLaurin said. “So we acquired them.”

The sketches had been put up for sale by a grandson of the White House official who received them as a gift from Rockwell.

Rockwell is famous for his scenes of American life

Rockwell, who became famous for his illustrations of everyday American life that graced covers of the Saturday Evening Post, spent hours at the White House people-watching from a chair in the West Wing lobby, McLaurin said.

But after his sketches were consumed by a fire that destroyed Rockwell’s art studio in Vermont, he went back to the White House to collect more material.

“So it’s really a combination of his memories from that first visit, the memories of the second visit,” McLaurin said. “And it is an array of these people representing the military and White House staff and members of Congress and the press corps and all kinds of people that literally, to this day, go through that space in the West Wing.”

The first of Rockwell’s colorful sketches opens with scenes of the entrance gate, photographers waiting outside the White House entrance on West Executive Avenue and Stephen Early, a former AP journalist who became the third White House press secretary under Roosevelt, in a huddle with a group of journalists. Seated on red leather chairs and reading papers are members of the press and Rockwell, with a pipe in his mouth and legs outstretched.

The next scene shows Miss America — identified as Rosemary LaPlanche, the 1941 titleholder — in a yellow dress and her sash, sitting on a red sofa alongside her publicity man. A kilt-wearing Scottish officer also sits nearby as a Secret Service agent hovers.

U.S. Sens. Tom Connally, D-Texas, and Warren Austin, R-Vt., face each other in conversation as they sit on a red couch in the third sketch while a U.S. Navy “WAVES” officer looks on from a nearby chair. Gens. Joseph W. “Vinegar Joe” Stillwell and Edwin M. “Pa” Watson shake hands while being photographed, and an aide pushing Roosevelt’s lunch cart is chased by Fala, the president’s dog.

The final sketch shows more uniformed U.S military members huddled in conversation and, finally, an aide opening the door to the Oval Office, where the president is glimpsed.

“It’s such a little aquarium of these people and we’re like a fly on the wall as to what it was like at that particular period of time,” McLaurin said of the sketches.

They were a gift for Roosevelt’s press secretary

Rockwell made the sketches for Early and gave them to him after they appeared in The Saturday Evening Post in November 1943, during World War II, McLaurin said.

Early, who died in 1951, had displayed them on the wall in his West Wing office and then kept them for many years after. In 1978, a family member turned the sketches over to the White House, where they were on display throughout the West Wing for more than four decades, sometimes in a hallway between the press offices that are mere steps from the Oval Office.

The family’s ownership dispute began in 2017 when Thomas Early, one of the press secretary’s sons, saw them on a wall in the White House while watching a television interview with President Donald Trump, according to court records.

William Elam III, a grandson of Stephen Early, said his mother received the drawings as a gift from her father, the press secretary, before he died, and that ownership had later passed to him.

The illustrations had gone to the White House in 1978 under an agreement that required they be returned to Elam upon request. The White House gave back the drawings in 2022.

A federal appeals court settled the dispute in May 2025, upholding a lower-court ruling in favor of Elam, according to court records. Elam put them up for sale.

Association says the sketches are ‘priceless’

Historians at the association have researched the people in the drawings to learn their stories, McLaurin said, and the exhibit will include a digital component that uses modern technology to bring the characters in the sketches to life.

The association is still figuring out what happens to the sketches after the exhibit ends in June 2027. They may be shown in other venues, and may eventually end up back in the White House, McLaurin said.

When the association learned the sketches were for sale, “our board affirmed that this is an acquisition that we should make,” he said.

McLaurin said the privately funded association, which was founded in 1961 by first lady Jacqueline Kennedy and receives no taxpayer dollars, had feared the sketches would sell for even more than the $7.25 million it paid for them. That is the most the association has ever paid for a work of art for the vast collection it holds as part of its mission to help the White House collect and display artifacts that represent American history and culture.

“In our view, these are priceless works,” McLaurin said.

MEXICO CITY (AP) — One of the biggest folk heroes of this World Cup, Merlín the duck arrived outside Mexico City’s stadium on Wednesday to great fanfare — but was ultimately told he could not remain for Mexico’s match against the Czech Republic.

After winning hearts across social media, supporters had launched an effort urging organizers to allow the beloved bird to attend the match alongside his family. In less than two weeks, Merlín went from waddling through the streets of Mexico City during Mexico’s opening victory to visiting the presidential palace. But on Wednesday, his proverbial flight was cut short.

Merlín was granted access to the Azteca Stadium grounds to film a segment with Televisa, one of Latin America’s largest television networks. Under strict security protocols, Merlín traveled comfortably inside a transport crate, accompanied by owner Carla Gómez and her son Cristian, as curious fans gathered to catch a glimpse of the tournament’s most unexpected star. However, he could not remain for the match, as FIFA regulations prohibit animals from entering venues in order to safeguard their well-being.

A FIFA tournament spokesperson confirmed Merlín was permitted to enter the perimeter but not the stadium, and did not offer further comment.

“These last few days have been crazy, we’ll never stop being grateful for what we’ve experienced,” Gómez told The Associated Press. “Everyone is truly amazed by Merlín.”

Since his first appearance, Merlín has grown into a social media phenomenon and an international celebrity. Wearing a green Mexico jersey and proudly accompanying his family as they sell drinks throughout the city, the 2-year-old duck has become a familiar sight in the capital. Along the way, he has participated in interviews, visited television studios, mingled with supporters at the fan fest in Mexico City’s Zócalo, and even paid a visit to Netflix.

“He’s become our unofficial mascot for Mexico and the World Cup,” said Daniel Krauze, a fan outside the stadium who sported a duck hat. “I feel proud to wear Merlín the duck.”

Merlín has also found himself at the center of a trademark dispute, when at least two applications before Gómez’s sought the rights to his name for exclusive commercial use. The registration was ultimately granted to Gómez.

Now, following hundreds of requests from fans, the family will finally be able to watch Mexico’s national team live. Gómez described the occasion as a “very powerful emotion.”

And although the duck darling will not be cheering from the stands, she is convinced that Mexico’s most famous feathered supporter will still be bringing luck to El Tri: “Merlín is a lucky charm, and I know that, with him, the Mexican national team will win again today.”

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AP World Cup coverage: https://apnews.com/hub/fifa-world-cup

LOS ANGELES (AP) — As Usher prepares to launch a stadium tour with Chris Brown, he says the criticism and legal troubles surrounding the singer never factored into his decision to embark on the tour.

“Absolutely not,” Usher told The Associated Press. “He’s my brother, and he’s amazing as a performer. That’s who I see. He works hard for his fans, and his fans support him.”

Brown has remained one of R&B’s biggest stars despite years of legal troubles and controversy. Last year, he pleaded not guilty in London to charges stemming from an alleged 2023 assault at a nightclub after previously being released on bail to continue touring. He also pleaded guilty in 2009 to felony assault for attacking then-girlfriend Rihanna.

For Usher, their North American tour — which kicks off Friday in Denver — represents something much bigger than two of R&B’s brightest stars sharing a stage.

The 33-date tour follows blockbuster solo runs for both artists. Fresh off headlining the Super Bowl halftime show in 2024, Usher’s “Past, Present, Future” tour sold more than 1.1 million tickets across North America, while Brown’s “Breezy Bowl XX” grossed nearly $300 million.

“It’s not about me and my brother coming together,” Usher said. “We come together in support of our fans of R&B.”

Throughout the interview, Usher repeatedly returned to one message: R&B has helped shape modern music while rarely receiving equal recognition.

“It deserves to be in a stadium,” he said. “It is not just for theaters. It is not just for arenas. We do this … too. We are major too. R&B is major too.”

Usher said the tour also honors the artists who laid the foundation for the genre, citing Buddy Bolden, James Brown, Jackie Wilson, Chuck Berry, Little Richard, Marvin Gaye, Donny Hathaway, Prince, Luther Vandross, along with influential figures including Earth, Wind & Fire and Babyface.

“We’re carrying it over there for them,” he said.

Rather than viewing the tour as a competition between two of the genre’s biggest performers, Usher said rehearsals have reflected the admiration they have for one another.

“When we run through the show, I look over and I see Chris standing up doing my portion and dancing,” he said. “When it would be my time, I’d be standing up rooting him on. I love his music. I am encouraged by his music in the same way I feel like he’s been encouraged and inspired by mine.”

Usher said the partnership fulfills a vision that dates to Brown’s earliest days in the music business.

“When he first started his career, having been there as a mentor, a person to support what he did, some portion of my 25-year-old self was kind of like, ‘Man, I’m still building. Let’s someday get to the point where there’s an opportunity for us to share the stage together,’” he said.

Now, Usher believes the collaboration could inspire more artists to rethink touring together.

“There is power in numbers,” he said. “After this becomes the success that I know it’s going to be, you will see more collaborations. You will see artists beginning to understand, ‘Wait a minute. We actually serve more of our fans when we bring them together, as opposed to trying to do it all by ourselves.’”