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Blink-182’s Travis Barker says “power of love” helped him overcome fear of flying

Travis Barker has said that it was the “power of love” that has helped him to overcome his fear of flying.The Blink-182 drummer refused to travel via plane for years after he was involved in a crash back in 2008, which left four dead.The crash saw the plane’s two pilots and two of its four passengers killed instantly – his assistant, Chris Baker and security guard Charles ‘Che’ Still.Barker and fellow passenger Adam ‘DJ AM’ Goldstein suffered serious injuries from the crash, with the latter dying one year later due to an overdose. Barker then spent 11 weeks in a hospital, undergoing 26 surgeries and a number of skin grafts.Now, he has opened up about overcoming his fear of flying and credited his wife Kourtney Kardashian with helping him travel by plane again.“I think the power of love really helped me,” he told The Los Angeles Times (via Radio X).
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“American Prophet” Review: Prophets and Losses
American Prophet: Frederick Douglass in His Own Words (★★★☆☆), in its world-premiere production at Arena Stage, wisely draw directly from the source for their expansive, though not exhaustive, biography of the great abolitionist, author, publisher, statesman, escaped slave, and public speaker.The bulk of Douglass’ lines and lyrics in the show are words that the man either spoke or wrote, interpreted and interpolated fluidly by book writers Charles Randolph-Wright and Marcus Hummon.Randolph-Wright also directs, while Grammy-winner Hummon composed music and lyrics for the score, which floats between R&B, pop, and gospel influences, but stays too comfortably within theater conventions.The music doesn’t start down the most adventurous path. Opening with Douglass plaintively singing “What Does Freedom Look Like?” feels way too obvious.The follow-up number, “Going to the Great House,” turns out to be a sharply satirical subversion of happy-dancing-slave tropes, but then shifts into a sober — and, again, very on-the-nose — “Wade in the Water,” complete with choreography reminiscent of Alvin Ailey’s “Revelations.”Fortunately, the show goes bolder in its characterization of Frederick Douglass.
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