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NEW YORK — Pete Rose, baseball’s career hits leader and fallen idol who undermined his historic achievements and Hall of Fame dreams by gambling on the game he loved and once embodied, has died. He was 83.

Stephanie Wheatley, a spokesperson for Clark County in Nevada, confirmed on behalf of the medical examiner that Rose died Monday. Wheatley said the cause and manner of death had not yet been determined.

For fans who came of age in the 1960s and ’70s, no player was more exciting than the Cincinnati Reds’ No. 14, “Charlie Hustle,” the brash superstar with the shaggy hair, puggish nose and muscular forearms. At the dawn of artificial surfaces, divisional play and free agency, Rose was old school, a conscious throwback to baseball’s early days. Millions could never forget him crouched and scowling at the plate, running full speed to first even after drawing a walk, or sprinting for the next base and diving headfirst into the bag.

A 17-time All-Star, the switch-hitting Rose played on three World Series winners. He was the National League MVP in 1973 and World Series MVP two years later. He holds the major league record for games played (3,562) and plate appearances (15,890) and the NL record for the longest hitting streak (44). He was the leadoff man for one of baseball’s most formidable lineups with the Reds’ championship teams of 1975 and 1976, with teammates that included Hall of Famers Johnny Bench, Tony Perez and Joe Morgan.

But no milestone approached his 4,256 hits, breaking his hero Ty Cobb’s 4,191 and signifying his excellence no matter the notoriety that followed. It was a total so extraordinary that you could average 200 hits for 20 years and still come up short. Rose’s secret was consistency, and longevity. Over 24 seasons, all but six played entirely with the Reds, Rose had 200 hits or more 10 times, and more than 180 four other times. He batted .303 overall, even while switching from second base to outfield to third to first, and he led the league in hits seven times.

“Every summer, three things are going to happen,” Rose liked to say, “the grass is going to get green, the weather is going to get hot, and Pete Rose is going to get 200 hits and bat .300.”

Rose was Rookie of the Year in 1963, but he started off 0 for 12 with three walks and a hit by pitch before getting his first major league hit, an eighth-inning triple off Pittsburgh’s Bob Friend. It came in Cincinnati on April 13, 1963, the day before Rose’s 22nd birthday. He reached 1,000 in 1968, 2,000 just five years later and 3,000 just five years after that.

He moved into second place, ahead of Hank Aaron, with hit No. 3,772, in 1982. No. 4,000 was off the Phillies’ Jerry Koosman in 1984, exactly 21 years to the day after his first hit. He caught up with Cobb on Sept. 8, 1985, and surpassed him three days later, in Cincinnati, with Rose’s mother and teenage son, Pete Jr., among those in attendance.

Rose was 44 and the team’s player-manager. Batting left-handed against the San Diego Padres’ Eric Show in the first inning, he smacked a 2-1 slider into left field, a clean single. The crowd of 47,000-plus stood and yelled. The game was halted to celebrate. Rose was given the ball and the first base bag, then wept openly on the shoulder of first base coach and former teammate, Tommy Helms.

Baseball Commissioner Peter Ueberroth, watching from New York, declared that Rose had “reserved a prominent spot in Cooperstown.” After the game, a 2-0 win for the Reds in which Rose scored both runs, he received a phone call from President Ronald Reagan.

“Your reputation and legacy are secure,” Reagan told him. “It will be a long time before anyone is standing in the spot where you’re standing now.”

Four years later, he was gone.

On March 20, 1989, Ueberroth (who would soon be succeeded by A. Bartlett Giamatti) announced that his office was conducting a “full inquiry into serious allegations” about Rose. Reports emerged that he had been relying on a network of bookies and friends and others in the gambling world to place bets on baseball games, including some with the Reds. Rose denied any wrongdoing, but the investigation found that the “accumulated testimony of witnesses, together with the documentary evidence and telephone records reveal extensive betting activity by Pete Rose in connection with professional baseball and, in particular, Cincinnati Reds games, during the 1985, 1986, and 1987 baseball seasons.”

Betting on baseball had been a primal sin since 1920, when several members of the Chicago White Sox were expelled for throwing the 1919 World Series — to the Cincinnati Reds. Baseball’s Rule 21, posted in every professional clubhouse, proclaims that “Any player, umpire or club or league official or employee who shall bet any sum whatsoever upon any baseball game in connection with which the bettor has a duty to perform shall be declared permanently ineligible.”

As far back as the 1970s, Bench and others had worried about Rose. By all accounts, he never bet against his own team, but even betting on the Reds left himself open to blackmail and raised questions about whether a given managerial decision was based on his own financial interest.

In August 1989, at a New York press conference, Giamatti spoke some of the saddest words in baseball history: “One of the game’s greatest players has engaged in a variety of acts which have stained the game, and he must now live with the consequences of those acts.” Giamatti announced that Rose had agreed to a lifetime ban from baseball, a decision that in 1991 the Hall of Fame would rule left him ineligible for induction. Rose attempted to downplay the news, insisting that he had never bet on baseball and that he would eventually be reinstated.

Within weeks of his announcement, Giamatti was dead from a heart attack. But the ban remained in place and Rose never made it to the Hall in his lifetime, although he did receive 41 votes in 1992 (when 323 votes were needed), around the time the Hall formally ruled that those banned from the game could never be elected. His status was long debated. Rose’s supporters including Donald Trump, who in 2015, the year before he was elected president, tweeted: “Can’t believe Major League Baseball just rejected @PeteRose_14 for the Hall of Fame. He’s paid the price. So ridiculous — let him in!”

Meanwhile, his story changed. In a November 1989 memoir, written with “The Boys of Summer” author Roger Kahn, Rose again claimed innocence, only to reverse himself in 2004. He desperately wanted to come back, and effectively destroyed his chances. He would continue to spend time at casinos, insisting he was there for promotion, not gambling. He believed he had “messed up” and that his father would have been ashamed, but he still bet on baseball, albeit legally.

“I don’t think betting is morally wrong. I don’t even think betting on baseball is morally wrong,” he wrote in “Play Hungry,” a memoir released in 2019. “There are legal ways, and there are illegal ways, and betting on baseball the way I did was against the rules of baseball.”
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Los Angeles — Kris Kristofferson, a Rhodes scholar with a deft writing style and rough charisma who became a country music superstar and A-list Hollywood actor, has died.

Kristofferson died at his home in Maui, Hawaii on Saturday, family spokesperson Ebie McFarland said in an email. He was 88.

McFarland said Kristofferson died peacefully, surrounded by his family. No cause was given. He was 88.

Starting in the late 1960s, the Brownsville, Texas native wrote such classics standards as “Sunday Mornin’ Comin’ Down,” “Help Me Make It Through the Night,” “For the Good Times” and “Me and Bobby McGee.” Kristofferson was a singer himself, but many of his songs were best known as performed by others, whether Ray Price crooning “For the Good Times” or Janis Joplin belting out “Me and Bobby McGee.”

Kristofferson, who could recite William Blake from memory, wove intricate folk music lyrics about loneliness and tender romance into popular country music. With his long hair and bell-bottomed slacks and counterculture songs influenced by Bob Dylan, he represented a new breed of country songwriters along with such peers as Willie Nelson, John Prine and Tom T. Hall.

“There’s no better songwriter alive than Kris Kristofferson,” Nelson said during a November 2009 award ceremony for Kristofferson held by BMI. “Everything he writes is a standard and we’re all just going to have to live with that.”

As an actor, he played the leading man opposite Barbara Streisand and Ellen Burstyn, but also had a fondness for shoot-out Westerns and cowboy dramas.

He was a Golden Gloves boxer and football player in college, received a master’s degree in English from Merton College at the University of Oxford in England and turned down an appointment to teach at the U.S. Military Academy at West Point, New York, to pursue songwriting in Nashville. Hoping to break into the industry, he worked as a part-time janitor at Columbia Records’ Music Row studio in 1966 when Dylan recorded tracks for the seminal “Blonde on Blonde” double album.

At times, the legend of Kristofferson was larger than real life. Johnny Cash liked to tell a mostly exaggerated story of how Kristofferson, a former U.S. Army pilot, landed a helicopter on Cash’s lawn to give him a tape of “Sunday Mornin’ Comin’ Down” with a beer in one hand. Over the years in interviews, Kristofferson said with all respect to Cash, while he did land a helicopter at Cash’s house, the ‘man in black’ wasn’t even home at the time, the demo tape was a song that no one ever actually cut, and he certainly couldn’t fly a helicopter holding a beer.

In a 2006 interview with The Associated Press, he said he might not have had a career without Cash.

“Shaking his hand when I was still in the Army backstage at the Grand Ole Opry was the moment I’d decided I’d come back,” Kristofferson said. “It was electric. He kind of took me under his wing before he cut any of my songs. He cut my first record that was record of the year. He put me on stage the first time.”

One of his most recorded songs, “Me and Bobby McGee,” was written based on a recommendation from Monument Records founder Fred Foster. Foster had a song title in his head called “Me and Bobby McKee,” named after a female secretary in his building. Kristofferson said in an interview in the magazine, Performing Songwriter, that he was inspired to write the lyrics about a man and woman on the road together after watching the Frederico Fellini film, “La Strada.”

Joplin, who had a close relationship with Kristofferson, changed the lyrics to make Bobby McGee a man and cut her version just days before she died in 1970 from a drug overdose. The recording became a posthumous No. 1 hit for Joplin.

Hits that Kristofferson recorded include “Why Me,” “Loving Her Was Easier (Than Anything I’ll Ever Do),” “Watch Closely Now,” “Desperados Waiting for a Train,” “A Song I’d Like to Sing” and “Jesus Was a Capricorn.”

In 1973, he married fellow songwriter Rita Coolidge and together they had a successful duet career that earned them two Grammy awards. They divorced in 1980.
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New York — Francis Ford Coppola’s decades-in-the-making, self-financed epic “Megalopolis” flopped with moviegoers, while the acclaimed DreamWorks Animation family film “The Wild Robot” soared to No. 1 at the weekend box office.

“The Wild Robot,” Chris Sanders’ adaptation of Peter Brown’s bestseller, outperformed expectations to launch with $35 million in ticket sales in U.S. and Canada theaters, according to studio estimates Sunday. “Wild Robot” was poised to do well after critics raved about the story of a shipwrecked robot who raises an orphan gosling. Audiences agreed, giving the film an A CinemaScore. “Wild Robot” is likely to set up a long and lucrative run for the Universal Pictures release.

Paul Dergarabedian, senior media analyst for Comscore, predicts “The Wild Robot” “may take a page from the ‘Elemental’ playbook by opening to respectable box office and then looking toward long-term playability.” Pixar’s “Elemental,” which like “The Wild Robot” wasn’t a sequel, debuted with a modest $30 million but went on to gross nearly $500 million worldwide.

Family movies, led by the year’s biggest hit “Inside Out 2,” have particularly powered the box office this year. David A. Gross, a film consultant who publishes a newsletter for Franchise Entertainment, said the genre should reach $6 billion worldwide in 2024 — which, he noted, “is back to pre-pandemic levels.”

“Megalopolis,” Coppola’s vision of a Roman epic set in modern-day New York, was never expected to perform close to that level. But the film’s $4 million debut was still sobering for a movie that Coppola bankrolled himself for $120 million. Following its premiere at the Cannes Film Festival, critics have been mixed on Coppola’s first film in 13 years. Audiences gave it a D+ CinemaScore.

By any financial measure, “Megalopolis” was a mega-flop. But from the start, the 85-year-old Coppola maintained money wasn’t his concern. Coppola fashioned the film, which he first began developing in the late 1970s, as a grand personal statement about human possibility. 

“Everyone’s so worried about money,” Coppola told The Associated Press in an interview ahead of the film’s release. “I say: Give me less money and give me more friends.”

Studios passed on “Megalopolis” after Cannes. Lionsgate ultimately stepped forward to distribute it, for a fee. Coppola also picked up the tab for most of its $15 million in marketing costs. The film, which stars Adam Driver, Nathalie Emmanuel and Aubrey Plaza, also played in about 200 IMAX locations, which accounted for $1.8 million of its ticket sales.

After three weeks atop the box office, Tim Burton’s “Beetlejuice Beetlejuice” slid to second place with $16 million in its fourth weekend of release. The Warner Bros. sequel to the 1988 “Beetlejuice,” starring Michael Keaton and Winona Ryder, has amassed $250 million domestically in a month of release.

Third place went to “Transformers One,” the Transformers prequel starring Chris Hemsworth and Brian Tyree Henry. After its lower-than expected debut last weekend, the Paramount release collected $9.3 million on its second weekend.

“Megalopolis” was even bested by the Indian Telugu-language action film “Devara: Part 1.” It grossed $5.1 million in its opening weekend, good enough for fourth place.

Also debuting in theaters was Jason Reitman’s “Saturday Night,” an affectionate dramatization of the sketch-comedy institution on the night it first aired in 1975. On the same weekend the NBC series began its 50th season, Reitman’s movie launched in five New York and Los Angeles theaters and collected $265,000, good for a strong $53,000 per-theater average. “Saturday Night” goes nationwide in two weeks. 

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday. 

1. “The Wild Robot,” $35 million. 

2. “Beetlejuice Beetlejuice,” $16 million. 

3. “Transformers One,” $9.3 million. 

4. “Devara: Part 1,” $5.1 million. 

5. “Speak No Evil,” $4.3 million. 

6. “Megalopolis,” $4 million. 

7. “Deadpool & Wolverine,” $2.7 million. 

8. “My Old Ass,” $2.2 million. 

9. “Never Let Go,” $2.2 million. 

10. “The Substance,” $1.8 million. 
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MUNICH — The head brewmaster for Weihenstephan, the world’s oldest brewery, has a secret: He really likes alcohol-free beer.

Even though he’s quick to say he obviously enjoys real beer more, Tobias Zollo says he savors alcohol-free beer when he’s working or eating lunch. It has the same taste but fewer calories than a soft drink, he said, thanks to the brewery’s process of evaporating the alcohol.

“You can’t drink beer every day — unfortunately,” he joked last week at the Bavarian state brewery in the German town of Freising, about 30 kilometers north of Munich.

Zollo isn’t alone in his appreciation for the sober beverage. Alcohol-free beer has been gaining popularity in recent years as beer consumption shrinks.

At Weihenstephan, which was founded as a brewery in 1040 by Benedictine monks, non-alcoholic wheat beer and lager now make up 10% of the volume. The increase over the last few years, since they started making alcohol-free drinks in the 1990s, mirrors the statistics for the rest of Germany’s beer industry.

“The people are unfortunately — I have to say that as a brewer — unfortunately drinking less beer,” Zollo said Friday, the day before Oktoberfest officially started. “If there’s an alternative to have the crisp and fresh taste from a typical Weihenstephan beer, but just as a non-alcoholic version, we want to do that.”

Even at Oktoberfest — arguably the world’s most famous ode to alcohol — alcohol-free beer is on the menu.

All but two of the 18 large tents at the festival offer the drink through the celebration’s 16 days. The sober beverage will cost drinkers the same as an alcoholic beer — between 13.60 and 15.30 euros ($15.12 and $17.01) for a 1-liter mug — but save them from a hangover.

“For people who don’t like to drink alcohol and want to enjoy the Oktoberfest as well, I think it’s a good option,” Mikael Caselitz, 24, of Munich said Saturday inside one of the tents. “Sometimes people feel like they have more fun with alcohol, which is not a good thing because you can also have fun without alcohol.”

He added: “If you want to come and drink alcohol-free beer, nobody will judge you.”

This year marked the first time an alcohol-free beer garden opened in Munich. “Die Null,” which means “the zero” in German, served non-alcoholic beer, mocktails and other alcohol-free drinks near the city’s main train station this summer but was scheduled to close a few day before Oktoberfest opened.

Walter König, managing director of the Society of Hop Research north of Munich, said researchers have had to breed special hops varieties for alcohol-free beer. If brewers use the typical hops for alcohol-free beer, the distinct aroma gets lost when the alcohol is reduced during the brewing process.

But customers don’t care about that, König said Friday as he prepared for Oktoberfest.

“They only want to know that what they are tasting is as good as traditional beers with alcohol,” he said.
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