PROVIDENCE, R.I. (AP) — The man who authorities dubbed the “Bordeaux Bandit” for allegedly stealing expensive bottles of wine around the Northeast is being held in Rhode Island on an unrelated charge.

Scott Deluca, of Cohoes, New York, was scheduled to appear Tuesday in Providence Superior Court as a bail violator. He wasn’t brought into the courtroom, but attorneys met with the magistrate judge.

The 25-year-old is accused of wine theft in Connecticut, New Jersey and New York. One bottle he allegedly took is worth $4,800.

In Rhode Island, Deluca is charged with stealing something far less rarefied: video game equipment and jewelry. He faces up to 10 years in prison for larceny.

His lawyer wouldn’t comment outside the courtroom.

Deluca is being held on a warrant. His next court appearance is Jan. 27.

NEW YORK (AP) — John Legend is his own worst enemy at next month’s Grammy Awards.

The singer is nominated twice for best rap/sung collaboration for his Oscar-winning hit “Glory” alongside Common and “One Man Can Change the World,” a collaboration with Kanye West and Big Sean.

“It’s kind of hard … I don’t know how to even think about it,” Legend said.

In a recent interview with The Associated Press, the 37-year-old performer talked about his new film with Ryan Gosling, writing new music, fatherhood and the Grammys, to be held Feb. 15 in Los Angeles.

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GRAMMY FAMILY

Legend, who has won nine Grammys, is grateful for the four nominations he received this year.

“You can’t bank on the Grammys because every year is different, there’s a lot of people voting (and) there’s a lot of great competition,” he said.

In addition to best rap/sung collaboration, Legend is nominated for best rap song and song written for visual media for “Glory,” from the film “Selma.”

As for picking which of his songs should win the Grammy, he says, “hopefully people vote for the song they think is the best and we’ll see who wins.”

A win for the collaboration with West and Big Sean would give West, who has four nominations this year, his 22nd gramophone.

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SPEAKING OF KANYE

Like other music fans, Legend is anticipating West’s upcoming album, “Swish.”

“I was in the studio with him about a year ago, but he’s done so much probably since then that I have no idea where it is now,” he said of his longtime mentor and collaborator. “I’m like another fan. I’m just excited to hear how it comes out!”

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SPEAKING OF MENTORS

Legend, who worked as a mentor with the AXE Collective at the South by Southwest music festival last year, is partnering with the company for its new campaign, “Find Your Magic.” It will give young musicians and filmmakers a chance to collaborate with the singer by submitting video of a film or music performance to AXE’s website.

“It’s all about … expressing who you are as an individual creatively, showing your unique voice and hopefully we’ll give the best folks the opportunity to be seen by a larger audience and heard,” Legend said.

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SPEAKING OF FILMS

Legend, who had a nonspeaking role in 2008’s “Soul Men,” will finally get to speak — and sing — in the upcoming Hollywood musical film “La La Land,” starring Gosling and Emma Stone.

“It was comfortable because most of my scenes were in settings I’m used to being in as a musician, but having to learn dialogue and improvise and play off of Ryan a lot, it was really an education for me,” said Legend, who learned to play the guitar for the role.

More acting and production is on the horizon for Legend with his production house, Get Lifted Film Co.

“We have a new TV series coming out in March called ‘Underground’ (on WGN America). We were part of the production team for ‘La La Land.’ We’ve also executive-produced a documentary on HBO called ‘Southern Rites,'” he said.

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TAKING A BACKSEAT

Though he’s between albums, Legend is still burning up the charts, thanks to Meghan Trainor. (They share the same manager.)

Their duet, “Like I’m Gonna Lose You,” released in June, is still in the Top 10 on the Billboard Hot 100 chart. And Legend didn’t write the song — a rarity for the respected songwriter.

“I tend to sing my own songs because I love to write songs and I feel like I know how to write for myself more than other people, but when Meghan sent it to me, I was like, ‘Wow, this song is beautiful. I’d love to do it.’ And that’s really all it took,” Legend said.

“I really respect her as a songwriter and an artist,” he said of the “All About That Bass” performer.

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ALL ABOUT THAT BABY

Despite his projects — from music to film — Legend has a bigger priority coming soon: fatherhood.

His wife, model Chrissy Teigen, is pregnant with their first child, a girl, due later this year.

“It’s never going to be completely easy, but I think she’s taken it in stride and we’re enjoying it, and we’re excited to welcome our new little girl to the world,” Legend said.

He said fatherhood and marriage is spilling over to the music he’s writing for his upcoming album.

“Just trying to make an album that encompasses all that I am,” he said.

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Online:

http://www.johnlegend.com/

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This story has been corrected to show the name is Axe Collective not Axe Collection.

NEW YORK (AP) — Amid calls for a boycott of the Academy Awards over its all-white acting nominees and Spike Lee and Jada Pinkett Smith both announcing they would sit out this year’s ceremony, the academy’s president said it was time for major changes — and soon.

Academy of Motion Pictures Arts and Sciences President Cheryl Boone Isaacs issued a statement promising more diversity, and quickly, after both Lee and Pinkett spoke out Monday.

In a lengthy Instagram post, Lee said he “cannot support” the “lily white” Oscars. Noting that he was writing on Martin Luther King Jr. Day, Lee — who in November was given an honorary Oscar at the Governors Awards — said he was fed up: “Forty white actors in two years and no flava at all,” he wrote. “We can’t act?!”

In a video message on Facebook, Pinkett Smith also said she wouldn’t attend or watch the Oscars in February. Pinkett Smith, whose husband Will Smith wasn’t nominated for his performance in the NFL head trauma drama “Concussion,” said it was time for people of color to disregard the Academy Awards.

“Begging for acknowledgement, or even asking, diminishes dignity and diminishes power,” she said. “And we are a dignified people and we are powerful.”

She added: “Let’s let the academy do them, with all grace and love. And let’s do us differently.” The video had amassed 4.5 million by mid-Monday afternoon.

Last year’s all-white acting nominees also drew calls for a boycott, though not from such prominent individuals as Lee and Pinkett Smith. Whether it had any impact or not, the audience for the broadcast, hosted by Neil Patrick Harris, was down 16 percent from the year prior, a six-year low.

Isaacs has made a point of presenting a more inclusive show this year. The Feb. 28 broadcast will be hosted by Chris Rock and produced by “Django Unchained” producer Reginald Hudlin and David Hill. On Saturday, Rock, unveiling a new promotion for the broadcast, called the ceremony “The White BET Awards.”

When Oscar nominations were announced Thursday, Isaacs acknowledged she was “disappointed” that all 20 acting nominees were again white and promised to “continue the conversation” on diversity. Isaacs has worked to diversify membership for the academy, which a 2012 study by the Los Angeles Times found is overwhelming white and male.

But on Monday, Isaacs was more explicit and promised an examination of the academy and a more intense drive to diversify.

“This is a difficult but important conversation, and it’s time for big changes,” she said in a statement released Monday night. “The Academy is taking dramatic steps to alter the makeup of our membership. In the coming days and weeks we will conduct a review of our membership recruitment in order to bring about much-needed diversity in our 2016 class and beyond.”

Many awards handicappers expected nominations for Idris Elba of “Beasts of No Nation” and Benicio Del Toro for “Sicario.” The N.W.A. biopic “Straight Outta Compton” also failed to earn a best picture nomination, despite some predictions it would. Ryan Coogler’s acclaimed Rocky sequel “Creed” scored a nomination only for Sylvester Stallone. (Lee’s own movie, the Chicago gang violence hip-hop musical “Chi-Raq” — celebrated by some and scorned by others — also went unnoticed.)

The hashtag “OscarsSoWhite,” created last year, was quickly resurrected online following the nominations. The Rev. Al Sharpton — who last year met with former Sony head Amy Pascal following leaked emails that some viewed as racist — on Friday lambasted the academy.

“Hollywood is like the Rocky Mountains, the higher up you get the whiter it gets and this year’s Academy Awards will be yet another Rocky Mountain Oscar,” said Sharpton.

In his post, Lee made it clear the Academy Awards is only part of the problem in an industry with deep-rooted diversity issues. In his Governors Awards speech, Lee said, “It’s easier to be the president of the United States as a black person than be the head of a studio.”

“The Academy Awards is not where the ‘real’ battle is,” wrote Lee. “It’s in the executive office of the Hollywood studios and TV and cable networks. This is where the gate keepers decide what gets made and what gets jettisoned to ‘turnaround’ or scrap heap. This is what’s important. The gate keepers. Those with ‘the green light’ vote.”

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Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

WASHINGTON, New Hampshire (AP) — Ted Cruz on Monday accused his Republican rival Donald Trump of not being a trustworthy conservative and said the billionaire investor is becoming “rattled” and “dismayed” by his gains.

Both Cruz and Trump were campaigning Monday in New Hampshire, which holds the second contest in the country’s critical primary season.

The war of words between Cruz and Trump has intensified in recent days, with Trump going on the offensive over Cruz’s eligibility to be on the ballot given his Canadian birth and for Cruz’s failure to disclose loans received from Citibank and Goldman Sachs for his 2012 Senate race.

Trump on Sunday called Cruz a “nasty guy” whom no one likes. Cruz tried to turn the insult into a joke Monday, posting a message on Twitter saying Americans feel “nasty” toward the “Washington Cartel.” He also posted a link to the video of Janet Jackson’s hit song “Nasty.”

“Donald seems to be a little rattled,” Cruz told reporters before a town hall in Washington, New Hampshire. “For whatever reason he is very, very dismayed. I guess as conservatives continue to unite behind our campaign, as his poll numbers continue to go down, he’s a little testier.”

Polls show Cruz and Trump locked in a tight race in Iowa, but Trump is polling considerably better in New Hampshire. Cruz embarked on a five-day swing through the Granite State this week as his numbers began to show new strength.

Cruz questioned whether Trump is a true conservative, noting donations he’s made to Democrats over the years, including $50,000 in 2010 to Chicago Mayor Rahm Emanuel, the former chief of staff to President Barack Obama. And Cruz rejected Trump’s self-comparison to Ronald Reagan, saying he was “pretty sure” Reagan never supported or made large donations to Democrats.

Trump, campaigning in New Hampshire late Monday, did not bring up his rival’s accusations. Trump has taken to Twitter to blast Cruz in the past, a move Cruz suggested will turn off voters.

“The American people want a steady hand at the helm,” Cruz told The Associated Press in an interview on his campaign bus Monday. “They don’t want, I believe, a commander in chief who wakes up obsessed with the latest polls and driven to issue a frenzy of tweets. Instead, they want a principled, steady, conservative leader who will do everything necessary to protect this nation and keep America safe.”

At a town hall meeting Monday night in Whitefield, New Hampshire, Cruz said voters need to question Trump’s credibility, saying he was “nowhere to be found” during the debate in Congress over whether to grant amnesty to immigrants living in the country illegally.

“If you didn’t stand up and fight amnesty, when the stakes were live or die, do we lose this permanently or do we win, I would suggest as voters you have reasons to doubt the credibility of the promises of a political candidate who discovers the issue after he announces for president,” Cruz said.

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Follow Scott Bauer on Twitter at https://twitter.com/sbauerAP and find more of his work at http://bigstory.ap.org/content/scott-bauer

BOSTON (AP) — A night at the symphony usually means silencing cellphones and mobile devices before the music starts.

But as part of an effort to draw in a younger audience, the Boston Symphony Orchestra is loaning select patrons iPads loaded with content specific to each performance.

They’ll be able to view sheet music for the pieces being played, video interviews with musicians, podcasts about the composers and analysis on the works themselves. They’ll also get a close-up view of the conductor from the musicians’ point of view from video monitors set up in the hall.

The storied orchestra, which was founded in 1881, is the first to offer audience members use of customized iPads, according to Kim Noltemy, the group’s chief operating and communications officer.

But other orchestras are also trying to incorporate technology.

The Philadelphia Orchestra is among a handful that has developed its own mobile application to let audience members follow along with program notes, like translations of vocal parts, in real time from their personal devices.

The Los Angeles Philharmonic rolled out “VAN Beethoven,” a customized van that gave residents last fall a chance to enjoy a performance of Beethoven’s Fifth Symphony using virtual reality headsets.

And the Sacramento Philharmonic and Opera, Virginia Symphony Orchestra are among those offering “tweet seats,” specially designated sections where concertgoers are encouraged to interact on Twitter with a concert official as they gave running commentary during select performances.

Jesse Rosen, president and CEO of the League of American Orchestras, an approximately 800-member group based in New York, says orchestras are trying to appeal to a new generation’s changing expectations for the concert experience.

“It’s about enhancing the visual experience of listening to a symphony orchestra,” he says. “It’s also about making the experience more intimate and creating a more visible contact between the performer and the audience, which is something younger audiences really seem to value.”

The Boston orchestra is rolling out the iPads as part of a broader effort to draw patrons, particularly younger ones, to their underperforming Friday concerts.

During “Casual Fridays,” symphony tickets are being offered at significantly lower prices, ranging from $25 to $45, down from as much as $145, patrons are being encouraged to dress casually, and the hall is hosting pre- and post-concert receptions with live music, snacks and a cash bar.

The first performance was Jan. 15; two others have so far been scheduled for Feb. 12 and March 18.

Efforts to appeal to new audiences are not without opposition from symphony traditionalists.

“There’s been resistance all along to screens in concert halls” observes Rosen, of the League of American Orchestras.

Jeremy Rothman, vice president for artistic planning at the Philadelphia Orchestra, says concerns over its LiveNote app, which debuted this season at select concerts, have diminished as concertgoers and musicians alike saw the technology in action.

The app, he says, has helped some patrons become more informed and therefore more engaged in the performance while the app’s design — grayscale text on a black background — minimizes the impact on others.

“No one is more concerned about preserving the live concert experience as we are,” Rothman says. “This is absolutely at the core of what we do. So we asked a lot of the really hard questions up front and are continuing to listen to feedback now that we’ve put it in people’s hands.”

In Boston, Noltemy says the symphony orchestra has taken steps to make sure it isn’t alienating its core audience.

For now, the iPads will be offered only to the 110 people seated in the rear orchestra. That section is under the balcony overhang, she notes, helping limit the impact of screen glow on other audience members.

The devices will also be on a dim setting, and patrons will be given headphones to tune into the video and audio segments.

“We’d prefer people watch the iPad podcasts before the concert during the pre-concert reception,” Noltemy says. “But, as you can imagine, we have no control over that.”

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Follow Philip Marcelo at http://twitter.com/philmarcelo. His work can be found at http://bigstory.ap.org/journalist/philip-marcelo .

LOS ANGELES (AP) — The latest on the launch of an ocean-monitoring satellite from California (all times local):

10 p.m.

Elon Musk has posted a video on his Instagram account of the moment SpaceX’s Falcon 9 rocket landed on a floating ocean barge, toppled over and exploded into pieces.

The rocket made the hard landing Sunday after launching from Vandenberg Air Force Base, northwest of Los Angeles, and successfully delivering an ocean-monitoring satellite into orbit.

Musk tweeted that the lockout collet on one of the rocket’s four legs didn’t latch, causing it to tip over after landing. He said the “root cause may have been ice buildup due to condensation from heavy fog at liftoff.”

The failed landing was a setback for the Hawthorne, California, company’s plan to reduce launch costs by reusing rockets rather than having them fall into the ocean.

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2:15 p.m.

SpaceX says its Falcon 9 rocket toppled over upon landing on a floating ocean barge because one of its support legs didn’t lock as planned.

The California company said on Twitter Sunday that data now show that the rocket’s first stage landed softly within 1.3 meters of the center of the 300-by-170 foot landing pad.

Founder Elon Musk tweeted that the rocket’s speed at touchdown was OK, “but a leg lockout didn’t latch, so it tipped over after landing.” Officials previously said the support leg broke.

The rocket successfully delivered an ocean-monitoring satellite into orbit after launching from Vandenberg Air Force Base, northwest of Los Angeles.

SpaceX hopes to reduce launch costs by reusing rockets rather than having them fall into the ocean.

NASA says the U.S.-European Jason-3 satellite is in orbit and “ready for science operations.”

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11:45 a.m.

The first stage of a SpaceX rocket that delivered an ocean-monitoring satellite into orbit made a hard landing on an ocean barge and broke a support leg.

SpaceX announcers said the Falcon 9 was not upright after reaching the 300-by-170 foot landing pad west of San Diego on Sunday morning. No further details were immediately available.

The rocket launched as planned at 10:42 a.m. from Vandenberg Air Force Base, northwest of Los Angeles, sending its second stage and a Jason-3 satellite into orbit.

The failed landing is a blow to the California-based company’s plan to reduce launch costs by reusing rockets rather than having them fall into the ocean.

The mission of Jason-3 is to continue an unbroken record of more than two decades of sea level measurements from orbit.

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11 a.m.

An ocean-monitoring satellite that launched from the California coast has separated from its SpaceX rocket and been sent toward orbit.

With the Falcon 9 rocket’s second stage and the Jason-3 satellite continuing toward orbit, SpaceX will now try to land its first stage on a floating barge in the Pacific Ocean.

Liftoff occurred as planned at 10:42 a.m. Sunday from Vandenberg Air Force Base, northwest of Los Angeles.

The mission of the Jason-3 satellite is to continue an unbroken record of more than two decades of sea level measurements from orbit.

California-based SpaceX hopes to reduce launch costs by reusing rockets rather than having them fall into the ocean.

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10:45 a.m.

A U.S.-European satellite designed to detect and measure ocean phenomena has launched aboard a SpaceX rocket under mostly cloudy skies from the California coast.

Liftoff occurred as planned at 10:42 a.m. Sunday from Vandenberg Air Force Base, northwest of Los Angeles.

After sending the Jason-3 satellite into orbit the Falcon 9 rocket will attempt to land its discarded first stage on a floating barge in the Pacific Ocean.

The mission of Jason-3 is to continue an unbroken record of more than two decades of sea level measurements from orbit.

Like its predecessors, Jason-3 is equipped with radar altimeter to bounce microwave energy off the ocean and a GPS system to identify the satellite’s precise location.

The cost of the mission, including five years of operation, was put at $180 million.