Lifestyle
John Mayall, tireless and influential British blues pioneer, has died at 90
English blues singer John Mayall performs with his band The Bluesbreakers, on the stage of the Miles Davis Hall during the 42nd Montreux Jazz Festival in Montreux, Switzerland, on July 7, 2008.
Sandro Campardo/AP/Keystone
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LONDON — John Mayall, the British blues musician whose influential band the Bluesbreakers was a training ground for Eric Clapton, Mick Fleetwood and many other superstars, has died. He was 90.
A statement on Mayall’s Instagram page announced his death Tuesday, saying the musician died Monday at his home in California. “Health issues that forced John to end his epic touring career have finally led to peace for one of this world’s greatest road warriors,” the post said.
He is credited with helping develop the English take on urban, Chicago-style rhythm and blues that played an important role in the blues revival of the late 1960s. At various times, the Bluesbreakers included Eric Clapton and Jack Bruce, later of Cream; Mick Fleetwood, John McVie and Peter Green of Fleetwood Mac; Mick Taylor, who played five years with the Rolling Stones; Harvey Mandel and Larry Taylor of Canned Heat; and Jon Mark and John Almond, who went on to form the Mark-Almond Band.
Mayall protested in interviews that he was not a talent scout, but played for the love of the music he had first heard on his father’s 78-rpm records.
“I’m a band leader and I know what I want to play in my band — who can be good friends of mine,” Mayall said in an interview with the Southern Vermont Review. “It’s definitely a family. It’s a small kind of thing really.”
A small but enduring thing. Though Mayall never approached the fame of some of his illustrious alumni, he was still performing in his late 80s, pounding out his version of Chicago blues. The lack of recognition rankled a bit, and he wasn’t shy about saying so.
English blues singer John Mayall performs with his band The Bluesbreakers, on the stage of the Miles Davis hall during the 42nd Montreux Jazz Festival in Montreux, Switzerland, on July 7, 2008.
Sandro Campardo/AP/Keystone
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“I’ve never had a hit record, I never won a Grammy Award, and Rolling Stone has never done a piece about me,” he said in an interview with the Santa Barbara Independent in 2013. “I’m still an underground performer.”
Known for his blues harmonica and keyboard playing, Mayall had a Grammy nomination, for “Wake Up Call” which featured guest artists Buddy Guy, Mavis Staples, Mick Taylor and Albert Collins. He received a second nomination in 2022 for his album “The Sun Is Shining Down.” He also won official recognition in Britain with the award of an OBE (Officer of the Order of the British Empire) in 2005.
He was selected for the 2024 Rock & Roll Hall of Fame class and his 1966 album “Blues Breakers With Eric Clapton,” is considered one of the best British blues albums.
Mayall once was asked if he kept playing to meet a demand, or simply to show he could still do it.
“Well, the demand is there, fortunately. But it’s really for neither of those two things, it’s just for the love of the music,” he said in an interview with Hawaii Public Radio. “I just get together with these guys and we have a workout.”
Mayall was born on Nov. 29, 1933 in Macclesfield, near Manchester in central England.
Sounding a note of the hard-luck bluesman, Mayall once said, “The only reason I was born in Macclesfield was because my father was a drinker, and that’s where his favorite pub was.”
His father also played guitar and banjo, and his records of boogie-woogie piano captivated his teenage son.
Mayall said he learned to play the piano one hand at a time — a year on the left hand, a year on the right, “so I wouldn’t get all tangled up.”
The piano was his main instrument, though he also performed on guitar and harmonica, as well as singing in a distinctive, strained-sounding voice. Aided only by drummer Keef Hartley, Mayall played all the other instruments for his 1967 album, “Blues Alone.”
Mayall was often called the “father of British blues,” but when he moved to London in 1962 his aim was to soak up the nascent blues scene led by Alexis Korner and Cyril Davies. Mick Jagger, Keith Richards and Eric Burdon were among others drawn to the sound.
The Bluesbreakers drew on a fluid community of musicians who drifted in and out of various bands. Mayall’s biggest catch was Clapton, who had quit the Yardbirds and joined he Bluesbreakers in 1965 because he was unhappy with the Yardbirds’ commercial direction.
Mayall and Clapton shared a passion for Chicago blues, and the guitarist later remembered that Mayall had “the most incredible collection of records I had ever seen.”
Mayall tolerated Clapton’s waywardness: He disappeared a few months after joining the band, then reappeared later the same year, sidelining the newly arrived Peter Green, then left for good in 1966 with Bruce to form Cream, which rocketed to commercial success, leaving Mayall far behind.
British Blues pioneer John Mayall performs with this band the Bluesbreakers at the Deutsche Museum in Munich, West Germany, on Jan. 21, 1970.
Claus Hampel/AP
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Claus Hampel/AP
Clapton, interviewed for a BBC documentary on Mayall in 2003, confessed that “to a certain extent I have used his hospitality, used his band and his reputation to launch my own career,”
“I think he is a great musician. I just admire and respect his steadfastness,” Clapton added.
Mayall encouraged Clapton to sing and urged Green to develop his song-writing abilities.
Mick Taylor, who succeeded Green as a Bluesbreaker in the late 1960s, valued the wide latitude which Mayall allowed his soloists.
“You’d have complete freedom to do whatever you wanted,” Taylor said in a 1979 interview with writer Jas Obrecht. “You could make as many mistakes as you wanted, too.”
Mayall’s 1968 album “Blues from Laurel Canyon” signaled a permanent move to the United States and a change in direction. He disbanded the Bluesbreakers and worked with two guitars and drums.
The following year he released “The Turning Point,” arguably his most successful release, with an atypical four-man acoustic lineup including Mark and Almond. “Room to Move,” a song from that album, was a frequent audience favorite in Mayall’s later career.
The 1970s found Mayall at low ebb personally, but still touring and doing more than 100 shows a year.
“Throughout the ’70s, I performed most of my shows drunk,” Mayall said in an interview with Dan Ouellette for Down Beat magazine in 1990. One consequence was an attempt to jump from a balcony into a swimming pool that missed — shattering one of Mayall’s heels and leaving him with a limp.
“That was one incident that got me to stop drinking,” Mayall said.
In 1982, he reformed the Bluesbreakers, recruiting Taylor and McVie, but after two years the personnel changed again. In 2008, Mayall announced that he was permanently retiring the Bluesbreaker name, and in 2013 he was leading the John Mayall Band.
Mayall and his second wife, Maggie, divorced in 2011 after 30 years of marriage. They had two sons.
Lifestyle
‘The Middle’ Actor Pat Finn Dead at 60 After Cancer Battle
Pat Finn
‘The Middle’ Actor Dead at 60
Published
Veteran comedic actor Pat Finn — who starred in sitcoms like “The Middle” and “The George Wendt Show” — is dead from a cancer battle … TMZ has confirmed.
Family sources tell us Pat passed away Tuesday morning at his home in Los Angeles, and he was surrounded by his family.
Pat came up in Hollywood around the same time as his good friend Chris Farley. He and Chris attended Marquette University in 1987, played rugby together there … and were roommates in Chicago when they both joined the Second City comedy troupe.
In the early 90s, Pat landed a guest role as Joe Mayo on “Seinfeld” … and went on to play Dan Coleman on “The George Wendt Show,” and Phil Jr. on “Murphy Brown.”
He’s probably best known for his role on “The Middle,” where he played Bill Norwood from 2011 to 2018.
I don’t like to be the guy who post pics with celebrities that pass. But this guy wasn’t just a celebrity to me. He was a friend. One of the best dudes I knew with a PERFECT sense of humor. I love you Pat Finn and I’ll see again in the after , we can sing together and shake our… pic.twitter.com/pQhobHKbCZ
— Jeff Dye (@JeffDye) December 24, 2025
@JeffDye
Several of his co-stars and friends, including comedian Jeff Dye, have posted online tributes.
While Pat’s family sources would not confirm what kind of cancer he’d been fighting, there are reports he was diagnosed with bladder cancer several years ago.
Pat is survived by his wife Donna — to whom he’d been married since 1990 — and their 2 children.
RIP
Lifestyle
In Brooklyn’s Park Slope neighborhood, children’s entertainment comes with strings
The Tin Soldier, one of Nicolas Coppola’s marionette puppets, is the main character in The Steadfast Tin Soldier show at Coppola’s Puppetworks theater in Brooklyn’s Park Slope neighborhood.
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Anh Nguyen for NPR
Every weekend, at 12:30 or 2:30 p.m., children gather on foam mats and colored blocks to watch wooden renditions of The Tortoise and the Hare, Pinocchio and Aladdin for exactly 45 minutes — the length of one side of a cassette tape. “This isn’t a screen! It’s for reals happenin’ back there!” Alyssa Parkhurst, a 24-year-old puppeteer, says before each show. For most of the theater’s patrons, this is their first experience with live entertainment.
Puppetworks has served Brooklyn’s Park Slope neighborhood for over 30 years. Many of its current regulars are the grandchildren of early patrons of the theater. Its founder and artistic director, 90-year-old Nicolas Coppola, has been a professional puppeteer since 1954.
The Puppetworks theater in Brooklyn’s Park Slope neighborhood.
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A workshop station behind the stage at Puppetworks, where puppets are stored and repaired.
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A picture of Nicolas Coppola, Puppetworks’ founder and artistic director, from 1970, in which he’s demonstrating an ice skater marionette puppet.
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Anh Nguyen for NPR
For just $11 a seat ($12 for adults), puppets of all types — marionette, swing, hand and rod — take turns transporting patrons back to the ’80s, when most of Puppetworks’ puppets were made and the audio tracks were taped. Century-old stories are brought back to life. Some even with a modern twist.
Since Coppola started the theater, changes have been made to the theater’s repertoire of shows to better meet the cultural moment. The biggest change was the characterization of princesses in the ’60s and ’70s, Coppola says: “Now, we’re a little more enlightened.”
Right: Michael Jones, Puppetworks’ newest puppeteer, poses for a photo with Jack-a-Napes, one of the main characters in The Steadfast Tin Soldier. Left: A demonstration marionette puppet, used for showing children how movement and control works.
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Marionette puppets from previous Puppetworks shows hang on one of the theater’s walls.
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A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire that features the ballerina and tin soldier in The Steadfast Tin Soldier.
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Streaming has also influenced the theater’s selection of shows. Puppetworks recently brought back Rumpelstiltskin after the tale was repopularized following Dreamworks’ release of the Shrek film franchise.
Most of the parents in attendance find out about the theater through word of mouth or school visits, where Puppetworks’ team puts on shows throughout the week. Many say they take an interest in the establishment for its ability to peel their children away from screens.
Whitney Sprayberry was introduced to Puppetworks by her husband, who grew up in the neighborhood. “My husband and I are both artists, so we much prefer live entertainment. We allow screens, but are mindful of what we’re watching and how often.”
Left: Puppetworks’ current manager of stage operations, Jamie Moore, who joined the team in the early 2000s as a puppeteer, holds an otter hand puppet from their holiday show. Right: A Pinocchio mask hangs behind the ticket booth at Puppetworks’ entrance.
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A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire.
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Left: Two gingerbread people, characters in one of Puppetworks’ holiday skits. Right: Ronny Wasserstrom, a swing puppeteer and one of Puppetworks’ first puppeteers, holds a “talking head” puppet he made, wearing matching shirts.
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Anh Nguyen for NPR
Other parents in the audience say they found the theater through one of Ronny Wasserstrom’s shows. Wasserstrom, one of Puppetworks’ first puppeteers, regularly performs for free at a nearby park.
Coppola says he isn’t a Luddite — he’s fascinated by animation’s endless possibilities, but cautions of how it could limit a child’s imagination. “The part of theater they’re not getting by being on the phone is the sense of community. In our small way, we’re keeping that going.”
Puppetworks’ 12:30 p.m. showing of The Steadfast Tin Soldier and The Nutcracker Sweets on Saturday, Dec. 6.
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Children get a chance to see one of the puppets in The Steadfast Tin Soldier up close after a show.
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Left: Alyssa Parkhurst, Puppetworks’ youngest puppeteer, holds a snowman marionette puppet, a character in the theater’s holiday show. Right: An ice skater, a dancing character in one of Puppetworks’ holiday skits.
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Community is what keeps Sabrina Chap, the mother of 4-year-old Vida, a regular at Puppetworks. Every couple of weeks, when Puppetworks puts on a new show, she rallies a large group to attend. “It’s a way I connect all the parents in the neighborhood whose kids go to different schools,” she said. “A lot of these kids live within a block of each other.”
Three candy canes — dancing characters in one of Puppetworks’ holiday skits — wait to be repaired after a show.
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Anh Nguyen is a photographer based in Brooklyn, N.Y. You can see more of her work online, at nguyenminhanh.com , or on Instagram, at @minhanhnguyenn. Tiffany Ng is a tech and culture writer. Find more of her work on her website, breakfastatmyhouse.com.
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