Entertainment

Appreciation: John Mayall set the bar for the British blues explosion by leading with heart and soul

Published

3 hours ago

July 26, 2024

Appreciation: John Mayall set the bar for the British blues explosion by leading with heart and soul

As a kid growing up on the outskirts of Manchester, England, John Mayall recognized something personal in the blues records coming over from the United States. He heard joy, agony and stories from real life, all of it set to music that could be euphoric and downtrodden, hopeful and mysterious.

It was music of profound emotion that would stay with him forever, and as a leading purveyor of that tradition in the British blues explosion of the 1960s, he represented a standard for many better-known players to follow. “He was my mentor and a surrogate father too,” Eric Clapton said in a tribute posted Wednesday on Instagram. “He taught me all I really know and gave me the courage and enthusiasm to express myself without fear or without limit.”

Mayall, who died this week at age 90, provided a home to an astonishing lineup of virtuosic players who passed through his band the Bluesbreakers en route to greater fame later: Clapton and Jack Bruce (who formed Cream), Mick Taylor (later of the Rolling Stones) and members of Fleetwood Mac, Journey, Canned Heat and more.

John Mayall was a mentor to Eric Clapton, Mick Fleetwood and many other superstars.

(Claus Hampel / Associated Press)

He was a half-generation older than many of the iconic players he nurtured, and an important source of inspiration. He gave refuge to a disheartened Clapton, who had just quit the Yardbirds and was considering leaving music entirely. But the fame that many of Mayall’s endlessly rotating sidemen later enjoyed was entirely beside the point to him.

“The great roster of the most famous names all came out of that period of London of four or five years,” he told me in 1997. “Everybody knew everybody, so they were shifting around, finding their own musical path. As a band leader I just hired whoever turned me on. That criteria is the same today as always.”

Back in the 1990s, I interviewed Mayall a few times, including at his house in the San Fernando Valley. Our very first talk on the phone was cut short by him after about 15 minutes, probably from my own inexperience as an interviewer and for asking too many questions about his more controversial statements. (Like calling Led Zeppelin “a parody of the blues.”)

But he was normally a patient proselytizer of the blues. While his own reputation often rested with his role as a profoundly gifted scout of talent, his own records showed a steady commitment to what had first inspired him. Mayall was a singer and multi-instrumentalist (harmonica, keyboards, guitar), and like his heroes, the songs he wrote were autobiographical — celebrations and laments about his life experiences.

He was sometimes criticized as a purist who rarely wavered, even as former collaborators won accolades and made hit records by straying into rock, psychedelia and pop. If anything, his experiments went further away from the masses with a jazz-rock fusion sound on 1968’s “Bare Wires.” He stretched out with layers of horns and flute, he went solo acoustic, but the electrified Chicago blues was always his North Star.

“‘Purist’ is a funny word really, because it can mean someone who doesn’t want to shift from doing note-for-note copies of stuff other people have done in the early days,” he said. “There are bands that just do that. They consider themselves blues purists. But I’ve always been an innovator, so purist doesn’t really fit.

“I do draw from the pure roots of the blues to make something that’s very contemporary and something that is very personal.”

He grew up in the late-1940s and ’50s listening to his father’s vast record collection, learning to love the Mills Brothers, Charlie Christian and Lonnie Johnson, and was soon saving up to buy his own 78 rpm discs. “Anything with the word ‘boogie’ on it, I bought it,” Mayall told me. He then discovered the immortal blues played by Big Bill Broonzy, Blind Lemon Jefferson and Sonny Terry.

He was already 30 when he left Manchester for London, after a career in typography and art, ready to join the blues scene rising there. “It all really happened rather suddenly, and everybody really came down to London,” he said. “The Animals came down from Newcastle, Spencer Davis and Stevie Winwood came from Birmingham. If you wanted to play you really had to start off and be based in London. So that’s what I did.”

The British blues scene was kicked off by Alexis Korner and Cyril Davis, evolving from folk clubs to electrified Chicago blues. As it had for Mayall, American blues had reached the postwar generation on the British Isles and ignited a movement, even as blues was still underappreciated back in the U.S. It would take a British invasion of inspired young players to bring it back home.

In those early days, Mayall was encouraged by successes of the early Rolling Stones and Yardbirds. “I was pretty amazed, because I had been playing this music privately for 15-20 years and knew what it was all about. But I’d never dreamed it was fit for public consumption, so to speak,” he said. “I owed it to myself to give it a shot.”

His best-known album, 1967’s “Blues Breakers With Eric Clapton,” is considered a classic document of that scene, and an early sign of Clapton’s still evolving skills. Mayall otherwise had no major pop hits, and few accolades for most of his life other than a couple of Grammy nominations. In 2005 he was awarded an OBE (Officer of the Order of the British Empire) by Queen Elizabeth II, and this fall was to be inducted into the Rock and Roll Hall of Fame with an Influence Award.

At times during interviews, he would grumble about a lack of recognition, but his focus remained on the work ahead — spending a third of the year on the road, and releasing nearly 40 studio albums and more than 30 live recordings in his lifetime. For him, his musical journey remained always open-ended, right up until his last performance in February 2022 in San Juan Capistrano.

“Creating music is an art,” he explained. “Jazz musicians and blues musicians, their careers do not end except by death. It’s something that has a built-in longevity. It’s not a flash-in-the-pan thing. The years only make you more mature, you learn more and more as the years go by.”

Movie Reviews

Movie Review: Twisters – Kenbridge Victoria Dispatch

Published

2 hours ago

July 26, 2024

Press Room

Movie Review: Twisters

Published 11:15 am Friday, July 26, 2024

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Glen Powell as Tyler in Twisters, directed by Lee Isaac Chung.

(from left) Tyler (Glen Powell) and Kate (Daisy Edgar-Jones) in Twisters, directed by Lee Isaac Chung.

Let me immediately cut to the chase (pun intended) and answer the question you’re all wondering. TWISTERS is a fun and entertaining summer blockbuster, but it in no way holds a candle to its predecessor TWISTER (1996). Still, the CGI is intense, the sound design is loud and immersive, and the lead performances — especially from Glen Powell — are sure to wow.

Following a horrible tragedy, meteorologist Kate Carter (Daisy Edgar-Jones) has spent years out of the storm chasing business. She now lives in the largely tornado-less New York City, using her innate understanding of storm systems to direct weather alerts. But when her old friend Javi (Anthony Ramos) begs her to join his privately-funded start-up, which is designed to use military-grade radars to learn more about tornadoes and save communities in Oklahoma, she agrees to give him a week of her time. It’s not too long before “tornado wrangler” influencer Tyler Owens (Glen Powell) enters the scene with his ragtag group of weather enthusiasts, creating a competition between scientific research and entertainment. Each group races to be the first on the scene, with Kate and Javi seeking to model the tornado and Tyler trying to get the most likes on social media. But can the two groups find a way to work together or will the competition be more vicious than the tornadoes?

I am admittedly judging myself for caring too much about a summer blockbuster’s plot, because that’s not really what any of us sign up for with these films. But the various encounters with tornadoes begins to feel slightly repetitive and creates pacing issues, making a two-hour film feel like its runtime. And for some reason, it seems like there is something missing when it comes to portraying the sheer terror of experiencing F5 tornadoes, unlike the original film; the main set pieces were not as memorable.

The film does little to make you care about whether the characters live or die, relying on Glen Powell and Daisy Edgar-Jones’s chemistry and natural charisma to do the heavy lifting. The second Powell steps out of his gigantic truck, with his cowboy hat and belt buckle sparkling in the sun… sorry, I just lost my train of thought… and that’s what TWISTERS is hoping. Powell’s magnetism is sure to knock you off your feet and distract you from the film’s middling plot. And while Edgar-Jones’s performance is more muted, due to her character’s battle with PTSD, she brings an important level of humanity to the film and a character to both see yourself in and root for. More than that, her chemistry with Powell is off the charts and will certainly leave you wanting their relationship explored more in a sequel. The supporting characters are not given much to work with and as such, don’t really engender much concern when they are in deadly situations.

One element of TWISTERS I liked more than TWISTER is it showed the emotional and financial toll tornadoes ravage on communities. Of course, that is an element of the first film, but TWISTERS does a great job showcasing the speed in which tornadoes can overtake and devastate a community, both in loss of life and loss of property. This, juxtaposed with the “fun” in chasing storms brings a real human element to the film. I also want to give a shoutout to the movie not having any sad animal scenes (apart from a possible run-in with a chicken). So for all of you sickos excited to see another flying cow, this isn’t for you.

TWISTERS is the exact kind of movie you need to see in a theater so you can get the full experience. Where else can you admire the cinematography, get immersed in the sound design, and lose yourself in Glen Powell’s cowboy hat and million dollar smile? I saw it in a Dolby theater and was blown away.

There is no end credit scene.

My Review: B

Movie Reviews

Raayan Telugu Movie Review, Dhanush, Sundeep Kishan

Published

9 hours ago

July 26, 2024

Press Room

Movie Name : Raayan

Release Date : July 26, 2024

123telugu.com Rating : 2.75/5

Starring : Dhanush, Sandeep Kishan, Kalidasu Jairam, Aparna Balamurali, SJ Surya, Saravanan

Director : Dhanush

Producers : Kalanithi Maran

Music Director: A. R. Rahman

Cinematographer: Om Prakash

Editor: Prasanna GK

Related Links : Trailer

Raayan is Dhanush’s 50th film as an actor and his second as a director. The film released in cinemas worldwide today amid moderate expectations. This review explores how the film performed. Read on.

Story:

Kaartavaraayan aka Raayan (Dhanush), enjoys a quiet life in Anjanaouram with his brothers Muthuvelaraayan (Sundeep Kishan), Maanikyaraayan (Kalidas Jayaram), and sister Durga (Dushara Vijayan). Their tranquility is shattered when Muthu gets into a fight with the local don Dorai’s (Saravanan) men, setting off a dangerous rivalry. Sethuram (SJ Suryah), another gangster, steps into the fray with a deadly plan to eliminate Raayan. What drives Sethuram’s desire to kill Raayan? Who is Raayan beneath the surface? What is his true purpose? The film unveils all these secrets.

Plus Points:

Expectations were high when the film was announced, as it is directed by Dhanush. Besides his intense acting, Dhanush demonstrates his directing skills neatly.

Sundeep Kishan takes on a significant role and delivers an exceptional performance with his portrayal of a character with grey shades. His scenes with Dhanush and Aparna Balamurali are enjoyable.

Dushara Vijayan is unexpectedly strong in her role, which becomes more intense in the second half. SJ Suryah, as usual, gives an exemplary performance. Aparna Balamurali, Selvaraghavan, and others perform decently in their respective roles.

Minus Points:

The movie doesn’t offer much that’s new for viewers. Dhanush presents a routine story with very few twists, but the slow-paced screenplay diminishes the story’s impact.

There is no strong hook to illustrate the conflict between SJ Suryah and Dhanush. The reasons provided are unconvincing, and SJ Suryah’s potential is not fully utilised.

The film caters mainly to action movie enthusiasts and may not be suitable for family audiences due to its violent content.

Prakash Raj’s character lacks originality, and Varalaxmi Sarathkumar has minimal relevance to the plot. Additionally, including more emotional depth might have improved the film. The second half feels dragged out, with unnecessary scenes added to extend the film.

Technical Aspects:

As a director, writer, and actor, Dhanush displays his skills, but as a writer and director, he could have crafted a more engaging story. The sluggish second half could have been tightened.

Given the high expectations, AR Rahman’s work is noticeable but slightly disappointing. The cinematography by Om Prakash is decent, while editing by Prasanna GK could have been better. Production values are satisfactory.

Verdict:

On the whole, Raayan offers nothing new but remains passable due to the strong performances by Dhanush, Sundeep Kishan, Dushara Vijayan, and SJ Suryah. The action scenes are adequate but not suitable for family audiences. The lack of a strong hook point and a dragging second half are notable drawbacks. If you still decide to watch it, manage your expectations accordingly.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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Entertainment

All the major ‘Deadpool & Wolverine’ cameos, explained

Published

10 hours ago

July 26, 2024

Press Room

All the major ‘Deadpool & Wolverine’ cameos, explained

This story contains spoilers for “Deadpool & Wolverine” and is meant to be read after the film has been seen.

Marvel’s Merc with a Mouth is back — and he brought more than a few friends with him.

It’s been six long years since audiences last saw Ryan Reynolds as Deadpool on the big screen, but Marvel’s beloved antihero returns, as mouthy as ever, in “Deadpool & Wolverine,” out Friday. As the title suggests, the film also marks the return of Hugh Jackman as “X-Men’s” gruff Wolverine. It’s a reunion of sorts for the two characters: Reynolds first appeared as Wade Wilson opposite Jackman in 2009’s “X-Men Origins: Wolverine” (minus the red suit).

As Deadpool repeatedly reminds audiences, much has changed for him since “Deadpool 2” was released in 2018. Namely, Disney acquired Fox in 2019, along with the film rights to popular Marvel characters like Deadpool and the X-Men. “Deadpool 3” takes advantage of the Marvel Cinematic Universe‘s multiverse era and is packed with cameos of characters audiences might remember from Fox’s catalog of Marvel films.

Among those spotted in “Deadpool & Wolverine” include the aptly named Pyro (Aaron Stanford) from “X-Men” (2000) and “X2” (2003) as well as Wolverine nemeses Sabretooth (Tyler Mane) from “X-Men” and Lady Deathstrike (Kelly Hu) from “X2.” Other familiar villainous mutants that appear include Toad, Azazel and Juggernaut.

There are also plenty of other cameos, including a number of familiar faces from the MCU as well as other surprise appearances.

Here’s a breakdown of “Deadpool & Wolverine’s” biggest cameos from Marvel movies past. (One last time: Turn back now if you haven’t seen the film.)

Johnny Storm

Johnny Storm (Chris Evans) is fascinated by his fiery powers in 2005’s “Fantastic Four.”

(Kerry Hayes / 20th Century Fox)

Chris Evans wears glasses in front of an orange backdrop.

Years before Chris Evans suited up as Captain America to help lead the Avengers, he made his superhero movie debut as a member of Marvel’s First Family, the Fantastic Four. Evans played Johnny Storm, a.k.a. the Human Torch, in 2005’s “Fantastic Four” and its 2007 follow-up, “Fantastic Four: Rise of the Silver Surfer.” This incarnation of the superhero team also included Ioan Gruffudd as Reed Richards (Mister Fantastic), Jessica Alba as Sue Storm (Invisible Woman) and Michael Chiklis as Ben Grimm (the Thing). Johnny and the other members of the Fantastic Four develop superpowers after being exposed to cosmic energy in space.

Johnny appears in the new film as Deadpool and Wolverine’s potential ally against the telepathic villain Cassandra Nova (Emma Corrin).

The MCU’s incarnation of the Fantastic Four will include Pedro Pascal as Reed, Vanessa Kirby as Sue, Joseph Quinn as Johnny and Ebon Moss-Bachrach as Ben.

Laura / X-23

Dafne Keen, Hugh Jackman and Patrick Stewart in "Logan."

As teased in the film’s trailer, “Deadpool & Wolverine” sees the return of Dafne Keen as Laura from 2017’s “Logan.” Laura, also known as X-23, was created in an experiment using Logan’s DNA so her powers (and aspects of her personality) are very similar to her surrogate father’s. Keene, who was just 11 when “Logan” was filmed, was praised for her performance — then-Times film critic Kenneth Turan described her as an “effective newcomer” in his review — and was a fan favorite in Fox’s R-rated “X-Men” spinoff.

Deadpool and Wolverine meet X-23 as part of a team that has been fighting against Cassandra.

Elektra

Jennifer Garner, in a black dress, sits in a chair and looks into the camera.

Between launching its “X-Men” and “Fantastic Four” franchises, Fox released a couple of films revolving around the Devil of Hell’s Kitchen. Jennifer Garner first appeared as Elektra in 2003’s “Daredevil,” which starred Ben Affleck as Matt Murdock, a blind attorney who moonlights as a vigilante. Elektra is a skilled, sai-wielding assassin who serves as both Daredevil’s love interest and adversary. Garner last portrayed the character in 2005’s “Elektra,” a spinoff that follows the title character as a contract killer. (Garner and Affleck were also a couple offscreen and were married from 2005 to 2018 — their divorce is coyly addressed in the film.)

Elektra is part of the team that agrees to help Deadpool and Wolverine along with X-23.

Blade

Wesley Snipes, in a beret, points at the camera.

Wesley Snipes portrayed the vampire hunter Blade in a trilogy of films: “Blade” (1998), “Blade II” (2002) and “Blade: Trinity,” which also starred Reynolds (2004). Blade is a human-vampire hybrid whose mother was attacked and killed by vampires while she was pregnant with him. He relies on a special serum to keep his own bloodlust at bay. The “Blade” films were released by New Line Cinema, which is now a part of Warner Bros. Discovery.

The one and (so far) only Blade, as he calls himself in the film, is also part of the ragtag team that includes X-23 and Elektra.

In 2019, it was announced that Mahershala Ali had been cast to play Blade in the MCU reboot of the character. After a number of creative shuffles, “Blade” is expected to reach theaters in 2025.

Gambit

Channing Tatum in a black suit with pinstripes.

At long last, Channing Tatum makes his debut as Gambit in “Deadpool & Wolverine.” Tatum had long been attached to an “X-Men” spinoff for the Ragin’ Cajun Remy LeBeau, which ended up becoming a casualty of Disney’s acquisition of Fox. After Tatum had expressed interest in playing the character, it was announced in 2014 that he would appear in a future “X-Men”-related project as Gambit. A “Gambit” film was slated for 2016 but faced a number of delays until it was officially canceled in 2019.

Gambit (and his energy-charged playing cards) is also part of the team Deadpool and Wolverine meet while trying to figure out how to defeat Cassandra.

BONUS: Henry Cavill and Blake Lively also appear in “Deadpool & Wolverine” as alternate versions of the title characters. Cavill, who appears as a Wolverine variant, previously portrayed DC icon Superman in that other superhero franchise. Lively, whose face is not actually seen on screen, is married to Reynolds and is credited as Lady Deadpool.