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John Mayall, pioneering British blues musician, dies at 90

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John Mayall, pioneering British blues musician, dies at 90

John Mayall, the musician and bandleader often referred to as the godfather of the British blues — and whose long-running group the Bluesbreakers incubated some of rock music’s biggest talents, including Eric Clapton, Mick Taylor and Mick Fleetwood — died Monday at his home in California, according to a statement posted by his family on his official Facebook page. He was 90.

The statement didn’t specify a cause but attributed the death to the “health issues that forced John to end his epic touring career.”

Mayall, who’d been performing on the road as recently as 2022, was due to be inducted into the Rock & Roll Hall of Fame in October as a recipient of the organization’s Musical Influence Award. On its website, the hall hailed Mayall’s “rugged individuality and distinctive voice and style” and said he “continually experimented with and stretched the blues.”

“The blues is such an everlasting source of inspiration to me,” he told The Times in 1990. “It’s quite inexhaustible, really.”

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A guitarist, keyboardist, singer, harmonica player and songwriter, Mayall released dozens of albums and played innumerable gigs in a career that stretched over more than half a century. Yet he’s best remembered for helping to launch the blues revival of the 1960s that would go on to make pop stars of Clapton, the Rolling Stones and Fleetwood Mac.

His 1966 LP “Blues Breakers,” which featured Clapton on guitar (not long after he’d left the Yardbirds), is widely considered a classic of the form and earned a spot on Rolling Stone’s list of the 500 greatest albums of all time.

Mayall was born in 1933 near Manchester, England, where his father collected records and played music as a hobby. At age 3, he “got addicted” to the music of the Mills Brothers, he told The Times; after being discharged from the British Army in his early 20s, he formed his first band “strictly for my own satisfaction.”

By the time he was 30, though, he’d moved to London to pursue music professionally and found a thriving blues scene he described in The Times interview as “the south’s answer to the north, to the Liverpool pop-rock thing dominated by the Beatles.” Beyond Clapton, the Bluesbreakers eventually attracted Peter Green, who left the band to form Fleetwood Mac; Jack Bruce, who played with Clapton in Cream; and Aynsley Dunbar, who played drums for Frank Zappa, among other artists.

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Mayall moved to Los Angeles in 1969 and spent the ’70s expanding his playing into jazz. But he reformed the Bluesbreakers in the mid-1980s and soon got back to averaging 120 dates a year.

“There would be more, but I put a ceiling on it,” he told The Times. “Otherwise, I wouldn’t get any home life, and that’s very important to me.”

Mayall is survived by six children, Gaz, Jason, Red, Ben, Zak and Samson; seven grandchildren and four great-grandchildren. His family’s statement said he “is also surrounded with love by his previous wives, Pamela and Maggie, his devoted secretary, Jane, and his close friends.”

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Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

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Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

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Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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