
Mick Ralphs, of Mott the Hoople and Bad Company, Dies at 81
His death was announced on Monday in a statement on the official Bad Company site, which noted that he had suffered a stroke days after his final performance with the group in October 2016 and had remained bedridden until his death. The statement did not say where or when he had died, or give a specific cause.
Bad Company, scheduled to be inducted into the Rock & Roll Hall of Fame in November, combined muscular stadium rock with infectious hooks to become one of the most commercially successful groups of its era.
Formed in 1973, the group originally consisted of Mr. Ralphs (late of Mott the Hoople, known for the 1972 hit 'All the Young Dudes'); Mr. Rodgers and the drummer Simon Kirke, both previously of Free, whose arena-shaking 'All Right Now' was a No. 4 hit in 1970; and the bassist Boz Burrell, a veteran of King Crimson.
Bad Company became an FM radio force. It sold more than a million copies of its first three albums, starting with its 1974 debut, called simply 'Bad Company,' which hit No. 1 on the Billboard 200 and featured 'Can't Get Enough,' a bluesy thumper written by Mr. Ralphs that soared to No. 5 on the Billboard Hot 100 singles chart.
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Lisa Eldrige on the new beauty rules: 'Only conceal when absolutely necessary'
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an hour ago
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Are we living through an Andrew Lloyd Webber renaissance?
People in entertainment Animal stories MusicFacebookTweetLink Follow Andrew Lloyd Webber is American theater's favorite punching bag. It's easy to hate on the enormously rich British lord whose musicals, despite their commercial success, are frequently considered among the emptiest and most confounding shows in the canon. He's written musicals about Jesus Christ, Cinderella and anthropomorphic trains, and they've all attracted some degree of critical hostility. So when did Lloyd Webber get cool? A string of new, drastically different revivals of Lloyd Webber's most famous shows are dragging his work into the present — and inspiring his many detractors to reappraise the divisive composer. On the West End, Rachel Zegler is leading a younger, sexier 'Evita' whose Broadway transfer seems inevitable. A recent revival of 'Cats' set in the downtown ballroom scene is rumored to return to New York soon. 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DeMille. 'This music is eternal,' said Zhailon Levingston, who co-directed the acclaimed revival of 'Cats' last year. 'It can live through reimaginings, reinvention, new audiences, this new sociopolitical moment we're in.' The reinventions have even won over skeptical fans of Lloyd Webber's originals. When Kathryn Yelinek, an author, librarian and devoted 'phan' of the original 'Phantom,' visited his new off-Broadway lair in 'Masquerade,' she 'wasn't entirely convinced' it would work: 'I just hope that this new production doesn't ruin it in some way,' she remembered thinking. It took two performances to sell her. Without spoiling too much about this very secretive show, which began previews last week, Yelinek interacted with a character she's loved for decades in a way that would've been impossible in the original production. 'It had to have been one of the meaningful experiences in a theater that I have had,' she said. 'It just blew me away.' These new productions dare to ask a question, posed by Levingston, that would see some of Lloyd Webber's harshest critics sooner ascend to the Heaviside Layer than dare to answer it: 'What does an Andrew Lloyd Webber score have to say about who we are right now?' Beneath the bombast, political and social themes are 'very much built into Lloyd Webber shows,' Snelson said. The new 'Cats' cast was entirely composed of queer and trans people of color and ballroom legends whose unflappable joy and resilience felt especially poignant in a less literal interpretation of the material, Eubanks Winkler said. 'The material is speaking to the times today differently,' Levingston said. And 'Evita' was already about a quasi-fascist first lady so charming she's able to win people over even as she's squashing them. 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'There's this perception that 'Cats' is crappy, schlocky, commercial — or 'Sunset,' or 'Phantom,' or 'Evita,' maybe,' Eubanks Winkler said. 'But then this director comes along and proves us wrong. Is it Jamie Lloyd's fabulosity? Is it Lloyd Webber's fabulosity? Is there a special alchemy that makes it transcend these notions of being schlocky?' Maybe 'Cats' resonates more deeply when its stars feel like humans ('And who doesn't want a second chance at life?' Yelinek wondered). Maybe 'Evita' makes more sense now that authoritarianism is not so much creeping as it is flooding everyday life. But the powerful music was always there, and so was something of a soul. 'He wears several hearts on his sleeve,' Snelson said of Lloyd Webber. 'It does produce quirks, and it does produce oddities, and it does produce some unfortunate things. But hey, when it works, it really does have that extra integrated something.' And for that, his critics must give the composer some credit.


Geek Tyrant
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Retro Trailer For The 1983 Medieval Fantasy Film HEARTS AND ARMOR — GeekTyrant
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