logo
Roy Ayers, legendary musician behind hit song ‘Everybody Loves the Sunshine,' dies at 84

Roy Ayers, legendary musician behind hit song ‘Everybody Loves the Sunshine,' dies at 84

CNN06-03-2025

Roy Ayers, the legendary American vibraphonist, composer and pioneer of jazz-funk, died Tuesday, his family said. He was 84.
The producer passed away in New York City after a long illness, the family announced on Facebook. A specific cause of death was not immediately disclosed.
Ayers 'lived a beautiful 84 years and will be sorely missed,' his family said.
Known as the 'Godfather of Neo-soul,' Ayers had been in the music business for over four decades and was best known for his 1976 hit 'Everybody Loves the Sunshine,' released by his band, Roy Ayers Ubiquity.
A Los Angeles native, Ayers had a natural affinity for music from a young age. His mother, Ruby Ayers, was a piano instructor, while his father, Roy Sr., was a trombonist, according to a biography on his website.
Ayers began to demonstrate his musical aptitude 'by the tender age of five, by which time he was playing boogie woogie tunes on the piano,' it says. 'He turned to the steel guitar by the age of (nine), had stints during his teens playing flute, trumpet and drums before embracing the vibes as his instrument of choice.'
By the 1960s, Ayers was a well-rounded professional musician, frequently collaborating with groove pioneer Herbie Mann.
Ayres took the glassy, elongated tones of the vibraphone – the percussion instrument resembling a marimba or xylophone – and moved away from the uptempo jazz sound pioneered by Lionel Hampton. With Ayres' hands at the mallets, the vibes were remolded into a tool of spacy musical exploration.
'There was no written music, scores or charts,' Philip Woo, who played keys on 'Everybody Loves the Sunshine,' told The Guardian in 2017. 'He had one chord, which he would move around all over the place, very intuitively.'
Until recently Ayers had been a frequent collaborator with contemporary hip-hop heavyweights such as Kanye West. Ayres also left his stamp on cinema as the composer for 'Coffy,' the 1973 blaxploitation film that launched the career of Pam Grier.
'Everybody Loves the Sunshine' has more than 130 million streams on Spotify and has been remixed and covered by artists like Mary J. Blige and Tupac.
Rolling Stone magazine described Ayers' music as sound 'that wove lush soul, elastic jazz, and tight funk.'
'His family ask that you respect their privacy at this time,' the Facebook statement said. 'A celebration of Roy's life will be forthcoming.'

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Former Olympic Gymnast Mary Lou Retton Addresses DUI Arrest: ‘I Make No Excuses'
Former Olympic Gymnast Mary Lou Retton Addresses DUI Arrest: ‘I Make No Excuses'

Yahoo

timean hour ago

  • Yahoo

Former Olympic Gymnast Mary Lou Retton Addresses DUI Arrest: ‘I Make No Excuses'

Following her arrest last month for driving under the influence, four-time Olympic gold medalist Mary Lou Retton said she takes 'full responsibility' for her actions. 'What happened was completely unacceptable. I make no excuses,' she said in a statement to the Associated Press. 'To my family, friends and my fans: I have let you down, and for that I am deeply sorry. I am determined to learn and grow from this experience, and I am committed to making positive changes in my life. I truly appreciate your concern, encouragement and continued support.' More from Rolling Stone Macklemore's Seattle Home Robbed, Nanny Sprayed With Bear Mace 'How Much Does My Body Cost?': Sean Combs' Ex Faces Fiery Cross-Examination Lil Durk Denied Bail Again in Murder-for-Hire Case On Tuesday, Retton entered a no contest plea to driving under the influence stemming from the May incident and was fined $100, a standard for first-time, non-aggravated offenses, her attorney Edmund J. Rollo told the outlet. Retton was arrested in West Virginia on May 17 after police in Fairmont pulled her over following a report of a person driving a Porsche erratically. According to a criminal complaint, the former athlete smelled of alcohol, was slurring her words, and failed a field sobriety test. Officers also allegedly saw a wine container in the passenger seat. Retton was charged with 'driving under influence of alcohol, controlled substances, or drugs,' and released from custody after paying a $1,500 personal recognizance bond. At 16, Retton became the first American woman to win the all-around gold medal in gymnastics at the 1984 Summer Olympics in Los Angeles. Retton has been retired for more than 30 years, having left after winning the American Cup all-around competition for the third time in 1985. In October 2023, the Dancing with the Stars alum was hospitalized in the ICU with a rare form of pneumonia. Retton previously detailed the severity of her illness in an interview with Today. 'This is serious, and this is life, and I'm so grateful to be here. I am blessed to be here because there was a time when they were about to put me on life support,' Retton shared. Best of Rolling Stone Every Super Bowl Halftime Show, Ranked From Worst to Best The United States of Weed Gaming Levels Up

Sydney Sweeney Becomes the Ultimate Pageant Girl on the Summer 2025 Cover of W Magazine
Sydney Sweeney Becomes the Ultimate Pageant Girl on the Summer 2025 Cover of W Magazine

Yahoo

time2 hours ago

  • Yahoo

Sydney Sweeney Becomes the Ultimate Pageant Girl on the Summer 2025 Cover of W Magazine

Sara Moonves continues to demonstrate that she is a great fit, having been installed as W Magazine editor-in-chief. After all, since taking up the mantle as the title's figurehead in 2019, Moonves has welcomed a whole plethora of A-list talent from the world of fashion, entertainment, and beyond as cover stars. Throughout 2025 alone, W has seen everyone from Zendaya and Charli XCX to Chappell Roan and HoYeon Jung. Up next on the cover of W Magazine is Sydney Sweeney. Carlijn Jacobs was called upon to profile the American actress for the occasion, with Allia Alliata di Montereale put in charge of styling. In the crisp cover shot, Sweeney sports a bouffant hairstyle and becomes the ultimate pageant girl, adorned with a sash and dressed in a Miu Miu dress and De Beers earrings. 'I like it. Gives me old school W Magazine vibes,' instantly approved kokobombon. 'Yes to this throwback layout! No shot-on-iPhone vibes. No awkward cropping,' Lucien112 appreciated. 'I absolutely love everything about this cover. The cover is giving 90s W vibes, especially, the styling. The styling is fun with a touch of retro,' favored forum member MModa. Sharing the same level of enthusiasm was vogue28. 'I love it, and even more because the cover itself resembles the glory days of W Magazine. The magazine used to excel at this type of zero-fuss cover photography, shot by the likes of Michael Thompson and Craig McDean. Everything is working here – from the composition of the shot to the strong sense of retro,' he voiced. 'I love this. Sydney carries those retro looks incredibly well, and the use of color/negative space makes this standout compared to some of the barely-lit nonsense we've been seeing from other magazines,' noted an equally as impressed Drusilla. See more of Sydney Sweeney from the W Magazine Summer 2025 cover shoot and join the conversation, here. The post Sydney Sweeney Becomes the Ultimate Pageant Girl on the Summer 2025 Cover of W Magazine appeared first on theFashionSpot.

Sasha Velour's ‘Big Reveal' redraws the boundaries of drag and theater
Sasha Velour's ‘Big Reveal' redraws the boundaries of drag and theater

San Francisco Chronicle​

time4 hours ago

  • San Francisco Chronicle​

Sasha Velour's ‘Big Reveal' redraws the boundaries of drag and theater

Other performers might dread glitches during shows. Sasha Velour makes them her co-stars. Her 'The Big Reveal Live Show!' offers no straightforward lip sync. Phone rings, TV static and vertical colored bars, smashed dishes, recording skips, computer viruses and flickering lights constantly interrupt her drag numbers, video art, autobiographical anecdotes and mini lectures on drag history and theory. But if these on-purpose mistakes rip the fabric of the mostly solo show, which opened Wednesday, June 4, at Berkeley Repertory Theatre, the 'RuPaul's Drag Race' champion, author and Berkeley native widens them into wormholes and crawls inside to do battle with them. As she tries to claw back control of her bit, she might wind up on the floor in tears, but she's the winner all the same. It's partly a clown show: the garish makeup, the padded body parts, the nightmarish facial expressions, the wordless physical theater fight against absurdist forces too large to understand. But in all those gaffes, larger ideas are also at work. Imperfection is key to understanding drag and camp more generally, Velour says at one point. The art form doesn't work if you don't have self-awareness — if you don't understand your flaws but 'press on' anyway. (The implied corollary: Someone like Trump couldn't do camp even if he wanted to.) In a tough time for theater locally and nationwide, with companies scaling back or closing as funding sources dwindle, 'The Big Reveal Live Show!' suggests that institutional theater programming more drag might be one way forward. Audience members certainly showed up on Wednesday, some even glammed up in drag as opposed to the standard Berkeley Rep audience uniform of earth tones and sensible shoes. And Velour's show itself is more daring, artistic and intellectual than a lot of straight plays. Some of her patter — 'After so many years of backlash,' 'Drag serves as a mirror,' 'We are here, and we are not going away' — is boilerplate; the points might be more effectively made without didacticism. But other bits of monologue evince the scholarly yet frisky understanding of drag that undergirds her book, also called 'The Big Reveal,' with the subtitle 'An Illustrated Manifesto of Drag.' 'Queerness isn't shocking or groundbreaking at all,' she says in the show. 'It's normal. It's boring.' Cultures throughout history have had some kind of drag performance, she points out — even the American military in World War II. It only becomes threatening, she says, when it's no longer performed by straight men. Her costumes — by Diego Montoya Studio, Pierretta Viktori, Jazzmint Dash, Gloria Swansong and Casey Caldwell — are celestial wonders. One skirt hem resembles the orbit of the sometime-planet Pluto, both elliptical and noncoplanar, forming part of an outfit that looks like a bottle of pink Champagne frozen right in the moment of exploding. Another piece blurs the boundary between human and furniture. In one heart-stopping moment, she lines herself up with an outline of a human form projected on a large screen behind her. Without any perceptible change in lighting, she seems to change color, blazing in the gold of a desert sunset. Graffiti gets written on her, and ropes wrap around her; body parts metamorphose and enlarge. Your eyes search for signs as to what's projected and what's tangible. She dissolves in flames. By the end, you half expect her to be able to step through the screen and get swallowed whole, the wormholes covering their tracks like magic. As Velour finds the deviant in the familiar — talk shows, Disney princesses having animal friends, audio montages of iconic phone calls in film, the pixelated desktop of 1990s-era Windows — she makes the case that drag is available to everyone, no matter how weird or normie you are. That thing that tickles you? That you find yourself returning to again and again? Drag is a way you can talk about it, and it belongs on every stage and in every sitting room in America.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store