Singer Angie Stone killed in car crash after leaving Alabama performance
(WGHP) — Singer-songwriter Angie Stone, who rose to fame as a member of the female hip–hop trio The Sequence, has died in a car crash, the Associated Press confirmed Saturday. She was 63.
Music producer Walter Millsap III told AP Stone left a performance in Alabama early Saturday morning, and that the artist was riding in the back of a vehicle that 'flipped over and subsequently hit by a big rig.' Millsap told AP he learned the news from Stone's daughter, Diamond, and The Sequence member Blondy.
Will Demi Moore be the first Best Actress from a horror film in 14 years?
Following her days with The Sequence, Stone embarked on a solo career, releasing her debut album 'Black Diamond' in 1999.
In 2001, Stone released her second album, 'Mahogany Soul,' which spawned the international hit single 'Wish I Didn't Miss You.'
In addition to three Grammy Award nominations, Stone's accolades include two Soul Train Lady of Soul Award wins in 2000 and an Edison Award for her third album, 'Stone Love,' in 2004.
On Friday night, Stone performed at the Mobile Area Mardi Gras Association's Grand Marshall's Ball, held at the Arthur R. Outlaw Convention Center in Mobile. As reported by Nexstar's WKRG in Mobile, the association released a statement following the news, saying in part:
'Angie's performance at the 2025 Grand Marshal's Ball was nothing short of phenomenal. Her talent captivated everyone in attendance, and her presence truly elevated the event. Never could we have imagined that it would be the last time we would have the honor of witnessing her perform. The news of her passing has left us all deeply saddened, and we will always cherish the memories of her incredible talent and warm spirit.'
The AP reports Stone was scheduled to perform at the halftime show during the Central Intercollegiate Athletic Association men's championship basketball game on Saturday. A moment of silence was held in Stone's honor at the game.
The Associated Press contributed to this story.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
37 minutes ago
- Yahoo
Sly Stone: influential funk pioneer who embodied the contradictions at the heart of American life
There's immense variety in popular music careers, even beyond the extremes of one-hit wonders and the long-haulers touring stadiums into their dotage. There are those who embody a specific era, burning briefly and brightly, and those whose legacy spans decades. Straddling both of those, and occupying a distinctive space in popular music history, is Sylvester Stewart, better known as Sly Stone, who died at the age of 82 on Monday June 9. A pioneer of funk whose sound spread far beyond the genre, his band Sly and the Family Stone synthesised disparate strands of American popular music into a unique melange, tracking the musical and social shifts as the 1960s wore into the 1970s. Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. Sign up here. A musical prodigy and multi-instrumentalist from a young age, Stone was born in Texas in 1943 and raised in California, in a religious Pentecostal family. He had put out his first single aged 13 – a locally released gospel song with three of his siblings, who would later join him in Sly and the Family Stone. A record producer and DJ by his early twenties, he imbibed the music of British acts like The Beatles and Rolling Stones, and applied his eclectic tastes and musical versatility to producing local psychedelic and garage rock acts in the emergent San Francisco scene. By the time commercial popular culture had flowered into a more exploratory 'counterculture' in 1967's Summer of Love, the ebb and flow of personnel across local bands had coalesced into a line-up including the Stone siblings – Sly, Freddie, and their sister Vaetta, with their other sister Rose joining in 1968. Pioneering socially, as well as aesthetically, Sly and the Family Stone had diversity at its core – a mixed sex, multi-racial and musically varied band. This was notable for a mainstream act in an America still emerging from the depths of segregation, and riven with strife over the struggle for civil rights. While their first album in 1967 A Whole New Thing enjoyed comparatively little traction, 1968's Dance to the Music presaged a run of hits. Their sonic collision of sounds from across the commercial and social divide – psychedelic rock, soul, gospel and pop – struck a chord with audiences simultaneously looking forward with hope to changing times, and mindful of the injustice that was still prevalent. Singles like Everyday People, Stand, and I Want to Take You Higher, melded a party atmosphere with social statements. They were calls for action, but also for unity: celebratory, but pushing the musical envelope. While the band wore its innovations lightly at first, their reach was long. Bassist Larry Graham was a pioneer of the percussive slap bass that became a staple of funk and fusion. And their overall sound brought a looser, pop feel to the funk groove, in comparison to the almost militaristic tightness of that other funk pioneer, James Brown. Where Brown's leadership of his group was overt, exemplified by his staccato musical directions in the songs, and the call and response structure, Stone's band had more of an ensemble feel. Musical lines and solos were overlaid upon one another, often interweaving – more textured rather than in lock-step. It was a sound that would reach an almost chaotic apogée with George Clinton's Funkadelic later in the 1970s. The party couldn't last. As the optimism of the 1960s gave way to division in the 1970s, Stone's music took a darker turn, even if the funk remained central. The album There's A Riot Going On (1971), and its lead single It's Family Affair contained lyrics depicting social ills more explicitly. The music – mostly recorded by Sly himself – was sparser, the vocals more melancholic. The unity of the band itself was also fracturing, under pressure from Stone's growing cocaine dependency. The album Fresh (1973) featured classics like In Time and If You Want Me To Stay, but they were running out of commercial road by 1974's Small Talk, and broke up soon after. Periodic comebacks were punctuated by a troubled personal life, including, at its nadir, reports of Stone living out of a van in Los Angeles, and arrests for drug possession. By the time he achieved a degree of stability, his star may have faded, but his legacy was secure. Stone embodied the contradictions of American popular music – arguably even America itself: brash and light-hearted on the one hand, with a streak of darkness and self-destructiveness on the other. The handclaps and joyous shouts harked back to his gospel roots, but his embrace of electric instruments aligned soul with rock and pop. He was a funk artist who played at the archetypal hippie festival, Woodstock, and a social commentator whose party sounds were shot through with urgency. He paved the way for the likes of Prince and Outkast, but also informed jazz and fusion. Jazz pioneer Miles Davis acknowledged Stone's influence on his own turn towards electric and funk sounds in the late 1960s and early 1970s on landmark albums like Bitches Brew. Sly Stone's joyful provocations may not have lasted at the commercial centre, but his mark was indelible. His struggles were both personal and social, but his sense of groove, and of a collective voice, demonstrated the value of aligning traditions with new ideas – a musical America that was fractious, but still a family affair. This article is republished from The Conversation under a Creative Commons license. Read the original article. Adam Behr has received funding from the Arts and Humanities Research Council
Hamilton Spectator
2 hours ago
- Hamilton Spectator
For Sharon Van Etten, making her latest album was both spiritual and psychological
LOS ANGELES (AP) — As she was putting together her seventh and most recent record, Sharon Van Etten came up with a tongue-in-cheek idea for its title. 'Sharon Van Etten & The Attachment Theory,' she wanted to call it — a reference to both her interest in psychology and a play on the familial dynamics that often exist within a band. Although most of Van Etten's bandmates have been with her for several years, this was her first time writing songs with them, so playing with that relationship felt apt. But when the indie musician approached her collaborators with the idea for the title and band name, there was one stipulation: 'They said, 'I don't mind you calling it 'The Attachment Theory,' as long as we don't have to talk about our attachment styles,'' Van Etten laughed. As they gear up for a fall tour, announced Monday, Van Etten spoke with The Associated Press about her stream-of-consciousness style of writing and how being a mom has made her more cognizant of how much time she spends on her phone. The interview has been edited for clarity and brevity. AP: What prompted the change in how this record was made? VAN ETTEN: Writing as a band was a complete accident. We were rehearsing in 2022 for the 'We've Been Going About This All Wrong' tour and figuring out how to take this album, which we recorded piecemeal during the pandemic because we couldn't all be in the same room together. I thought the best way to reconnect after recording the album from afar was to rent a house and a studio in the desert and have it be more like a literal band camp, instead of doing one of those sterile rehearsal environments, just to have a way for us to reconnect as people as well as musicians. As we got to the end of the week, we realized we had gone through the whole set that we were planning for that tour, and I asked the band if they would want to jam. I was so tired of hearing myself. I was very inspired by the sonic palette that we had created together, and I wanted to see what would happen. And in an hour or two, we wrote two songs without really trying. And we laughed it off, we packed our bags and we left the next day. But my engineer recorded those jam sessions, and I remember playing them for my partner at home, saying, 'I think creatively this is the next thing I want to do.' And so, after we did that first tour for the previous record, I booked a writing session right away and we returned to that same studio and worked for a week with the intention of writing. And it was a very prolific week. AP: Did you have the lyrics written beforehand? VAN ETTEN: All of the writing in the desert was from the ground up. I didn't have anything going into it, which I've never done before either. My process from being solo is something that I brought into the session with the band, where I find the melodies first and I sing stream of consciousness. AP: Singing stream of consciousness sounds very spiritual, almost like speaking in tongues. VAN ETTEN: It very much is. There's something about it that, if I'm going through something emotionally that I don't have the words to express yet and I can sit at an instrument and just sing, I get something out of me and release something in a way that I still don't really know how to describe to people. Even if it's something I end up writing about later, it's more of like, I get the emotion out, but then I turn the song into something else that hopefully is more healing than the moment that I'm trying to get over. AP: How did you come up with the album name? VAN ETTEN: The name The Attachment Theory at first was a bit tongue-in-cheek because I am interested in psychology and I am from a big family. I think being in a family and being in a band are very similar because you become a family, you become each other's chosen family, and you go through a lot together. So from rehearsing to touring to making a record together, you create these dynamics with each other, and you also become each other's support systems. And I know attachment theory is mostly about your connection with your parents but it's also a little bit about how you connect as a unit. AP: I'm sure your attachment styles came up in the desert. VAN ETTEN: Yes, and they will remain unnamed. AP: I love your song, 'Idiot Box.' I wondered, as an artist, how you think about our addiction to entertainment. VAN ETTEN: Oh my gosh, well that's a can of worms right there. I mean, we're all addicted to our phones. We all have screens. I'm also a mom, and I tell my kid not to do the things that I do. And I think now more than ever, I have to be way more mindful about when I choose to interact. But I don't really have an answer. It's more of an acknowledgment that we need to check in with each other when we feel like we're getting lost in that scrolling zone and I just feel like it's a constant battle.
New York Post
2 hours ago
- New York Post
Jamie Foxx breaks down in tears over his stroke during emotional BET Awards 2025 speech
Jamie Foxx is still emotional about the darkest period of his life. The Oscar winner, 57, broke down in tears as he reflected on his 2023 near-fatal stroke while accepting the Ultimate Icon Honor at the 2025 BET Awards on Monday. 'Man, we used to take this thing for granted—that God is good, all the time. I cannot even begin to express the love that I feel from everybody out there,' Foxx said while getting choked up. 8 Jamie Foxx during his speech at the 2025 BET Awards on June 9. Chelsea Lauren/Shutterstock 'I gotta be honest — when I saw the 'in memoriam', I was like, man, that could have been me,' he added through tears. 'But I don't know why I went through what I went through, but I know my second chance—I'm not going to turn down.' The 'Back in Action' star recalled that he asked God for 'one more crack' at life. 8 Jamie Foxx speaks on stage at the BET Awards. Chris Pizzello/Invision/AP 8 Jamie Foxx wipes away tears while reflecting on his stroke. Chris Pizzello/Invision/AP 8 Jamie Foxx crying about his stroke at the 2025 BET Awards. AFP via Getty Images 'I said whatever reason you put this on me, I promise I'mma do right,' he shared. I'mma do right in front of y'all, because I know a lot of times, when we get on we forget about where we come from.' Foxx went on to shout out his 'beautiful' daughter Corinne, 31, who was in the audience with her sister Anelise, 16, for supporting him during his health crisis. 8 Jamie Foxx with his daughters Annalise and Corinne at the 2025 BET Awards. Getty Images for BET 'You've always taken a backseat to everything. But when you needed to drive it, you drove,' said Foxx. 'And you made sure I was here. And at a certain point, I'm going to stop crying, but I'm not going to stop yet.' The comedian also emotionally recalled how Anelise was by his side while he was close to death in the hospital. 8 Annalise Bishop and Corinne Foxx embrace their dad at the 2025 BET Awards. Getty Images for BET 'When I was fighting for my life in there, they said, 'We're going to lose him because his vitals are bad,'' Foxx told the audience. 'And I didn't want my 14 year old to see me like that. But Anelise overheard the conversation and she snuck into my hospital room with her guitar and said, 'I know what my Daddy needs.'' 'And as she played the guitar, my vitals (improved),' he recalled. 'And I realized God was in her guitar. The nurses ran in and said, 'What did they give him?' My daughter said, 'Shh, I've got him.'' 8 Jamie Foxx nearly died of a stroke in 2023. iamjamiefoxx/Instagram Foxx was hospitalized in April 2023 due to a brain bleed caused him to have a stroke. In his 2024 Netflix stand-up special, 'What Had Happened Was,' Foxx explained that he had 'a bad headache' before he woke up in a wheelchair in the hospital after losing 20 days of memory. 8 Jamie Foxx in a selfie. Instagram/@iamjamiefoxx The 'Ray' star called his recovery period 'the worst year' of his life. But Foxx has since made a career comeback. He even earned a Golden Globe nomination for his comedy special.
