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Hamilton Spectator
15-07-2025
- Entertainment
- Hamilton Spectator
The Latest: ‘Severance' and ‘The Studio' lead Emmy nominations
LOS ANGELES (AP) — Nominations for the Emmy Awards were revealed Tuesday in Los Angeles. Two categories were announced early on 'CBS Mornings' —the nominees for talk series and reality competition series. Actors Harvey Guillen and Brenda Song later announced other nominees. 'Severance'' leads the nominees with 27, while 'The Studio'' tops the comedy nominations with 23. CBS will air the 77th Primetime Emmy Awards from the Peacock Theater in Los Angeles on Sept. 14. Nate Bargatze is slated to host. The Latest: Kendrick Lamar and 'SNL' earn Emmy nominations Both Kendrick Lamar's Super Bowl halftime show and the 50th anniversary 'Saturday Night Live' concert earned nominations in the variety special (live) category. They're joined by Netflix's Beyoncé Bowl and rounded out by less musical events: the Oscars and 'SNL50: The Anniversary Special.' Some music documentaries miss Emmy nominations. Questlove's 'Sly Lives!' gets nod It could've been a big year for Bruce Springsteen, The Beatles and the singular composer John Williams in the documentary or nonfiction categories, but they just missed the mark. Though those giants of genre didn't grab nods this year, Questlove's 'Sly Lives! (Aka The Burden Of Black Genius)' documentary did. 'Severance' leads the field with 27 Emmy nominations. 'The Studio' tops comedy with 23 'Severance' leads the field with 27 Emmy nominations , while 'The Studio' tops comedy nominees with 23 in a dominant year for Apple TV+. Need to catch up? Seasons 1 and 2 of 'Severance'' stream on Apple TV+ and would take a total of 15 hours and 29 minutes. 'The Studio' on Apple TV+ has 10 episodes and would take 5 hours and 15 minutes to watch them all. Ashley Walters is a rapper, actor and Emmy nominee Supporting actor in a limited series nominee Ashley Walters first made his name in the U.K. as a rapper in the vast So Solid Crew under the name Asher D — and featured on their iconic hit '21 Seconds' in 2001. But the 'Adolescence' star had been acting since way before that and he's had two long-running roles on either side of the law — as drug dealer Dushane in 'Top Boy' and a police officer in British procedural 'Bulletproof.' Where's 'The White Lotus' ensemble? Don't go looking for the ensemble of 'The White Lotus' in the lead acting categories at the Emmys — they're hanging out in the supporting categories. Carrie Coon, Parker Posey, Natasha Rothwell and Aimee Lou Wood all get a nod as do Walton Goggins, Jason Isaacs and Sam 'monologue' Rockwell. Even Scott Glenn is in the running in the guest category for playing Jim Hollinger. But what happened to BLACKPINK's Lisa, Tayme Thapthimthong or the Ratliff kids — Patrick Schwarzenegger, Sarah Catherine Hook and Sam Nivola? No love either for Coon's on-screen frenemies, Michelle Monaghan and Leslie Bibb, Rockwell's real-life partner. 'Bridget Jones' is a TV movie? In the U.S., yes. While 'Bridget Jones: Mad About the Boy' was distributed theatrically abroad, the latest installment of the Renée Zellweger-starring franchise was directly released on Peacock stateside, making it eligible for the Emmys. How this year's nominees stack up against record holders 'Severance' leads all nominees with 27, but 'Game of Thrones' still holds the record for most nominations for one show in a season — 32, in 2019. The show did break a record for Apple TV+ — previously, 'Ted Lasso' was the streamer's most nominated show for one season, with 21 nominations in 2023. 'The Studio,' though has tied 'The Bear's' 2024 record for comedy series, with 23. Noah Wyle and Adam Scott compete for Emmy No. 1 Noah Wyle and Adam Scott are TV veterans who've never won an Emmy. They're now considered close co-favorites for best actor in a drama after getting nominations — Wyle for 'The Pitt' and Scott for 'Severance.' It's Wyle's sixth nomination. He was up for Emmys five times for playing Dr. John Carter in 'ER' but never won. Now he can get one for playing a very similar character later in life. Scott spent five seasons as a regular on 'Parks and Recreation' but didn't get his first nomination until his starring role on 'Severance.' Does Kathy Bates have a lock on best drama actress? Kathy Bates is considered the runaway front-runner for best actress in a drama. It would be a weird one if she goes on to win for CBS' 'Matlock.' She's the first to be nominated in the category from a network show since 2019, when Viola Davis was nominated for ABC's 'How To Get Away With Murder.' She would be the first woman from a network show to win best actress in a drama since 2015, when Davis won, and the first actor in any drama category to win since 2017, when Sterling K. Brown won for NBC's 'This Is Us.' It's the 15th time Bates has been nominated. She's won twice before. Nominees for talk and reality competition series are released early Two categories were announced early on 'CBS Mornings.' The nominees for talk series are 'The Daily Show with Jon Stewart,' 'Jimmy Kimmel Live' and 'The Late Show with Stephen Colbert.' The nominees for reality competition series are: 'The Amazing Race'; RuPaul's Drag Race'; 'Survivor'; 'Top Chef' and 'The Traitors.'
Black America Web
10-06-2025
- Entertainment
- Black America Web
Sly Stone's Music Formed The Backdrop To Several Hip-Hop Classics
Sly Stone, a legendary musician who helped propel funk to its elevated heights in the realm of Black music, has died. Hip-Hop artists of various eras have sampled Sly Stone's work over the years, and we've got a playlist highlighting some of those audio classics. As Hip-Hop Wired reported earlier, Sly Stone, born Sylvester Stewart in Denton, Texas, passed away Monday (June 9) at the age of 82. After establishing his roots in the Bay Area as a musical prodigy, Stone ventured into becoming a front-facing artist with his Sly and The Stones in the 1960s with the late Cynthia Robinson, the trumpeter who was a founding member of Sly and the Family Stone, the band that catapulted Stone into the annals of music history. Alongside fun pioneers such asJames Brown and Parliament-Funkadelic, Stone and his band enjoyed a successful run of album releases extending into the late 1970s. Stone's life was captured in the 2023 biography, Thank You (Falettinme Be Mice Elf Agin), written with Ben Greenman, featuring a foreword from Ahmir 'Questlove' Thompson. Thompson also produced the stirring 2025 documentary centered on Stone's life and legacy, Sly Lives! (aka the Burden of Black Genius) . Hip-Hop artists such as LL Cool J, Queen Latifah, The Jungle Brothers, Public Enemy, and scores more dug into the crates to grab bits of Stone's music to form the backdrop of their works. Below, we've got a handful of those songs featured in the playlist below. Long live Sly Stone. May he rest powerfully in peace. — Photo: Michael Putland / Getty Sly Stone's Music Formed The Backdrop To Several Hip-Hop Classics was originally published on Samples 'Trip To Your Heart.' Samples 'Dance to the Music.' Samples 'You Can Make It If You Try.' Samples 'Sing A Simple Song.' Samples 'Everyday People.' Black America Web Featured Video CLOSE
Yahoo
10-06-2025
- Entertainment
- Yahoo
Hear Sly and the Family Stone Rock a Small Club in 1967 With Funky ‘I Gotta Go Now'
The funky farewell number from a rare concert recording of Sly and the Family Stone, from 1967, shows how playful the group was in their early days. The medley, 'I Gotta Go Now (Up on the Floor)/Funky Broadway,' opens with climbing organ and horn lines and a funky drumbeat as the group sings, 'I gotta go now,' and it just gets funkier from there. It ends with a riotous 'baahye,' and the audience laughing and clapping. The song features on the album, The First Family: Live at Winchester Cathedral 1967, which previously came out for Record Store Day but is now getting a wide release on July 18. The album features the earliest known live recording of the band, captured at Redwood City, California's Winchester Cathedral, where they played about an hour's worth of Joe Tex, Ben E. King, and Otis Redding covers. It will be available digitally, as well as on vinyl and CD; the CD edition includes a bonus track, a cover of Otis Redding's 'Try a Little Tenderness.' The liner notes to the physical editions contain exclusive interviews with Sly Stone and all of the other original members of the Family Stone, along with never-before-published photos. More from Rolling Stone Sly Stone, Family Stone Architect Who Fused Funk, Rock, and Soul, Dead at 82 'Sly Lives!' Producer Reveals Why Sly Stone Wasn't Interviewed for Documentary Andre 3000 Talks Sly Stone's 'Stankonia' Influence in 'Sly Lives!' Doc Clip 'The Winchester Cathedral recordings showcase a one-of-kind outfit that was already at the peak of its powers, long before it became internationally famous,' the set's producer, Alec Palao, said in a statement. 'Sly is fully in command, while the unique arrangements and tighter-than-tight ensemble playing point clearly to the road ahead, and the enduring influence of Sly & The Family Stone's music.' The concert on the album took place on March 26, 1967, toward the end of the group's Winchester Cathedral residency, when they served as house band from December 1966 through the end of April 1967. The group's manager, Rich Romanello, recorded the gig. Romanello shelved the tapes after the band signed to Epic; Dutch twins and Family Stone enthusiasts Edwin and Arno Konings rediscovered them in 2002. The band's debut album, A Whole New Thing, came out in October 1967. None of the songs from the concert recording, which include many covers, featured on the record. The only original composition, 'I Ain't Got Nobody (For Real),' would later appear on 1968's Dance to the Music. track list: 1. I Ain't Got Nobody (For Real)2. Skate Now3. Show Me4. What Is Soul?5. I Can't Turn You Loose6. Try A Little Tenderness *7. Baby I Need Your Loving8. Pucker Up Buttercup9. Saint James Infirmary10. I Gotta Go Now (Up on the Floor)/Funky Broadway *CD Only Bonus Track Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
Yahoo
10-06-2025
- Entertainment
- Yahoo
Sly and the Family Stone: 20 Essential Songs
In a famed 1970 Rolling Stone profile by Ben Fong-Torres, Sly Stone (né Sylvester Stewart) explained the concept behind he and the Family Stone: 'If there was anything to be happy about, then everybody'd be happy about it. If there were a lot of songs to sing, then everybody got to sing. If we have something to suffer or a cross to bear – we bear it together.' Those words — a rare, lucid moment for Stone in that era — encapsulated the group's arc up until that point: from the rosy optimism of their Summer of Love debut through their hit song era and into the cynicism of that early Seventies moment. The band would bear it together, until they couldn't anymore. More from Rolling Stone Sly Stone, Family Stone Architect Who Fused Funk, Rock, and Soul, Dead at 82 Hear Sly and the Family Stone Rock a Small Club in 1967 With Funky 'I Gotta Go Now' 'Sly Lives!' Producer Reveals Why Sly Stone Wasn't Interviewed for Documentary Sly and the Family Stone became the poster children for a particularly San Francisco sensibility of the late Sixties: integrated, progressive, indomitably idealistic. Their music, a combustible mix of psychedelic rock, funky soul and sunshine pop, placed them at a nexus of convergent cultural movements, and in turn, they collected a string of chart-topping hits. Just as they seemed on the cusp of even greater success, Stone made a social and psychological retreat, only to reemerge in 1971 with the sonic equivalent of a repudiation: dark, brilliant and bracing. The band wouldn't survive intact much longer, but in that short span, they redefined the possibilities of pop music. Was Sly and the Family Stone one of the great American funk bands? Rock bands? Pop bands? All of the Stone's first taste of national notoriety began at the tender age of 19 when he produced the moody pop single, "Laugh, Laugh," for the San Mateo folk-rock band the Beau Brummels. As a teen guitarist, Stone's various gigs around San Francisco lead him to cross paths with Autumn Records' Tom Donahue, who gave the budding talent a shot at producing. "Laugh, Laugh" was one of Sly's first efforts and by early 1965, it had climbed into the Top 20. As Ben Fong-Torres said of the single in 1970: "Sly had produced the very first rock & roll hits out of… a city then known for little more than Johnny Mathis and Vince Guaraldi." The "San Francisco Sound" would soon be in full bloom, but here Sly was planting the seeds early Stone's brief stint at Autumn Records, he made use of their studios to mess around with his own compositions, including this funky, chattering instrumental, likely concocted in 1965. Stone self-taught himself how to play an array of instruments, including the organ that can be heard wheezing away on this track. "Rock Dirge" and similar experiments from this era eventually surfaced on a 1975 compilation of Stone's early work and the song was subsequently pressed onto a seven-inch that's become popular amongst breakbeat-crazed proceeds earned from Autumn, Stone set himself and his family up in Daly City, just outside of San Francisco. This is where the Family Stone band began to cohere in the mid 1960s and their first official release came on this single for the local Loadstone label. With its snappy, uptempo backbeat and layered vocal harmonies, the song now sounds like a prescient first draft for a style that would take full form on the group's later hits. "I Ain't Got Nobody" only made noise locally but it helped put the group on the radar of Epic Records who signed Sly and the Family Stone that same the first single and first song on the group's first album, A Whole New Thing, "Underdog" introduced Sly and the Family Stone in as raucous a way possible. It opens, oddly enough, with saxophonist Jerry Martini sleepily riffing on the children's song "Frère Jacques" before giving way to a full acid rock jam of driving horns, dramatic choral yells and a defiant social message about underdogs who have to prove themselves to be "twice as good." George Clinton told official Family Stone biographer Jeff Kaliss that, in listening to the song, "you felt like they were speaking directly to you personally." The song and its album were the group's creative magnum opus… just not a commercial one. They failed to break the Family Stone out nationally, but that moment would come soon Sly Stone song most likely to be heard on a 1980s "as advertised on TV" compilation, "Dance to the Music," netted the group their first Top 10 hit by the spring of 1968. Recorded under the insistent direction of Clive Davis, the single's ebullient, infectious energy helped cover for the fact that, lyrically, it's little more than the band narrating what instruments they're about to fold into the groove: drums, then guitar, bass, etc. Within the group, the song and same-titled album was met with mixed emotions. Saxophonist Jerry Martini, speaking to oral historian Joel Selvin, insisted, "It was so unhip to us. The beats were glorified Motown. We did the formula thing." However, engineer Don Pulese, quoted by journalist Miles Marshall Lewis, claims that Sly himself once said of the single, "that's the best bass and drum sounds I've ever got."Life was a middle child album, shortchanged between the breakout success of "Dance to the Music" and the transcendent accomplishment of Stand! Yet, for all its commercial shortcomings, the album made an impact with critics, especially Rolling Stone's Barret Hansen (a.k.a. the future Dr. Demento) who declared it "the most radical soul album ever issued." Hansen was particularly taken by the group's "element of surprise": Songs like the psych-fringed "Dynamite" or the carnival-esque title track make quixotic shifts in arrangement, with sudden sonic pockets opening up and closing while the Family's singers play tag on lead vocals. As trumpeter Cynthia Robinson told Ebony last summer (before she passed in November), "We were free to adlib things. Sly would cut things off in a different way than the real recordings; he'd just stop it and go into something else.""The things that were happening across the country changed us as people," said Freddy Stone in a 2013 interview with Wax Poetics. "We would begin having conversations amongst ourselves, and Sly being the genius that he is, he was putting these thoughts into songs." The album that came out of that moment, Stand!, absorbed the furious energies of the era's political and musical revolutions and spit back an LP so potent that more than half of its songs would end up being reissued just a year later on the group's Greatest Hits. "Everyday People" remains the group's pinnacle of that era, a flamboyantly utopian anthem about forging unity through difference. All that and Scooby Dooby Doo, ya'll."Everyday People," was an undeniably feel-good pop hit, but for the best-selling single's B-side, the Family Stone unleashed this blistering blast of funk. As rollicking and aggressive as anything James Brown and his crew were pumping out, the song also found Sly playing with studio techniques, including stereo panning to split instruments into separate channels. Greg Errico – whose crackling drum work on the song would be liberally sampled decades later – told interviewer Eric Sandler in 2013: "The track was laid so down to the bone and we all knew it was. You could feel it."Elsewhere on Stand!, the Family Stone may have painted their social commentary in varying metaphoric shades but with "Don't Call Me Nigger, Whitey," they left little room for reinterpretation. Clocking in at nearly six minutes, the song is almost all hook (save for a short Rose Stone verse) and its stark, defiant tone stands in sharp contrast to the album's more optimistic vibes. The song is also striking for its spaced-out vocoder effects and distorted instrumentation, predating and predicting the launch of the P-Funk Mothership half a decade only fitting that this song – now considered one of Woodstock's most legendary performances – took form at another seminal Family Stone concert: the 1968 Fillmore East show. The original "Higher," a jerky album cut off Dance to the Music, was part of their set and during the performance, the group began to improvise with it, adding the crucial line, "I wanna take you higher." By Stand!, the song had evolved into a lumbering, aggressive tune that promised to drag you to a higher plane whether you were ready to tag along or rushed to capitalize on the group's incandescent Woodstock performance by releasing "Hot Fun in the Summertime" as a standalone single in August of 1969. Compared to the social messaging on Stand!, "Hot Fun" delivered what its title promised: a fun summer anthem awash in some gentle streams of nostalgia and a rare instance of Stone using a string section. Critics generally treated it as a pleasant trifle – Rolling Stone's Jon Landau compared it to "a hard version of the Lettermen" – but years later, George Clinton would laud it as "proof that funk could be a pop standard.""Thank You" would have been memorable enough thanks to Sly's strange, phonetic title but the song's enduring legacy rests mostly with the thumb of bassist Larry Graham. His "thunkin' and pluckin'" technique revolutionized the role of the bass as a lead instrument in R&B, leading music writer and scholar Ricky Vincent to opine, "perhaps more than any other record, 'Thank You' introduced the Decade of Funk."It says much about the Family Stone's power and popularity in 1970 that a compilation ostensibly made to collect their past hits would end up creating three entirely new ones. "Hot Fun" and "Thank You" were huge successes in their own right but perhaps the most timeless was "Everybody Is a Star." Even more than "Everyday People," "Star" was Sly and the Family Stone at their self-affirming best — a happy, hippy-er version of the "black is beautiful" slogan of the era. Of course, if the song was a high point, by extension, what came next meant that Sly and the Family Stone were about to get and the Family Stone were supposed to follow the Greatest Hits anthology with a new studio album in 1970. Instead, Stone decided to postpone that recording while moving his base of operations to Los Angeles, the first of many decisions that began to fray relationships within the band. For the next year or so, Sly stayed in seclusion, frustrating bandmates, label reps and fans. Drugs and gnawing paranoia didn't help, but this "lost" period was also a fertile creative time for Stone as he tinkered with new toys, especially emergent drum machine technology. Beatboxes were still a novelty item then, nothing a serious musician would consider using as a studio instrument. But through Sly's own Stone Flower imprint, he began to explore its musical potential on the lone single by vocal group 6ix. In a rare contemporary interview for the liner notes of I'm Just Like You, a Stone Flower anthology, Sly told Alec Palao, "All instruments are real. Anything that can express your heart, it's an instrument, man." By 1971, those ideas would come into fuller fruition on the group's epochal There's a Riot Goin' Marcus famously wrote that There's a Riot Goin' On! "was no fun. It was slow, hard to hear, and it isn't celebrating anything." In short, "It was not groovy." These were all meant as compliments since the album's dark tones – literal and figurative – felt like an unflinchingly honest expression of both the Family Stone's internal turmoil and the state of America waking up from its late Sixties high and facing the early Seventies' bleak hangover. The group's last Number One single, "Family Affair," was a sobering retreat from the sunny positivity of "Everybody Is a Star," replacing it with a meditation on human strife and weakness, cleverly masked within the mesmerizing burbling of its drum machine rhythms. In a 1971 Rolling Stone interview, Sly insisted, "I don't feel being torn apart," but many around him wondered more than "Family Affair," "Running Away" felt like a song at odds with itself. The message was unambiguous – "running away/to get away … you're wearing out your shoes" – and the "ha-ha, hee-hee" laughter feels mocking in every stanza. But in contrast, the music feels light and luminous with a jaunty guitar and bright brass section that would have been at home with Earth, Wind & Fire. Cynicism never sounded so the time Sly had disappeared into his L.A. studio, he was experimenting with playing every instrument he could lay his hands on. Riot still featured the Family players, but in many instances it was all Sly, overdubbing himself playing the various parts. With each new layer, the sound quality would gradually deteriorate into the hazy, opioid sound heard on "Time," "Thank You for Talkin' to Me Africa," "Luv N' Haight," and other songs: all slurred and half-dreamed. The affect was as alluring as it was foreboding – a journey into the heart of funk's Family Stone came undone in the Riot era, amid a string of near-mythologically disastrous concerts. To work on his next album, Fresh, Sly headed back to the Bay, but began replacing several of the key players who had been with him since at least the "Dance to the Music" days. Despite the change in personnel, Fresh was a compelling sequel to Riot's funk explorations, albeit not nearly as dark or pathos-laden. "If You Want Me to Stay," the album's modest hit, still saw Sly keeping his audience at arm's length. As the singer explained on a radio interview, "That's exactly what I meant, what I wrote. If you want me to stay, let me know. Otherwise, sayonara."The most damning-with-faint-praise for Small Talk, Sly and the Family Stone's final group album of the 1970s, may have come in Billboard's July 1974 review where an uncredited critic offers "not really much new in the way of presentation… but… there really is no need for a successful star to have to come up with something new on each LP." They weren't wrong: Small Talk mostly retread the same stylings, but the formula still had legs, especially on the tightly wound "Can't Strain My Brain," one of many Sly songs of the era where he hinted at his gradually loosening grip on the last great Sly Stone song, "Remember Who You Are" wasn't a full-fledged return to the original Family Stone. Sly had jettisoned the band several years earlier, recording under his own name, including on 1976's Heard Ya Missed Me, Well I'm Back, perhaps one of the worst on-the-nose album titles in history. Back on the Right Track, in 1979, sounds like a concession to the mistakes of the past and, at least for "Remember Who You Are," he reunited siblings Freddie and Rose Stone to share vocals, recapturing some of that old Family Stone magic. { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 1, }, pmcCnx: { singleAutoPlay: 'auto' } } }, playerId: "d762a038-c1a2-4e6c-969e-b2f1c9ec6f8a", mediaId: "e4dc3aa6-3781-4d73-8332-8e311e2c5c59", }).render("connatix_player_e4dc3aa6-3781-4d73-8332-8e311e2c5c59_1"); }); Best of Rolling Stone The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked The 500 Greatest Albums of All Time
Yahoo
10-06-2025
- Entertainment
- Yahoo
Questlove Honors ‘Giant' Sly Stone: ‘His Music Will Echo Forever'
Questlove is remembering the late great, Sly Stone. In a lengthy and emotional Instagram post, the musician — who directed the documentary Sly Lives! (aka the Burden of Black Genius), about Stone's life and has long described him as an inspiration — reflected on the legend's legacy and enduring impact on music at large. 'Sly Stone, born Sylvester Stewart, left this earth today, but the changes he sparked while here will echo forever. From the moment his music reached me in the early 1970s, it became a part of my soul,' Questlove wrote. 'Sly was a giant — not just for his groundbreaking work with the Family Stone, but for the radical inclusivity and deep human truths he poured into every note.' More from Rolling Stone The Struggle for Sly's Soul at the Garden Watch Sly and the Family Stone Rip Through 'I Want to Take You Higher' at Woodstock Sly Stone, Family Stone Architect Who Fused Funk, Rock, and Soul, Dead at 82 'His songs weren't just about fighting injustice; they were about transforming the self to transform the world,' he added. 'He dared to be simple in the most complex ways — using childlike joy, wordless cries, and nursery rhyme cadences to express adult truths. His work looked straight at the brightest and darkest parts of life and demanded we do the same.' Questlove also acknowledged Stone's battle with addiction and how he 'disappeared from the spotlight,' but also how he outlasted his 'disciples' and was able to 'feel the ripples of his genius return through hip-hop samples, documentaries, and his memoir.' 'Still, none of that replaces the raw beauty of his original work. As I reflect on his legacy, two lines haunt me: 'We deserve everything we get in this life' — a line from the Sly Lives! documentary that feels like both a warning and a manifestation — and, of course, the eternal cry of 'Everyday People': 'We got to live together!' Once idealistic, now I hear it as a command.' Questlove ended his post by thanking Stone and reminding followers how Stone's music will 'likely speak to us even more now than it did then.' He concluded: 'You will forever live… Love to your family, loved ones and every human whose life you came across and [affected]. All of your disciples will be geeked to receive you.' Stone died Monday at the age of 82 following a 'prolonged battle with COPD and other underlying health issues,' according to a statement by his family. Questlove directed 2025's Sly Lives! (aka the Burden of Black Genius), which reexamined Stone's legacy and focused on how his influence continues to impact popular music today. It included commentary from Chaka Khan, D'Angelo, Q-Tip, and Family Stone members Larry Graham and Jerry Martini, among others. 'My intent was always to use Sly Stone to tell our story, my story, D'Angelo's story, Lauryn Hill's story, Frank Ocean's story,' Questlove told Rolling Stone. 'When you're talking about 'blowing it,' a lot of times the fear of failing or the fear of returning to where you came from — which is the very bottom — causes you anxiety about your future, and then causes you to fumble it.' Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
