内容摘要：“Many believe that the referendum institution should be reviewed in light of the high levels of abstention (that) emerged in recent elections and the turnout threshold should be lowered,” said Lorenzo Pregliasco, political analyst and pollster at YouTrend.

“Many believe that the referendum institution should be reviewed in light of the high levels of abstention (that) emerged in recent elections and the turnout threshold should be lowered,” said Lorenzo Pregliasco, political analyst and pollster at YouTrend.

Sly’s time on top was brief, roughly from 1968-1971, but profound. No band better captured the gravity-defying euphoria of the Woodstock era or more bravely addressed the crash which followed. From early songs as rousing as their titles — “I Want To Take You Higher,” “Stand!” — to the sober aftermath of “Family Affair” and “Runnin’ Away,” Sly and the Family Stone spoke for a generation whether or not it liked what they had to say.Stone’s group began as a Bay Area sextet featuring Sly on keyboards, Larry Graham on bass; Sly’s brother, Freddie, on guitar; sister Rose on vocals; Cynthia Robinson and Jerry Martini horns and Greg Errico on drums. They debuted with the album “A Whole New Thing” and earned the title with their breakthrough single, “Dance to the Music.” It hit the top 10 in April 1968, the week the Rev. Martin Luther King was murdered, and helped launch an era when the polish of Motown and the understatement of Stax suddenly seemed of another time.

Led by Sly Stone, with his leather jumpsuits and goggle shades, mile-wide grin and mile-high Afro, the band dazzled in 1969 at the Woodstock festival and set a new pace on the radio. “Everyday People,” “I Wanna Take You Higher” and other songs were anthems of community, non-conformity and a brash and hopeful spirit, built around such catchphrases as “different strokes for different folks.” The group released five top 10 singles, three of them hitting No. 1, and three million-selling albums: “Stand!”, “There’s a Riot Goin’ On” and “Greatest Hits.”For a time, countless performers wanted to look and sound like Sly and the Family Stone. The Jackson Five’s breakthrough hit, “I Want You Back,” and the Temptations’ “I Can’t Get Next to You” were among the many songs from the late 1960s that mimicked Sly’s vocal and instrumental arrangements. Miles Davis’ landmark blend of jazz, rock and funk, “Bitches Brew,” was inspired in part by Sly, while fellow jazz artist Herbie Hancock even named a song after him.“He had a way of talking, moving from playful to earnest at will. He had a look, belts, and hats and jewelry,” Questlove wrote in the foreword to Stone’s memoir, “Thank You (Falettinme Be Mice Elf Agin),” named for one of his biggest hits and published through Questlove’s imprint in 2023. “He was a special case, cooler than everything around him by a factor of infinity.”

In 2025, Questlove released the documentary “Sly Lives! (aka The Burden of Black Genius).”Sly’s influence has endured for decades. The top funk artist of the 1970s, Parliament-Funkadelic creator George Clinton, was a Stone disciple. Prince, Rick James and the Black Eyed Peas were among the many performers from the 1980s and after shaped in part by Sly, and countless hip-hop artists have sampled his riffs, from the Beastie Boys to Dr. Dre and Snoop Dogg. A 2005 tribute record included Maroon 5, John Legend and the Roots.

“Sly did so many things so well that he turned my head all the way around,” Clinton once wrote. “He could create polished R&B that sounded like it came from an act that had gigged at clubs for years, and then in the next breath he could be as psychedelic as the heaviest rock band.”

By the early ’70s, Stone himself was beginning a descent from which he never recovered, driven by the pressures of fame and the added burden of Black fame. His record company was anxious for more hits, while the Black Panthers were pressing him to drop the white members from his group. After moving from the Bay Area to Los Angeles in 1970, he became increasingly hooked on cocaine and erratic in his behavior. A promised album, “The Incredible and Unpredictable Sly and the Family Stone” (“The most optimistic of all,” Rolling Stone reported) never appeared. He became notorious for being late to concerts or not showing up at all, often leaving “other band members waiting backstage for hours wondering whether he was going to show up or not,” according to Stone biographer Joel Selvin.DUBAI, United Arab Emirates (AP) — The tattoos covering Iranian rapper Tataloo’s face stand out against the gray prison uniform the 37-year-old now wears as he awaits execution, his own rise and fall tracing

Tataloo, whose full name is Amir Hossein Maghsoudloo, faces a death sentence after being convicted on charges of “insulting Islamic sanctities.” It’s a far cry from when he once supported a hard-line Iranian presidential candidate.Tataloo’s music became popular among the Islamic Republic’s youth, as it challenged Iran’s theocracy at a time when opposition to the country’s government was splintered and largely leaderless.

The rapper’s lyrics became increasingly political afterand the subsequent wave of nationwide protests. He also appeared in music videos which criticized the authorities.