Entertainment
Cannes 2015: How the Festival Rejected ‘Gala-Glamour’ for Social-Realist Grime

Freida Pinto arrives Sunday for the screening of “The Homesman” at the 67th international film festival, Cannes in France in 2014. (AP Photo)
(The Guardian) – The red carpets are being unrolled, tuxedos retrieved from the dry cleaners, stepladders set up by the paparazzi; Cannes is getting ready to welcome its annual influx of the flotsam and jetsam of the global film community. As ever, the entire industry will make the trip, from Seoul to Sacramento, from the buyers’ scouts who are forced to hop through scores of screenings a day, to the most lordly financiers lounging in their billion-dollar superyachts in the harbour. It looks like business as usual.
But there is also change in the air. The Cannes film festival has always been a contradictory beast: it is an event that thrusts itself so shamelessly into the glare of the international media machine, but is dedicated to showcasing the most recondite areas of world cinema. Steepled-fingered critics rub shoulders with nickel-and-dime movie hucksters. So while the broad mass of activities in Cannes remain unchanged – bar a currency crisis or two – subtle shifts in emphasis can have surprisingly far-reaching effects.
Most striking is the sense that the festival has tilted dramatically in the direction of its more serious, socially-concerned side. The opening film, a prestige slot that has in the recent past been concerned to parade a string of A-list Hollywood movie stars on the festival’s enormous red carpet, with the likes of The Great Gatsby, Robin Hood and The Da Vinci Code, has this year been handed to a French film, La Tête Haute (aka Standing Tall), from a little known director called Emmanuelle Bercot.
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Oakland Post: Week of June 18 – 24, 2025
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IN MEMORIAM: Legendary Funk Pioneer Sly Stone Dies at 82
Sly Stone’s musical approach radically reshaped popular music. He transcended genre boundaries and empowered a new generation of artists. The band’s socially conscious message and infectious rhythms sparked a wave of influence, reaching artists as diverse as Miles Davis, George Clinton, Prince, Dr. Dre, and the Roots.

By Stacy M. Brown
BlackPressUSA.com Newswire
Sylvester “Sly” Stewart—known to the world as Sly Stone, frontman of the groundbreaking band Sly and the Family Stone—has died at the age of 82.
His family confirmed that he passed away peacefully at his Los Angeles home surrounded by loved ones, after battling chronic obstructive pulmonary disease (COPD) and other health complications.
Born March 15, 1943, in Denton, Texas, Stone moved with his family to Vallejo, California, as a child. He began recording gospel music at age 8 with his siblings in a group called the Stewart Four. By his teenage years, he had mastered multiple instruments and was already pioneering racial integration in music—an ethos that would define his career.
In 1966, Sly and his brother Freddie merged their bands to form Sly and the Family Stone, complete with a revolutionary interracial, mixed-gender lineup.
The band quickly became a commercial and cultural force with hits such as “Dance to the Music,” “Everyday People,” and “Thank You (Falettinme Be Mice Elf Agin)”—all penned by Stone himself.
Their album “Stand!” (1969) and live performances—most notably at Woodstock—cemented their reputation, blending soul, funk, rock, gospel, and psychedelia to reflect the optimism and turmoil of their era.
Sly Stone’s musical approach radically reshaped popular music. He transcended genre boundaries and empowered a new generation of artists. The band’s socially conscious message and infectious rhythms sparked a wave of influence, reaching artists as diverse as Miles Davis, George Clinton, Prince, Dr. Dre, and the Roots.
As the 1970s progressed, Stone confronted personal demons. His desire to use music as a response to war, racism, and societal change culminated in the intense album “There’s a Riot Goin’ On” (1971). But drug dependency began to undermine both his health and professional life, leading to erratic behavior and band decline through the early 1980s.
Withdrawn from the public eye for much of the 1990s and early 2000s, Stone staged occasional comebacks. He was inducted into the Rock & Roll Hall of Fame in 1993, received a Lifetime Achievement Award from the Grammys in 2017, and captured public attention following the 2023 release of his memoir “Thank You (Falettinme Be Mice Elf Agin)”—published under Questlove’s imprint. He also completed a biographical screenplay and was featured in Questlove’s documentary “Sly Lives!” earlier this year.
His influence endured across generations. Critics and historians repeatedly credit him with perfecting funk and creating a “progressive soul,” shaping a path for racial integration both onstage and in the broader culture.
“Rest in beats Sly Stone,” legendary Public Enemy frontman Chuck D posted on social media with an illustrative drawing of the artist. “We should thank Questlove of the Roots for keeping his fire blazing in this century.”
Emmy-winning entertainment publicist Danny Deraney also paid homage. “Rest easy Sly Stone,” Deraney posted. “You changed music (and me) forever. The time he won over Ed Sullivan’s audience in 1968. Simply magical. Freelance music publicist and Sirius XM host Eric Alper also offered a tribute.
“The funk pioneer who made the world dance, think, and get higher,” Alper wrote of Sly Stone. “His music changed everything—and it still does.”
Sly Stone is survived by three children.
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