Sly Lives! (aka the Burden of Black Genius)

Follows a very standard bio-doc template... rise-fall-redemption. But I really liked the thread of black genius and the pressure placed on America's very best black performers. Most of the archival interview footage with Sly Stone was really compelling. He has a very good way of expressing himself meaningfully without capitulating to the awful questions people asked him. Right at the midpoint of the film, around the time when Sly Stone's run of genius albums is about to take a darker, inward turn, there is an interview clip of Dick Cavett interviewing Stone, with Cavett being a total, well, dick. Sly's response properly shames Cavett... and all us as well.

A current documentary airing on Hulu from Oscar winner Questlove. Following the rise & eventual fall of Sylvester Stewart (Sly) & his band, we get a hallucinatory ascent of a mixed raced band who wowed audiences at Woodstock w/their mixture of rock & R & B which carried over to their many appearances on television at the time. Of course, one's demons reared its ugly head for Sly as his upward success came hand in hand w/his increasing drug use which by the time the late 70's rolled around the band were soon relegated to the past their prime heap but w/Questlove's expertise w/archival footage & interviews as well as modern takes on the band's output & influence from current songsmiths (Andre 3000 from Outkast, D'Angelo, Q-tip from A Tribe Called Quest) who put Sly & the Family Stone's music into righteous perspective.

Sly Stone is an infinitely fascinating character and musician. His music will be around forever.

Qwestlove's obsession with Sly being a black genius is grating and he's projecting too much of his own outlooks instead of trying to find out and express just what Sly Stone's outlook was/is.

Most of the musicians interviewed in the doc, do not hold a candle to Sly's talent or achievements, so their opinions don't hold much weight.

The only interviews that were interesting were his band mates. And how could they not a find any of his contemporaries? How could they basically ignored his discography after Fresh? Or the quirky side projects he did.

This documentary had too much of a personal agenda that wasn't about Sly Stone. Still, the man was just that interesting that he shines through despite the negative issues.

Sly stone was a genius, a tremendous success from 1968-1972, and a pioneer of multiracial rock funk & pop.

His greatest hits lp is beyond great.

Unfortunately his career was derailed by drugs booze and not showing up for live gigs, destroying the band and ultimately Sly himself. Ironically, sly worked very hard for ten years to attain his success by showing up on time and being there. His unraveling remains one of the mercurial questions of rock history.

That he was an all time great, there is little question. Sly and the Family Stone were inducted into the rock n roll HOF in 1993.

Sly is still living. He should be touring like Dylan, but he chooses not to. He remains an enigma within a riddle.

This is fine and will do the job as placeholder. It's in the standard format of blending clips, stills, archive footage, with contamporaries being interviewed, to take us through a famous life, the ups and downs and perhaps lessons involved.

Here it's Sly Stone, who oould have been a Prince of sorts. Theatric, multifaceted, but it was the civil rights years, and his creative life mirrors that trajectory; ebullient hope to transcend boundaries, to bitterly dashed dreams.

One lesson, and it's generally offered, is that there was no scaffold, blueprint, on which to know what to do build next, how to play the role of superstar. He, along with everybody else, had to make it up as they went along. Another talking point here is 'black' genius, the particular tolls of it in a world where boundaries are drawn starkly against you.

There may be parallels with someone like Brian Wilson; 'genius' in being able to perceive music as visual world, as shared streets you explore, but limited in the means, work, and focused commitment required to consistently bring it to life.

At least his Riot album is as important as anything from the time, a dissonant extended improvisation on previous fabric of soul music, and that as mirroring a dissonant collapsing America. It's probably a cornerstone for all black music that followed.

My own takeaway is of a man who in terms of vision was second to none of the greats of the era; adept at improvising self, savvy enough to be able to see the larger fabric.

But there's no real stage for him to move to, fails to transcend, and probably had plenty of reasons against him. The drugs were probably ways to dissociate, make believe he was what he couldn't summon. So he periodically returns as caricature of himself, clowning it for the camera, unsure how to be the next version of himself.

Meanwhile, just as he was cratering, Bronx and Harlem youths were rediscovering him in record stores, and were about to speak once more about what he used to; the world of stark limits, and yet somehow joyful dance, ironically cruising through cracks. Interestingly, the new music, hip hop, would eschew the whole band format, and pare it down to narrator and rousing, sometimes soulful breaks that suggest world.