The recently released documentary titled “Sly Lives: The Struggle of Black Genius,” centered around the life and music career of the gifted yet troubled artist Sly Stone and his band Sly and the Family Stone, is both typical and remarkably atypical in its approach.
Similar to the Academy Award-winning and Grammy-honored “Summer of Soul,” directed by Ahmir “Questlove” Thompson from The Roots and produced by Joseph Patel, the new film “Sly Lives” weaves its narrative around a broader theme. This theme revolves around the unique challenges faced by individuals who are both extraordinarily talented and Black – challenges that have led to the downfall of many such gifted individuals and pushed them towards self-destruction. The subtitle doesn’t imply that talent is not equally distributed; instead, it emphasizes the distinct experiences that follow the manifestation of this talent, particularly for Black people.
In the movie, individuals who’ve been through it themselves – such as Outkast’s Andre 3000, D’Angelo, Q-Tip, Living Colour’s Vernon Reid, hitmakers Jimmy Jam and Terry Lewis among others – vividly express their feelings about that pressure.
Sly Lives” is an exceptionally captivating and wide-reaching music documentary, delving into a significant theme that this author finds particularly engaging. In fact, it might be the best I’ve ever seen. While the overarching theme may not resonate with every viewer, it provides unique insights, through interviews with numerous artists and creatives, into the complex reasons why an influential, charismatic, and culturally progressive musical icon like Sly Stone (born Sylvester Stewart in 1943) might struggle with drug abuse, financial troubles, and imprisonment. This exploration is presented in a thought-provoking manner that invites viewers to reflect on the challenges faced by artists in the music industry.
Moreover, this movie isn’t just entertaining; it serves as a thrilling chronicle of Sly and the band’s ascension, their incredible musical talent, and the reason behind their groundbreaking work. The interviews and analysis, primarily guided by Questlove—a musical genius in his own right—add depth and credibility that many music documentaries lack. In simple, engaging parts, you’ll see the breakdown of some of their popular songs like “Dance to the Music,” dissecting each instrument to demonstrate the brilliance in their songwriting, arrangements, and production techniques.
The movie skillfully balances the need to captivate both die-hard fans and casual viewers, a delicate act that the filmmakers acknowledge can be challenging. It doesn’t fully delve into Sly’s grittier, drug-filled past, which is often detailed in books and articles, but it touches on these periods without dwelling excessively, almost as if to counterbalance them. Despite a slight tendency towards hagiography towards the end, the film remains a compelling portrayal of their rise and golden era, with minor criticisms being easily overshadowed by its overall excellence: “Sly Lives” is an engrossing depiction of his and the group’s ascent and peak years you wouldn’t want to miss.
A significant factor contributing to the film’s credibility is largely due to Questlove’s involvement, not just because of his extensive musical background. He personally conducted many of the main interviews, which adds authenticity as seen in recent music documentaries like “Have You Got It Yet? The Story of Syd Barrett and Pink Floyd” and “Somebody Up There Likes Me” with Ron Wood. This is because the interviewees often feel like they’re having a genuine conversation with someone they know, rather than repeating scripted responses to a journalist. This personal touch is further enhanced by the Interrotron filming technique, where interviewees typically speak directly into the camera, creating an intimate atmosphere and making the stories more impactful.
As a passionate cinephile, I’m thrilled to share that starting this coming Thursday, you can catch an exciting new movie on Hulu. To make it even more enticing, they’re releasing a soundtrack album that same evening, featuring unheard-before tracks from the legendary Sly – a must-have for any music enthusiast!
The discussion between Questlove and Patel on February 7th in New York was held, moderated by Jem Aswad from EbMaster, and sponsored by Hulu and Onyx Collective. (Note: Patel and Aswad previously worked together at MTV News in the 2000s.)
“Sly Lives” avoids a lot of the major cliches of music documentaries, was that intentional?
Joseph Patel: Our goal was to avoid making this just another run-of-the-mill documentry. In our initial discussion, Ahmir suggested, “I want it to focus on Sly, but it should be about something more profound,” and the concept of the weight of Black genius emerged. I believe he experienced this firsthand following the success of “Summer of Soul” and observed his peers going through similar struggles. As a producer, my task was figuring out how to bring that concept to fruition. Ahmir wanted to utilize the Interrotron for this project, creating an intimate setting where subjects share personal stories and emotions directly with the audience, as if they’re talking across a table to you. This approach was intentional.
Our initial edit was approximately 244 minutes long – it was quite extended. However, when making most documentaries, especially those created by creative individuals, it’s akin to engaging with two different audiences. The first group is the ‘inside-baseball team’, who are already well-versed in the subject matter. But we also need to consider the person who knows absolutely nothing about it.
In this story, context matters, but what truly resonated with me was the human connection aspect. Frequently, I find myself as a passenger in a creatively malfunctioning vehicle, longing for a heart-to-heart conversation with the driver. During the production of this film, it would be dishonest to say that D’Angelo, Lauryn, SZA, Solange, and many others didn’t cross my mind. The same goes for Michael Jackson, Prince, Whitney Houston, Charlie Parker, Nina Simone, Miles Davis, Marvin Gaye, and so on. This film may be the closest I can get to hitting the panic button for all these artists I’ve worked with. There’s usually a moment of crisis, self-destruction, or career derailment in their lives. This was my primary concern rather than anything else – not to mention, both our lives have been altered following the Oscar win. I’m comfortable being open about what that change entails, and I believe this movie allowed us to convey that experience.
The movie provides responses to the question “What is the weight of Black genius” indirectly, as it doesn’t follow a traditional question-and-answer format.
P: Certainly, that topic sparked intense discussions: “Why should it fall solely on the shoulders of geniuses?” People question if there’s a unique pressure involved, one where you’re not just working for your personal success, but also to make history. It feels like being the favored Black figure among white people isn’t easy—it’s laughter here—every morning I ask myself, “Am I still staying grounded?” That’s why I’ve been emphasizing the importance of setting goals and meditation lately. Being a role model is a worthy burden, but in 2025, it seems we need all artists to be clear-minded and focused.
The initial query in the film, “What is Black genius?,” seemed to confuse some viewers as none of the artists could provide a straightforward answer, but this was actually a misdirection: In truth, the question didn’t shock them, and they all responded to it. Each artist in the movie was carefully selected for a specific reason: Nile Rodgers, Jimmy Jam, Terry Lewis, D’Angelo, George Clinton, Andre 3000, Q-Tip, Vernon Reid – they have all embodied and endured Black genius, so the question wasn’t new to them. Moreover, each artist responded in their unique way: for instance, D’Angelo, despite his private struggles being unknown to many viewers, still managed to convey meaningful answers through the film. His decision to emulate his borderline explicit “Voodoo” video onstage during the 2000 tour and performing “How Does It Feel” night after night was a challenging experience for him, which Ahmir, who played drums on that tour and album, observed closely.
As I pose my queries, there’s a certain instant when he seems to shoot me a glance that says, “Are you springing an ambush on me with these questions?” (Movie lover perspective)
What he’s expressing about pressure is quite profound. When he discusses the “burden” of success, could he be referring to the fact that he achieved it while others did not, or is there a deeper meaning behind this?
JP: He’s talking about Sly, but he’s really talking about himself.
P: Without a doubt, he’s speaking about himself. His personal narrative stems from the fact that he was essentially a spare wheel in circumstances where he wasn’t even seeking or expecting to be involved, yet he was selected. It seems guilt is his predominant feeling.
People frequently question me about the event on Oscar night, as they’ve listened to my explanations about not paying attention or hearing what was said. To be honest, during those five minutes, your mind is preoccupied when your category is approaching. In truth, while chaos ensues around me, I’m internally contemplating questions like, “Will my band still accept me if we win? Will my family still admire me? Will I even like myself?” It’s a countdown, similar to New Year’s Eve, with the numbers 15-14-13-12 running through my mind. Granted, I had a strong feeling that we might win, but I wasn’t focusing on that. Instead, I was overwhelmed by guilt and self-doubt. This is a common experience for many artists, from Ma Rainey in the 1920s to Kendrick Lamar today – I often wonder what his life looks like this year. It’s a story shared by everyone in our line of work.
AL: Many people wish Andre 3000 would rap, but he responds by saying he’s not interested. He fears that if he were to start rapping again, he could find himself in a difficult situation, similar to one he has tried to avoid. Instead, he plays the flute.
A: He was the individual we could fully open up to: “This is exactly why we want to create this movie.” His reaction, filled with joy and gratitude, was like, “Oh my goodness, thank you! At last, someone to discuss what I’ve been experiencing.
JP: He even showed up early! (laughter)
A: He grasped the task completely and embraced it, as he’s currently at a point in his life where he prioritizes himself, which isn’t selfish. Instead, it’s about self-care and personal growth.
The purpose of the movie is to extend kindness towards artists similar to him. It’s as if we seek something from him, but if he’s not prepared to handle it or confront it, or simply doesn’t want to and recognizes how harmful it could be, then let’s show him some understanding and compassion.
A: We encountered quite a bit of reluctance, as approximately 20 individuals initially agreed to interview, but the anxiety of this situation caused many to back out at the last moment. While we were all set and ready to film, we’d receive messages such as “I’m sorry, I couldn’t board the flight…
JP: Let me clarify …
Q: Don’t say names!
As a devoted movie enthusiast, let me rephrase that for you from my perspective:
Initially, some artists we wanted to interview for this film about Sly were uninterested when they learned it was centered around him. However, once they understood the broader concept, they expressed interest. Incredibly, two of these artists even backed out on the day of our shoot! One of them sent Ahmir a video message at an unusual hour, explaining they couldn’t make it because they weren’t in New York. I admit, as a producer, I felt frustrated and angry about the wasted resources. But Ahmir, ever the insightful one, saw this as a real-life demonstration of the film’s theme. In my view, his interpretation underscores a deep understanding of the movie’s dual focus: Sly and The Family Stone, yes, but also this other, more daunting topic that made them hesitate.
Was there anyone who was about to flee and you talked them back?
Q: About? (He cackles)
JP: D’angelo was eight hours late!
P: For many musicians like me, the pandemic was a period when we hadn’t performed onstage in years – for myself, since I was five, there wasn’t a month that passed without me being on stage, be it school or family events. But suddenly, in 2020, I went seven months without performing and barely touched my drums. Instead, I focused on addressing issues I had been avoiding through therapy. Now, we’re gradually moving forward to take care of our mental health and sanity. Whatever my future body of work will be, I am committed to ensuring it reflects this priority. I believe artists can cope with these challenges as long as they have the determination, and hopefully, this encourages them to address their own well-being and personal growth. This is my mission.
The release of this movie is simultaneously sad and encouraging: Sad because it comes at a time when global events are challenging, yet encouraging as it’s being released when people may be more receptive to its message.
A: We didn’t specifically predict, “In 2025 we’ll reunite with our former partner” [Trump] (laughter). However, I remain optimistic that, despite the chaos happening currently, creativity and creative individuals will take the forefront.
What I want people to grasp is the experience of being a Black artist on a talk show primarily aimed at white audiences. Vernon, as a member of Living Colour, has faced this situation, so when he discusses and interprets that scene, it’s not just an outsider’s perspective — he’s speaking from personal experience.
A: Frequently, we’re not accorded the respect due to human beings, and this aspect is crucial. It’s uncommon to encounter a person rather than a stereotype. Black individuals are either portrayed as superhuman – “an exceptional representative of our race,” highly intelligent, exceptionally talented dancers, record breakers, quantity upon quantity – or inferior!: This person committed a crime, this person is a beast and deserves imprisonment. It’s essential to acknowledge their humanity first. Many inquire, “Why wasn’t there content [in the film] about Sly residing in an RV?” [as he did for a while]. He simply prefers RV living – he was not homeless or impoverished or anything.
Hey there! I’m curious, Ahmir, how did you manage to work on both the movie and the “50 Years of SNL Music” documentary simultaneously? It’s interesting to note that they were published approximately two weeks apart from each other.
A: I absolutely loved that spot! It’s where I spent my Fridays, Saturdays, and Sundays working on “SNL” – such a delightful task. There were times when I truly needed a bit of fun in my life, and that’s exactly what it provided for me.
JP: Tellingly, I did not work on his happy place! (laughter)
A: It was quite an ordeal for many of us, particularly him, to pull off the “Sly” project, and it seemed almost insane at times. To accomplish this while juggling seven additional tasks made it a real challenge.
Here’s the big question: Why isn’t he in the film? He just published an autobiography.
In our case, we haven’t made any public announcements about it, but for the movie “Summer of Soul,” we interviewed Sly in 2020 when he was clean, yet he lacks the ability to form full sentences due to motor function issues. Although his eyes show clarity, there’s no movement. Initially, we felt uncomfortable featuring him as it seemed wrong and potentially exploitative. Amir suggested that we should approach this story with great compassion, but not depicting him in the film is not exactly empathetic. That’s why Sly isn’t included in the movie.
What’s coming next?
Coming up are many more projects. He’s currently working on a project about J Dilla, a pioneering songwriter-producer named James “J. Dilla” Yancey. His unique contributions to hip-hop, particularly with A Tribe Called Quest, De La Soul, Common, and others, significantly influenced the genre. Unfortunately, he passed away in 2006 at the young age of 32.
Today marks the birthday of Dilla! That’s right, we’re in the process of creating a documentary about him. In an unusual twist, I am the director while he is the executive producer.
In an unusual manner, “Dilla” is the third installment of a trilogy, following “Summer of Soul” and “Sly Lives.” The film is inspired by Dan Charnas’ book, “Dilla Time.” Whenever Ahmir and I collaborate, there’s always another layer to the project; we aim to narrate a unique story that resonates more widely. “Summer of Soul” explores the significance of Black History in American history, while “Sly Lives” delves into the weight of Black genius embodied by Sly Stone. The Dilla narrative revolves around a man who manipulated time – not just in his music but also in his life experiences. Initially, he seemed to have an abundance of time, but later, his life underwent dramatic changes, leaving him with no time at all. Thus, the film is fundamentally about the concept of time and its impact on a person’s life.
My final query – the archival footage used in “Sly Lives” is truly remarkable! It’s making me reflect on the challenges of obtaining clearance, isn’t it funny (laughs)? What specific elements did you find difficult to include in the movie that you really wished were there?
JP: Not a lot, actually.
A: For me, the toughest challenge was my unsuccessful attempt at mastering “Que Sera Sera,” but it’s fitting that we concluded with “Just Like a Baby” from Sly’s 1971 album “There’s a Riot Goin’ on.” My earliest memory in life is associated with Sly Stone. It can be regrettable at times, as humorously illustrated by Dave Chappelle’s joke: “You know why we turn down the car volume when it gets pulled over by the police? Because nobody wants to get beaten while listening to a soundtrack.
One of my earliest life memories dates back to when I was just two years old: my sister cleaning my hair in the bathtub. Apparently, some shampoo had spilled into the tub, and being so young, I didn’t understand that you should keep your eyes closed during such a procedure. As a result, my memory is of my Aunt Karen and mom holding me down like a wrestler, while my dad and sister attempted to rinse my eyes with water, all while I was crying hysterically. In the background, the bassline from “Just Like a Baby” by Sly and the Family Stone played. Even though I was only two, I remember lying back in fear, looking at that album cover featuring an American flag, and hearing that strange song. I had forgotten this memory until I heard the song again when I was 11 years old, which instantly brought it all back to me. It seems fitting that this movie concludes with “Just Like a Baby” playing over the credits.
The show “Sly Lives” is produced by MRC, Network Entertainment Inc., Two One Five Entertainment Inc., RadicalMedia, Stardust Films LLC, and ID8 Multimedia, Inc., in collaboration with Sony Music Entertainment.
The movie was created by Joseph Patel and Derik Murray, through Network Entertainment Inc., and it’s helmed by Ahmir “Questlove” Thompson, under Two One Five Entertainment Inc.
OR
Joseph Patel and Derik Murray from Network Entertainment Inc. produced the film, while it is directed by Ahmir “Questlove” Thompson of Two One Five Entertainment Inc.
The executive producers for this project are Amit Dey, Brian Gersh from Network Entertainment Inc., Ahmir “Questlove” Thompson and Shawn Gee from Two One Five Entertainment Inc., Zarah Zohlman also from Two One Five Entertainment Inc., Common of Stardust Films LLC, Derek Dudley and Shelby Stone from ID8 Multimedia, Inc., Ron Weisner, Paul Gertz and Kent Wingerak from Network Entertainment Inc., Ali Pejman and Jon Kamen from Network Entertainment Inc., and Dave Sirulnick from RadicalMedia.
The team of executive producers includes Amit Dey, Brian Gersh of Network Entertainment Inc., Ahmir “Questlove” Thompson and Shawn Gee of Two One Five Entertainment Inc., Zarah Zohlman also representing Two One Five Entertainment Inc., Common from Stardust Films LLC, Derek Dudley and Shelby Stone of ID8 Multimedia, Ron Weisner, Paul Gertz, and Kent Wingerak from Network Entertainment Inc., Ali Pejman and Jon Kamen from Network Entertainment Inc., and Dave Sirulnick from RadicalMedia.
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2025-02-12 19:50