Satan & Adam
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Product Description Sterling Magee experienced firsthand the music industry s exploitation of black musicians. So he walked away to play on the Harlem streets for his people. Reborn as Mr. Satan, he spread his gospel of joy. One of those he converted was a white kid named Adam, who gave up the ivory tower life to play alongside this streetwise guru. Their improbable bond made them a sensation, and their journey a tale of tragedy, survival and miraculous rebirth. Satan & Adam is a celebration of the transformative power of music, and the bonds that develop when worlds collide and artists collaborate. Director V. Scott Balcerek pulls together over two decades of documentary footage to chart the duo s friendship from busking in the streets of Harlem to bigger and bigger stages and to depict the challenges that both had to overcome to keep Satan & Adam together. Directed by V. Scott Balcerek. Produced by Kennedy Marshall and Ryan Suffern (Finding Oscar). Executive produced by RYOT Films, Trevor Birney, Brendan J. Byrne, Corey Russell and Frank Marshall. Review The blues seep into every scene of Satan & Adam, a gritty yet lovely documentary. And even after the songs stop, the music s bittersweet emotions linger. Sterling Magee worked as a studio and backup musician in the 1960s and 70s, playing with James Brown and Marvin Gaye, and recording on Ray Charles s label. Stung by exploitation in the industry, he rechristened himself as Mr. Satan and became a street musician in Harlem. Adam Gussow, a Princeton University graduate living in New York, was wandering near the Apollo Theater in 1986 and stopped to listen to Magee. The two soon started performing together. They were a pair often defined by their contrasts, not the least of which was their looks: Magee, a fiery black veteran guitarist, side by side with the young Gussow, a white and somewhat nerdy harmonica player. The duo began to attract crowds, then acclaim: They toured Europe, recorded an album that made the charts ( Harlem Blues ), and were featured on a U2 record. V. Scott Balcerek, the documentary s director, tells the story (later parts of which are better discovered onscreen than spoiled here) using decades of well-shot footage and interviews, and an underlying sense of melancholy. You can easily imagine some Hollywood executive eyeing up the tale for a treacly feature film of interracial understanding. And certainly, this documentary highlights the strong friendship between the two men. Yet even with a short running time the filmmakers don t shy away from more complex issues racial tensions, gentrification, art and anger. Like the blues, there s real pain here, mixed with real beauty. Ken Jaworowski --The New York Times The oddball musical bromance between a black Mississippi-born blues singer and a Jewish grad school dropout who met on the pre-gentrified streets of Harlem is poignantly examined in V. Scott Balcerek s truly soul-stirring Satan & Adam. Having broken up with a girlfriend, Adam Gussow was healing his emotional wounds playing harmonica in the subway station when he first crossed paths with Mr. Satan, a one-man band of a local legend who played guitar for the likes of Etta James, James Brown and Marvin Gaye back when he was known as Sterling Magee. The duo would soon gain a following, including U2 s the Edge and director Phil Joanou, who would include their signature song, Freedom for My People, in the 1988 concert film Rattle and Hum. But, given that it was the late 1980s and Spike Lee s Do the Right Thing had just come out, incisively capturing the racial tensions of the day, the sight of a white boy accompanying the older musician on his home turf wasn t necessarily embraced by passersby, who wondered whether his new apprentice was helping him or stealing the music. World tours and record deals would follow, as would inevitable personal issues that would drive them apart, but over the course of the 23 years it would take Balcerek to make the film, their unconventional professional collaboration and sustained friendship serves as a moving testament to the boundary-shattering language of music. Michael Rechtshaffen --Los Angeles Times
Product Description Sterling Magee experienced firsthand the music industry s exploitation of black musicians. So he walked away to play on the Harlem streets for his people. Reborn as Mr. Satan, he spread his gospel of joy. One of those he converted was a white kid named Adam, who gave up the ivory tower life to play alongside this streetwise guru. Their improbable bond made them a sensation, and their journey a tale of tragedy, survival and miraculous rebirth. Satan & Adam is a celebration of the transformative power of music, and the bonds that develop when worlds collide and artists collaborate. Director V. Scott Balcerek pulls together over two decades of documentary footage to chart the duo s friendship from busking in the streets of Harlem to bigger and bigger stages and to depict the challenges that both had to overcome to keep Satan & Adam together. Directed by V. Scott Balcerek. Produced by Kennedy Marshall and Ryan Suffern (Finding Oscar). Executive produced by RYOT Films, Trevor Birney, Brendan J. Byrne, Corey Russell and Frank Marshall. Review The blues seep into every scene of Satan & Adam, a gritty yet lovely documentary. And even after the songs stop, the music s bittersweet emotions linger. Sterling Magee worked as a studio and backup musician in the 1960s and 70s, playing with James Brown and Marvin Gaye, and recording on Ray Charles s label. Stung by exploitation in the industry, he rechristened himself as Mr. Satan and became a street musician in Harlem. Adam Gussow, a Princeton University graduate living in New York, was wandering near the Apollo Theater in 1986 and stopped to listen to Magee. The two soon started performing together. They were a pair often defined by their contrasts, not the least of which was their looks: Magee, a fiery black veteran guitarist, side by side with the young Gussow, a white and somewhat nerdy harmonica player. The duo began to attract crowds, then acclaim: They toured Europe, recorded an album that made the charts ( Harlem Blues ), and were featured on a U2 record. V. Scott Balcerek, the documentary s director, tells the story (later parts of which are better discovered onscreen than spoiled here) using decades of well-shot footage and interviews, and an underlying sense of melancholy. You can easily imagine some Hollywood executive eyeing up the tale for a treacly feature film of interracial understanding. And certainly, this documentary highlights the strong friendship between the two men. Yet even with a short running time the filmmakers don t shy away from more complex issues racial tensions, gentrification, art and anger. Like the blues, there s real pain here, mixed with real beauty. Ken Jaworowski --The New York Times The oddball musical bromance between a black Mississippi-born blues singer and a Jewish grad school dropout who met on the pre-gentrified streets of Harlem is poignantly examined in V. Scott Balcerek s truly soul-stirring Satan & Adam. Having broken up with a girlfriend, Adam Gussow was healing his emotional wounds playing harmonica in the subway station when he first crossed paths with Mr. Satan, a one-man band of a local legend who played guitar for the likes of Etta James, James Brown and Marvin Gaye back when he was known as Sterling Magee. The duo would soon gain a following, including U2 s the Edge and director Phil Joanou, who would include their signature song, Freedom for My People, in the 1988 concert film Rattle and Hum. But, given that it was the late 1980s and Spike Lee s Do the Right Thing had just come out, incisively capturing the racial tensions of the day, the sight of a white boy accompanying the older musician on his home turf wasn t necessarily embraced by passersby, who wondered whether his new apprentice was helping him or stealing the music. World tours and record deals would follow, as would inevitable personal issues that would drive them apart, but over the course of the 23 years it would take Balcerek to make the film, their unconventional professional collaboration and sustained friendship serves as a moving testament to the boundary-shattering language of music. Michael Rechtshaffen --Los Angeles Times
2019-08-19 14:05:40
