A Quote by John Lurie
My musical education started in the limelight, because I found myself surrounded by real musicians, but after my career had taken off.
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When I first started, everything happened at once. I became religious, my musical career took off, I got married, I had kids, and all that happened within the course of a year. I had an excitement about this newly found faith, and so I was writing about that in a very evident kind of way.
I think the one worthy cause I can identify myself with is valuing education. Because I believe education is something that cannot be taken away from you. You can have money, you can have fame, but in the end, it can be taken from you. But education will always be there to help you.
I've taken a few public hits in my career, and I never hid the pain of it from my children. Nor did I hide the regrouping and rethinking that occurred after each one. After all, that process allowed me to re-emerge and go on to build a more impactful - and more engaging - career path than the one I had been knocked off of.
I started getting these attacks in 2009, just as my music career was taking off. I'd be doing photo-shoots and started to feel like I was having heart attacks. Increasingly I found it difficult to step outside my flat. Things started to get better after I saw a therapist, who told me I needed to make peace with my panic attacks.
My real musical discovery started when I was 10 with Stevie Wonder and the Jackson 5, and acts that I connected with because they were young when they were doing it, like me. Then I kind of came into my own a couple of years later; I found new artists that shaped my musical landscape. For instance, Kings of Leon played a big part in that.
I was on my own at Wellesley, surrounded by a lot of young women who were motivated and intellectually curious. I started to read because I was required to do so for class, but I soon found myself enjoying the seclusion of the library. I came to see reading as an important way to learn about people, including myself.
I've never had a musical career. So I think it's been unaffected. I play the accordion. In terms of thinking of it as a musical career, I think it's sort of like calling yourself an astronaut because you have a shiny suit.
I had a fascination with the roots of African American music. That would have been my first education in music. I had a real passion for it. I wanted to play it, sing it. I could sing at a young age, but I started to teach myself bass guitar and started writing when I was 15.
It's taken a long time but eventually when I had the songs in place and demos right and I found myself a manager, that's when everything started happening quickly but I think that's always the way it is.
After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
I'm not here to propel myself into the limelight. I'm here to win a football game. If I am propelled into the limelight, I want it to be because of what I do on the football field, not because of some grand marketing strategy.
I think I started writing because no one had ever told me you can write about the things you know in a musical. They don't have to come from some far off place.
My father - a Lebanese-origin small businessman - had a stroke in 1997 and couldn't work anymore. I paused my career and made sure he was taken care of by overseeing the sale of his businesses, but after that, I was able to dedicate myself to politics. It's what I had always wanted.
I can't do too much musical movement with a lot of MC's, because they don't know how to follow me. But with Souls of Mischief, I could go anywhere because they are musicians - they rap as musicians, and they play instruments and produce, so they get that.
One of the things that's influenced me musically was my experience at Brown University. I was surrounded by musicians that I really admired, and felt challenged to come up with music, lyrics, and recordings that stood up to the expectations of those musicians and myself.
For the score of 'Black Panther,' the heart and soul came from immersing myself in the rich musical history of the griots in West Africa. I was following these brilliant musicians all over rural Senegal, learning their musical language.
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