A Quote by Karla Souza
The music in the movie [Everybody Loves Somebody] is very much hand-picked specifically because it's our history and our traditions. The themes are universal.
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I think the universal themes of "American Pie" are what make it attractive to everybody. How to people relate to these characters? It's because these five male characters in this movie wouldn't ordinarily be in the same friend group and they each have their own part to play in the whole thing. There's a character for everybody in this movie that they can relate to... that they either were or knew someone that was. To cover the range like that is pretty unique to our franchise.
We have a pride of who we are as Latinos, regardless if we're Puerto Rican, Dominican, Venezuelan, and we're very proud of our customs and our history and our traditions and who we are.
If you stop and think about our history, one of the reasons we had an American century and there is an American dream was because at key points in our history we made very bold decisions about making sure that there was very broad, universal access to quality education.
When you say you're from Virginia, when you travel outside of this state and somebody asks where you're from, you say with pride, 'I am from Virginia. I'm very, very proud of it.' You're very, very proud of it. And why is it? It's because of our history, folks. It's because of our history.
This movie [Everybody Loves Somebody] is as much for the general market as it is for Latino audiences. That's a really exciting prospect.
The marriage tie becomes possessed of a history and takes to itself traditions. This history and these traditions form a great fund, to which changing conditions and growing imagination constantly add. And the traditions, more especially, bear heavily upon the individual, overmastering his natural expression of the love instinct and forcing him to an artificial expression of that love instinct. He loves, not as his savage forbears loved, but as his group loves.
In November [2016], Americans are gonna have to make a decision about what we care about and who we are. We get these spasms of politics around immigration and fearmongering and then our traditions and our history and our better impulses kick in. That's how we all ended up here. 'Cause I guarantee you at some point every one of us has somebody in our background who people didn't want coming here. And yet here we are.
We're dealing with music that is being played by traditional instruments in a specifically built building called a concert hall.
But classical is not - the reference is wrong, because classical on one hand refers to one period in musical history, which is Mozart, Hayden, Beethoven, which is a fine period in musical history, but it was a while ago.On the other hand, it sort of alludes to some kind of "class," which A, is not true; B, is kind of detrimental to the whole idea. Because the point is that this music is available and it's actually relatively reasonably priced.
Any underrepresented audience loves to see themselves on TV, but what's more important is that we're writing about universal themes - good versus evil, can you change yourself? These themes resonate for everyone.
Everybody in Lynyrd Skynyrd loves different styles of music, and our minds are very open when it comes to writing our songs and making the band true to what the band is, but also stepping out and doing something current.
Not everybody here is rich. Not everybody here is independently wealthy. Not everybody here is free from any kind of economic concern. We run the gamut here, too. It's the opportunity to escape that that exists here, for very specific reasons. But it's not because the US is where it is. It's not because our DNA is different than anybody else's. It's because of the way we have structured our affairs, our government.
We are all regionalists in our origins, however 'universal' our themes and characters, and without our cherished hometowns and childhood landscapes to nourish us, we would be like plants set in shallow soil. Our souls must take root - almost literally.
[Everybody Loves Somebody] one really loves both cultures, represents them in a very accurate, genuine, authentic, fun, fresh way, and it includes so many more people because it has that language aspect to it.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
Followers of another political party tell us that we will strengthen ourselves by ignoring our history, our traditions, our mythologies, our culture and vision, and by following the American way.
There's definitely a melancholic ingredient in our concerts in the United States versus in other places. Many times people feel far away from their place of origin, from their traditions, from their people. And in a way, Café Tacvba's music brings them memories. It seems to connect them with all that they miss, because the concerts are very emotive and have lots of energy. We're very fortunate to have our music connect in that way.
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