A Quote by Ludwig Goransson
I haven't really ever seen a big budget Hollywood film with African music. Most of the time, it's just Hollywood's perception of what African music is.
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The Academy just reflects Hollywood. And until we break those barriers, until we have African-American or minority studio executives, 'til we have people who are greenlighting movies with African-American actors - the Academy is not going to change until Hollywood changes, so we have to start with Hollywood.
I knew that I wanted to create a restaurant like Hard Rock Cafe or Planet Hollywood that celebrated not just music or Hollywood, but who we were as people of color, as Caribbean, African, Cajun and Southern people.
When it comes to African Americans and African American actors, Hollywood has always felt that if you can make us laugh, that's fine, but we don't need to see you do a 'Schindler's List,' where there's no jokes or music or comedic through-line.
I did not like that name "world music" in the beginning. I think that African music must get more respect than to be put in a ghetto like that. We have something to give to others. When you look to how African music is built, when you understand this kind of music, you can understand that a lot of all this modern music that you are hearing in the world has similarities to African music. It's like the origin of a lot of kinds of music.
As a youngster, my parents made me aware that all that was from the African Diaspora belonged to me. So I came in with Caribbean music, African music, Latin music, gospel music and blues.
Congolese rumba was so huge in Africa that everybody was inspired by it. But my African roots brought me this music. In every African family, parties in Brussels, we used to listen to this kind of music. And salsa music as well.
To me, I approach a small-budget, artsy, European movie the same way as a big commercial Hollywood movie. That's the most important thing. Hollywood usually represents this big dream in people's minds, but to me, it's just hard work.
I base myself in African-derived music. Blues is one of the modern forms of African music.
I would find myself being inspired by things that I've heard as a kid: Nigerian music or African music, some French music or some Jamaican music. When it's time for music to be made, it's almost like my ancestors just come into me and then it's them.
I am not going to do a film based on a bad scenario just to make a big Hollywood film or work with Hollywood stars.
It's great to see Latino music coming to the mainstream, but at the same time, there are also a lot more styles to explore: African music, Indian music, Chinese music.
You say 'African music' and you think 'tribal drumming.' But there's a lot of African music that's like James Brown, and a lot, too, that sounds very Hispanic.
Sure, there's a chunk of African-Americans out there who associate the Republican Party with racism, frankly particularly in the Deep South. It's an unfair perception, but it exists. Over a period time, that perception will die away if Republicans are focusing on issues that happen to impact African-Americans.
Astonishing times. Who would have imagined that the Crazy Gang would yield a Hollywood film star (Vinny Jones), a British television ever-present (John Fashanu) and now a televised African dance champion?
New Orleans had a great tradition of celebration. Opera, military marching bands, folk music, the blues, different types of church music, ragtime, echoes of traditional African drumming, and all of the dance styles that went with this music could be heard and seen throughout the city. When all of these kinds of music blended into one, jazz was born.
I think there's no way of avoiding the South African or African influence from coming into my music, just because I spent 19 years of my life there. Being a kid, my early musical experiences were there.
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