‘It’s a new chapter in my life as a storyteller,” says Questlove, fresh from reinventing the concert movie with Summer of Soul. His directorial debut, which embedded much-needed Black-history lessons inside jaw-dropping, long-buried performances from Stevie Wonder, Mahalia Jackson, Nina Simone, B.B. King, and many others, was one of 2021’s most acclaimed movies, and an almost certain Oscar contender (it already made the best-doc shortlist). There’s a soundtrack album out Jan. 28, and Questlove is already working on a follow-up film, focused on Sly and the Family Stone. But that’s just the beginning of the new career he’s embarking upon at age 51; there are numerous other Questlove productions on the way. “Right now, there are six projects down the line that will keep me busy, realistically, to probably 2032,” he says. “You can only imagine how long the line is of people saying, ‘Can you tell our story the same way you told this story?’ ”
How concerned were you about whether Summer of Soul would appeal to younger audiences?
With this movie, the very first question I asked — which I never asked for any album, any concert, anything I’ve ever done in my life — was, “Who is this movie for?” Baby boomers, I knew that was my sweet spot. And millennials are about to turn 40. So I was like, “OK, there’s reach there.” But when I got to Gen Z, I was grasping at straws. There was a moment where I just thought, “Drake is following me. So maybe I can DM him and get him to talk about his uncle playing bass with Sly Stone.” Like, that’ll be my one Hail Mary pass.
Bu hikaye RollingStone India dergisinin February 2022 sayısından alınmıştır.
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Bu hikaye RollingStone India dergisinin February 2022 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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TINASHE 'I'VE BEEN IN THE GAME 10 YEARS.I'M NOT NEW TO THIS.I'M TRUE TO THIS'
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