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There was a lot of directions I could go with "Underground."You’ve worked with John Legend on the score, and the show has gotten notice for using contemporary music in the soundtrack.
How did that anachronistic, musical tone come to be?
So, let’s start with the obvious question: What made you jump into the television-composing field?So, I just sort of jumped in and just kind of—I felt it was a great piece.It’s a great story, and I’ve always loved putting music to cinematography.But I’ll say John Singleton just kind of read my mind one day and was telling me that I should score a film—or television. And I was like, “If I’ma take a stab at it, this is the time to do it.” And I just kind of jumped in feet first and head first and said, “Let’s go for it.”, you’re composing music for not just one, but two shows. And, then, I had heard about it, and I was just up for it like everybody else.You’ve contributed songs to movies and TV shows in the past, but you didn’t get fully immersed into scoring until you composed the score for Kasi Lemmons’ gospel movie musical "Black Nativity." How did you get involved with that? First, how did you get involved with "Underground"? A friend of mine, Laura Karpman, which is a partner of mine who I score with on some films, she came to me and said, “We should do this.” And I was really into the project.