From classical to Tinseltown standards, why the music of LenaWaithe's BET series 'Twenties' deserved Emmys recognition today.
Waithe relates to the frustration of cocky lead character Hattie , an aspiring screenwriter based on her younger self around whom the world of “Twenties” revolves. Ambition is still building in Hattie, but Waithe isn’t wasting any time or connection. When Nevins, the network’s chairman-CEO, suggested moving “Twenties” to Showtime, Waithe jumped at the opportunity to reach subscribers and prove the “universal” appeal of the show. She’s grateful to count Nevins as a friend as well as an ally.
Indeed, at the very least, “Twenties” should have secured a nomination in the music supervision category. More than a mere soundtrack, it serves as a post-modern storytelling tool that borrows from hip-hop’s tradition of sampling.
“Separately, it was my role to like craft the sonic landscape for Hattie and her friends,” says Jones, who was inspired by Tune-Yards and Kendrick Lamar. “I would call it joyously funky, hyperactive, bouncy, stoner, experimental hip-hop music,” she says of her score. “It’s energetic, frenetic, and matches the intensity of being young — and those moments that are so over-the-top exciting that you’re bouncing off the walls. So those are two separate universes that work well together,” says Jones.
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