I do love being onstage. And I've always loved playing a character and being watched doing that.

I did everything I could to not bring in any of the - any of the technical things I got from classical into jazz. And I did everything to really base it on my speaking voice and to just not try to make it sound pretty.

It takes me a lot of time, and it's almost frustrating for the guys sometimes because they're waiting for a new song. And I - it's just so important for me to get the perfect, exact, right song.

I just don't like to be in my own - I'm already myself, so I don't like to be in my own - like, watch myself.

I wasn't listening to that much classical music - not much more than anything else. I was really lucky to have parents who loved all kinds of music.

Classical singing - everything had to be homogenous, and it had to just feel like one continuous flow from top to bottom, bottom to top. And in jazz, I felt like, oh, well, I can sing these deep, husky lows if I want and then sing these really, like, tiny, laser highs if I want, as well. And I have - I have no obligation to make it sound like it's just one continuous flow.

I think when black performers performed in blackface, they were kind of taking back slave songs, but it was still a little bit iffy because they were performing, a lot of times, for white audiences who found it hilarious.