I love music. But I'm not gonna work myself to death. If there ever comes a point where I'm not enjoying it, then I'm not gonna do it anymore. I've promised myself that. I've written it down on paper and signed a contract.

The Hadley Street Dream is a tribute to making a vision come to life. My father built a compound on a dessert city block, he saw something in that space we couldn't see. It was years later the album was born right there on Hadley St. He built the studio I started recording the album at.

I actually was a ballet dancer - I studied ballet from three until 13 - but like very seriously, that's what I wanted to do. I wanted to be a contemporary ballet dancer. I wanted to go to Juilliard.

The album ['A Seat at the Table'] really feels like storytelling for us all and our family and our lineage.

I'm really excited that the fashion industry is evolving, doing a much better job at representation, with women of color, women of different shapes, sizes, and creeds. It's been a long time coming... There were issues of tokenism, issues of misrepresentation. I'm optimistic that I see the change, the conversation that these archetypes gotta go. We can be very political and have long weaves down to our asses.

I was working through a lot of challenges at every angle of my life, and a lot of self-doubt, a lot of pity-partying. And I think every woman in her twenties has been there - where it feels like no matter what you are doing to fight through the thing that is holding you back, nothing can fill that void.

I don't really have guilty pleasures. Anything musically that I fully, fully believe, is good no matter who the artist is, no matter what the marketing is behind it, I stand pretty firm.