I really don't listen to anyone that I'm not proud of saying that I listen to. Even if it's something a little bit more unexpected, I didn't get too deep into the Waka, Gucci records, but I like those with pride.

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.

You're just so excited that you have this record deal or this movie opportunity that you don't stand up for yourself and say, This is what I want to do.

He [ the son]'s grown up listening to all types of music, and the natural form of rebellion is to find the one genre that maybe he hasn't listened to and to make that his thing.

I think the thing about what I want to achieve for the label is it to really be a home for artists who are already developed, who already have a great sense of their artistry or their imaging, who don't really feel or want that marketing push.

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 just feel so much joy and gratitude that people have connected to it in this way. The biggest reward that I could ever get is seeing women, especially black women, talk about what this album ['A Seat at the Table'] has done, the solace it has given them.