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 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.

I have to learn how to say no a lot. Life is too short for anything else.

I think every generation has that movement of hip-hop that you know you're playing it and you definitely have that moment of like, "Why am I saying this so enthusiastically? Why am I so stoked and psyched to say these lyrics?"

One of the things I'm most proud of about myself is my ability to fail in front of the world. You have to have that attitude when you want to experiment in art, in music, in writing, or in fashion.

A lot of times I use live musicians, but I don't want it to have that live funky sound so I'll just take the best loop of a drum part and repeat it over and over and over again so that there's consistency and it feels a little bit more programmed. But I have a love/hate relationship with comping as well.

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.