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.

My parents only played Isley Brothers, Marvin Gaye. That's when New Kids came out, and we wanted to jam that. My mom was like, "Put that thing off and put my damn record on". So from old school to '90s to recent, it's just always been there.

I talk very slow. I move very slow. I definitely have that Southern drawl and although I never necessarily participated in the activities that go along with screw. I definitely was a huge fan of screw. Because melodically, I don't ever really sing very staccato or very fast. It's really about a groove; it's really about a vibe.

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

Our mother always taught us to be in control of our voice and our bodies and our work, and she showed us that through her example. If she conjured up an idea, there was not one element of that idea that she was not going to have her hand in. She was not going to hand that over to someone. And I think it's been an interesting thing to navigate, especially watching you do the same in all aspects of your work: Society labels that a control freak, an obsessive woman, or someone who has an inability to trust her team or to empower other people to do the work, which is completely untrue.

It is always an honor to work with those that share your passion for music and just enjoy making great music.

I remember Björk saying that she felt like, no matter what stage in her career, if a man is credited on something that she's done, he's going to get the credit for it. And, unfortunately, that still rings true.