So much of your identity in junior high is built on who you're with. You see the world through the lens of how you identify and have been identified at that time.

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.

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

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 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.

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 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.