Dawn Richard Quotes

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My dad was a teacher. He has a Masters in music. He taught elementary school, and he played gigs his whole life, and we lived good.

I'd only do a deal with a label if it allowed me to still be indie and have that indie mentality. I have to have creative control.

My grandmother had a Ph.D in library science, so I grew up in a library, and I would appreciate those books and the smell of them and how they'd have these series, and it was cool to me. I always felt like, if I had an opportunity, I'd create an album that felt like a series.

You have to put time into the art to do it, and you have to know that what you'll get out of it is not a financial or a fame thing. It'll just be the pleasure of being an artist. And I'm cool with that.

People want to peg you as alternative R&B when they hear soul or see the color of your skin. It's comfortable when people see artists of color or artists that come from a different country to put that brand on us. It's just not as linear as that.

Just as much as you need the people who love you, you need the people who doubt you - to prove them wrong.

'Redemption' is about understanding myself and not worrying about my relationship with the industry.

Dreams rise like the sun and set like the sun: One minute, it is high and bright; the next minute, you might lose it.

I always treat shows as though they could belong on either platform. I always design it for the bigger stage, but I love it on the smaller stage.

I do not have a history in set design. I have a history in art. I draw. But I learned set design when I couldn't afford to have a team and I didn't want to look like I was indie. I wanted to give fans the visual.

Growing up, my parents were Roman Catholic - strict Catholics - from New Orleans. I understood the idea in the principle of spirituality. I noticed it in the stories that I read. The Trinity was something that was brought up consistently: the power of three. Things happened in threes, and I thought that was brilliant.

When I get inspired, I give out free music. If you look at my track record from the beginning, that's always what I've done. I've never changed.

I think, my entire life, I was a bit different. And I didn't think I was different; I just kinda always stuck out.

When my dad went to college to get his master's from Loyola, he was playing Debussy and Chopin and Beethoven. But he played all that New Orleans stuff, too. I would go with my dad to gigs, pick up the piano and the speakers, and I would be like his roadie.

Besides music, I was all school, school, school. And softball. I played the game since I was four, and I wanted to go to the Olympics for softball. I got a full scholarship through softball.

Originally, I was set on going to Hawaii Pacific University. We visited the campus in Hawaii. I was gonna be a Rainbow Warrior. I was gonna play softball. I was gonna major in marine biology. Everything was set. Then my dad was like, 'So you're not gonna do music? If you do go to Hawaii, there's no studios there, baby girl.'

Music and dance is part of everything in New Orleans. So I grew up appreciating it all.

I write for myself. It's therapy.

I couldn't do a record without knowing I'll translate it into something visual.

I want to get up and celebrate something - and why not celebrate being a woman?

I just want to be a storyteller, and I think the way to do that is by your lyrics, by your visuals, by your choreography, by your dance. It's imperative as an artist.

'Blackheart' is purely falling into the electronic world and pushing the envelope.

Fashion is my lover on the side, but I am married to music.

My father's music is all I remember from my childhood.

I would describe my personal style as putting Twiggy and Yoko Ono together. It is hobo with no rules.

When I look half naked on stage, it's not because I'm trying to be sexy but because I am dancing and want to be mobile enough to move.

I wanted to make an album that sounded like a release of inhibitions, really getting away from the idea that you have to be anything other than in that moment.

Anything that creates fear, I want to conquer it.

To create and do something no one else has done before - that feeling beats anything else I've felt.

'Goldenheart' is like a modern-day Joan of Arc. Think of it like medieval times-cum-2045 or Lancelot and Guinevere in 3025. It's a new version of these battles - age-old stories for the now.

I can be a little messy and wild and carefree with my creativity as a solo artist. In a group, there's a certain structure, and everyone has a part to play, and being a solo artist, I can do as I please.

I've grown so much in the music industry. From 'GoldenHeart,' it was just about me and the music and me in this dream. With 'BlackHeart,' its more about me and who I am and what role I play in my own life and in the business.

Instagram is just something I like to do. I feel it's the best way to portray who you are.

I don't take myself too seriously.

I believe I am standing firm as a black woman in this industry in a time that it is hard as an artist period.

I had always had an affinity for series in literature, and I thought it would be really cool to incorporate what I loved about books into the story of music, to pile it together.

The black geeks of the world, we feel like we don't have a home.

'Redemption' sounds like a jubilee. Like a second line, if you will.

I started to write my own stories, like small novels, and those novels became poems, and after poems, they became lyrics, and song came from that.

Songwriting was my own journey. I never fit in with structure in songwriting.

I did write more mainstream stuff with DK. But you could always tell the records that I wrote in contrast with everybody else's because the format was a bit different. The harmonies were used in a different type of way. Way more metaphors in the mix.

There is a thing about women that needs to be understood. We don't sit well with being put in a certain place.

Be exactly who you are. You can fit in any space you see yourself in. Be fearless.

I always knew who I was, but everyone else wanted to me to be their 'idea' of the 'right' artist. At times, I even believed them.

I'm not mainstream. You gotta find me.

I promised myself that I wouldn't be afraid to be who I was when I chose to do this music thing.

I love what a women embodies. I love our bodies; I love the way we communicate with our bodies. I love the way dance creates movement. It's art in motion.

My music speaks of warriors. It speaks of women being kings and this sense of pride of being more, even though you have less.

I wake up every day in a different headspace, so on any given day, my hairstyle will change.

Hair pieces and head dresses have always been something that's been part of my culture.

I don't really feel there's rules in my everyday wear. I kind of do whatever the hell I want to do.

It's a lot of work being an indie artist, but it's worth it.

'Armor On' explains why I needed armor in the first place. Sonically, you'll hear this battle of, 'I love you, no I don't. I love you, I hate you.' That's what you'll feel. You see the story kind of fight against itself.

I've had two platinum albums. I have worked with thousands of people. But the most rewarding feeling is to see people on Twitter say, 'Do you see what Dawn and them are doing? They are number one.' It's the most rewarding feeling because of all the tears, all the bad stuff, and the people that said I couldn't do it.

I like being in charge. I like being able to control my own destiny and ideas.

'The Red Era' is for everybody. Every gay, every fluid, every black, every white.

I'm okay with being the oddball.

I lived in the library with my grandmother as a child. I still love the smell of books; the library card is still my friend.

There's always going to be a fight between mainstream and underground because the mainstream is a very small bubble, and the underground scene is a very small bubble, and they both see themselves as secret societies. But I never saw it that way. I always thought music was open to all things.

I really got back to my New Orleans roots - my grandfather played with Fats Domino. We had to leave after Katrina, but I feel like, spiritually, I'm back there.

A lot of 'Blackheart' was me, literally in a dark room, confessing my sins; Poe was the influence for that album. But that melancholy has a hopefulness - in every Poe story, there is always a moral at the end.

My director, Monty Marsh, is really awesome - I've been working with him for years now.

When I was growing up, there was no one. There were very few black women in tech; there were very few black women in the fashion game. We didn't have our Grace Jones - Grace Jones was before my time. We didn't really have a lot of black women in electronic and punk who were celebrated in the same levels as, say, your big mega-superstars.

It's always interesting when you're doing things yourself - getting the lighting, getting everybody together. It's exciting.

I don't wish homelessness on anyone, especially when you come from where your parents work hard.

You don't know how far you can go until you push it.

When I was 4, I had a schedule. I was playing softball. My brother was playing football. My parents were teachers, and they'd owned businesses. We like to work hard. Work and then books. Books and then work. We just knew that we had to excel. It sounds militant, but trust me, it was fun.

I watched my parents lose everything, from a house to birth certificates. We were homeless for about six months, then we stayed in Baltimore, and my parents got jobs.

I had no idea that what I thought was my low wasn't really my low. That's what a lot of people think - then life reminds them, 'No, there's lower.'

I'm not a very open person.

It doesn't bother me when I'm labeled, but it's so... limiting. It's so boxy.

I want to show that you can be just as amazing as labels and compete as a business and work as a business even though you're an artist.

'Blackheart' was the moment for me to really open up and let people into the world that is me.

There's definitely that tribal Africana thing going on in my sound. It's that marching band, second-line music, that Creole-influence in the kick, and the snare that drives everything for me. I think it's really what's separated my sound from a lot of the R&B and pop music out there.

I'm big on showing people versatility. I'm constantly trying to push myself to break barriers and the idea that we have to stay in one lane.

I come from an era where lyrics were full of imagery and metaphor, and that's all I know. I think people miss that.

I connect so much with Peter Gabriel's sound because, to me, he always had that South African vibe. His drums were always something to move to: it was almost like Calypso. I'm a big fan.

There's a fine line between artist and product. I don't think the industry purposely does it, but I think that's just the way they maneuver. You have to be careful that doesn't become your story, where you become a product, and your art is tarnished because you're just seen as a tool to make money.

My uncle is in the hall of fame for creating by hand some of the most intricate Indian Mardi Gras garb.

When you see what you really are, good or bad, there is a fearlessness to understanding your purpose.

You don't need validation from other people. You've gotta find it within yourself and sit in it and roll with it.

R&B needs to see a new light. It doesn't have to be pigeonholed.

The problem with Danity Kane is everybody wanted to play everybody's role, and when you're in a group like that, that can't survive.

Everyone who knows Puff knows Puff rolls with himself. His hustle is money. That's what he does.

I got in the audition line called 'Making the Band' because I wanted to be in a band. If I didn't, I would have done 'American Idol.'

How many people can say they had Anna Wintour on a record? Not even an album, just a mixtape? It's audacious, disrespectful, and I feel like it's a little bit raw, and that's what Dirty Money is.

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