Dawn Angeliqué Richard Quotes
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Fashion is my lover on the side, but I am married to music.
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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.
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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.
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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.
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I don't wish homelessness on anyone, especially when you come from where your parents work hard.
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I would describe my personal style as putting Twiggy and Yoko Ono together. It is hobo with no rules.
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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.
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My father's music is all I remember from my childhood.
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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.
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I'm not mainstream. You gotta find me.
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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.
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Songwriting was my own journey. I never fit in with structure in songwriting.
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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.
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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.
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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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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.
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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.'
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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.
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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.
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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.
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It's a lot of work being an indie artist, but it's worth it.
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'The Red Era' is for everybody. Every gay, every fluid, every black, every white.
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Hair pieces and head dresses have always been something that's been part of my culture.
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I wake up every day in a different headspace, so on any given day, my hairstyle will change.