Kelela Mizanekristos Quotes
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Sounding like I have agency in a song is important to me. I want to feel empowered by the music.
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'Seat at the Table' has expressed real adversity, struggle, and also triumph and joy.
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I just want to shed light, illuminate and turn the spotlight over to all of the black people who have been being futuristic and innovative since instruments were plugged into a wall. With computers, machines, and music, black people have been contributing to that a great deal for a long time.
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When I started making songs, some of them read as mixtape-y, and some of them read as album-y.
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I think the Internet is more layered and complex than just hating it or liking it. I find it to be more purposeful to talk about the way that it's conducive for relationships and making connections.
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I want to speak in the tradition of rhythm and blues and soul music, but also push how it's dressed and how it's delivered to the audience. And hopefully that gets embraced by as many people as possible, but the goal isn't necessarily to speak to everyone. The goal is to get it out as exact as it is in my head.
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I'm pushing back against the white, misogynistic, heterosexual establishment in the music industry. Like, literally, in all its forms.
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The whole thing about 'progressive R&B' blows my mind. Black music has always been progressive.
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I've grown up feeling very American but being constantly bothered by people - there's internalized racism and feeling weird about being second-generation.
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As a black person on the outside, because there's so much black art and so much of black people's work circulating, so many people imitating what black people do, you would think that there'd be more black people on the business side. It didn't cross my mind that every label head, for the most part, is a white guy.
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I'm just tryna be honest about all the things that I dig in my music. It's not just this over here, it's also that over there.
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Fog and one blue light is all I need in life at the club. Just a dark room and loud music. I'm into that.
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A lot of people of color in the music industry are still more interested in embracing things that are considered white canon, and looking radical. Like when people point to punk in the indie world: If you point to the history of punk as what you see as your legacy, that's more prized and praised.
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I really do like Solange, sincerely. I'm down for her, and I trust her judgment.
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I'm coming from the zone of Faith Evans, but with weird production.
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It definitely feels different to perform to people who know your music. Because people's feedback is not just, 'Oh my God, that was amazing. Who are you?'
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Even on my most angry song, I'm also still saying, 'Thank you for helping me to learn.' I've always wanted to give voice to that complexity in our experience.
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We don't want it to be obscure music. We're not trying to be indie. We want to be popular.
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When I was little, my parents would have these gatherings, and it was a common thing for me and my cousins to have to put on, like, shows.
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I'm interested in bridging and filling in space that hasn't already been filled, so when it comes to making music, I've just always wanted to be able to reference things that producers in the big pop major label context do, without compromising the entire sound of the record.
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I would love to do an album of standards!
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We are - as artists, we are racialized through genre and called black - without being called black - through genre.
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No one is making extraordinary things alone. They might be alone in their bedroom while they're recording or writing, but they didn't actually conjure that thing out of nothing - without influence - without assistance - without anything.
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I'm very into familiar things, popular things. I'm into things that no one seems to know about or be into. I'm trying to draw a line between those two things and make it clear... that it all makes sense to me. That it's not disparate. That it's all one thing inside me.