Best 29 quotes of Cakes Da Killa on MyQuotes

Coming into this, making music, I knew that was something that was going to be held over my head. Okay we get it, you're openly gay, but do you know how to rap? Can you really rap and deliver? And I feel like I have that pressure put on me that other artists don't. A lot of people don't have to focus on being so lyrical and actually putting on shows. Before anyone was gonna tell me I was bad, I was gonna prove that I was good.

For you to be able to rap fast and fit many words into a bar, that's what rap is about, the showmanship. That's the thing we're kind of losing now. I'm not saying that the music now is horrible. I mean, I don't listen to it. The showmanship and creativity in rap is what made it special and what made it different.

I am a rapper. The reason why I was against the whole rapper title is because I know so many people who want to be rappers and they're not.

I didn't choose to be a rapper; it's just my talent.

I don't think it's completely better. I still have to do annoying things sometimes and explain things that I don't feel I have to [about LGBT].

I don't think it was much of a forum for positive or negative feedback; it was mainly, "How can I make somebody laugh?" It wasn't a serious thing where I needed people to give me feedback.

I do realize that I have a talent for making music. It wasn't anything expected, but I do think it's deserved, if that makes sense.

If we actually supported these gay artists and pumped money behind them the same way they pump money behind these divas, a conversation of homophobia in hip hop wouldn't be. Because I would have the money and the revenue coming in. It's not about homophobia or who's going to push back. It's all about who's supporting you and where there's money from.

I like to consider myself a student of hip hop. There's a certain level of certification and wit and craftsmanship that comes with rapping. As rap progresses - it's a young genre - it's becoming way more mainstream, crossing over to different lanes. I feel like it's losing its essence in a way, because it's getting commercialised. I want to keep it fresh and keep it progressive, but I also want to respect the foundation of what rap is about.

I'm a lot different in my career since that interview. To have someone like Diplo tweet "Cakes' album is really cool" is cool, but in the same breath I still like what I do without anyone's approval. It's still good music.

I'm a SoundCloud, online kind of artist. It's not like back in the day when everyone was like linking up physically to do music. But with the album, I did have my first experience with meeting with a producer and us making things from scratch.

In the industry there's this whole mentality of working with someone who can open the door for you, but my whole thing is that I like my work to speak for itself. So I still do have that same mentality.

In this day and age of social media, where everything is so centred around how many Instagram and Twitter followers you have, what's keeping me afloat is the fact that my live performance is something that people can enjoy.

I started making music for fun maybe my senior year in college. I started rapping in high school, but it wasn't anything serious.

I think it's very important that LGBT narratives are spoken from LGBT perspectives. I think that what I do is important as far as creating a lane for myself to be independent.

I think what's keeping me making music - the money is great, but I make music for the visibility.

I think when I dropped The Eulogy is when it became more [about] feedback because that's when Pitchfork wanted to review it and things like that.

It may look like things have gotten better, because everyone is semi-being appreciative. Not appreciative, but conscious of people being gender fluid and all those things.

I've been working with Peaches for a while as far as doing shows, maybe for the past two years. Everyone else seems to think that this is a new relationship, but me and her have been touring off and on for a while now. I was doing my album and I needed that heavy-hitter.

I want to be respected as a writer and, like I said, I was really sick of people saying I was a two dimensional character. I want more to my legacy, I guess.

I was doing my music because it was fun, and I always was like, "If it becomes a business, or it becomes too demanding, or if people try to tell me what to do or control what I'm doing, I won't do it.

I was just doing it for fun. I was in college recording music as a joke, so I really didn't think that a career was feasible - being able to travel.

I write a lot. I used to write a lot of poetry when I was younger, write for my school newspapers. Also reading is very important because you need to be on your word game if you want to be a lyricist.

Living New York, everyone has a million hustles, so I was doing party promoting, working the doors at parties, doing that whole nightlife thing.

Not to sound egotistic, but I've gotten kind of good at it. It's something that came naturally to me, but my rapping is rooted in my writing.

Now I'm in the business and I do have to have these awkward conversations about how I look, how I talk. But I'm still here.

Sometimes I start with the beat. Sometimes I can write something down and it takes me a while to figure out how I want to say it or the beat I want to say it to. I definitely like to live the experiences that I cover.

There are two singles I did with Noah Breakfast, ["Talkin Greezy" and "New Phone (Who Dis),"] which was a cool experience. So it's cool either way, I think. It depends on the relationship you have with the other person - not everybody is going to work the same way.

With a lot of people you think you want to work with, you reach out to them about working and then realize you don't want to anymore because they're a complete dickhead.