Rashard Bradshaw, better known as Cakes da Killa, is an American rapper. Bradshaw's debut album, Hedonism, was released in October 2016. He is based in Brooklyn, New York.
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.
I started making music for fun maybe my senior year in college. I started rapping in high school, but it wasn't anything serious.
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.
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.
I think what's keeping me making music - the money is great, but I make music for the visibility.
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.
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.
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.
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.
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.
I think each track tells a different story about what I'm going through. But overall it's just me being young, my love of alcohol, and my love of turning up.
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.
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.
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.
I don't know [whether] if I didn't get paid, or my career didn't keep going where it goes, if I would keep doing music.
Every time someone asks me who I want to work with, my answer is always the same: whoever wants to work with me that won't want to get their ego stroked.
I didn't choose to be a rapper; it's just my talent.
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.
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 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.