A Quote by Hayley Kiyoko
I just want to make art that connects with people and moves them on an emotional level. Any time I can put out music and place a story behind it and have people watch it and go, 'Wow, I was affected by that,' to me, feels like I've done my job.
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That’s why I make music. When I listen to my favorite music made by other people, that’s what it does to me. So as a musician, I’m just trying to do the same thing with music I make. Sometimes it works, sometimes it doesn’t. But when someone comes to me and says the music I’ve made has affected them emotionally, that’s the most gratifying part of my job.
I just want people to be affected by the music. I'm really affected by my surroundings and put everything in my music - what I'm not getting and what I desire. I want it to be uncompromised... almost a spiritual thing.
Every time I watch CNN, it feels like you're assigning me homework. Is Trump a Russian spy? I don't know. You tell me - I'm watching the news. It feels like I'm watching CNN watch the news. Just take an hour, figure out what you want to say, then go on the air.
Skateboarders are envied by people because they just glide so free. Any time something moves like water, they’ll make a dam. Every time something moves in nature, they want to stop it.
People never regret when they come out of a movie and they've been crying. I think people need it. That's why people have the theater and live music, which is dwindling as well. I think people like to go see things and have an emotional, transcendent, universal human experience, but so often we're like, "Let's go watch Green Lantern," which we all know is just not going to do anything for our souls.
I feel like once the song is done, you put it out there and if people want to do bizarre remixes, if people want to make strange videos, great. You know, like chaos theory applied to the music business.
That's why you put out records: hoping that people will connect with them. I mean, I play music for myself, for sure, and I would still play music even if people didn't like it. But it means a lot when it connects to people and they enjoy it. But it's funny: you get criticism as much as you get praise. It kind of evens out after awhile.
Naming something, putting it on record, in a lyric, feels like affirming people. Ideally, that's what politicians should want to do: to put laws or policies in place that speak to people's experiences, to make them feel heard.
My job is to cover the hell out of the story, very aggressively. The real place to be courageous if you're a news organization is where you put your people to cover the story. It's making sure that you have people going to Baghdad. It's making sure that you figure out how to cover the war in Afghanistan. While the journalist in me completely stands with them, the editor of the New York Times in me thinks my job is to figure out what the hell happened and cover the hell out of it, and that's more important than some symbolic drawing on the front page.
When you get out in the field, it's just like any other game. You want to be the same player, the same team that has gotten them to that point. I don't think you have to do anything special. Just be yourself and allow all the time you put in that take over and get the job done.
I've done so many movies with first-time directors, and honestly I just go with gut instinct. People that usually can tell me a good story, and talk to me about why the movie is the movie they want to make. I just go with my gut.
I started doing Bollywood and film music, and now, it has come to a point where I've started to say no. I want to do my own music. I have been there and done that, so I am not there to achieve that any more. I just want to put my music out there, and if people listen it, okay; if they don't, then fine.
People are like, 'Wow you started your own record label,' and treat me like I'm some sort of innovative genius, when I'm not at all. You've got the Internet and music - you put them together, and people hear your music.
I don't really look at other people's moves because, when I'm on the field, I'm not going to remember them. It's just something that has a lot to do with instinct and vision and all those running back aspects you have. You put them all into a basket, and you just use them on the field and go out there and make plays.
I can go to parties all the time and not see people I want to work with, but then sometimes I do, and the way I try to describe it is that I like to refer to art history a lot in my paintings, and there are some people who just have a face that feels like art historical. Like they could be in a Tiepolo painting as a person riding through the sky in a chariot, or she could be in a fashion magazine.
Any time you do anything different in this life, it's risky. But I've only done things differently, and it's gotten me quite far. If you want to make a splash, you've got to step out on that ledge and jump. And I could land flat on my face and it would be the biggest nightmare of my life. I'm willing to risk it. I want to help change the way male chefs see females. I want to show them that, yes, we're emotional and, yes, sometimes we make irrational decisions, but we're passionate about what we do, and that passion will propel us to the next level.
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