A Quote by Kim Petras

I feel like I kind of earned my stripes working with The Stereotypes. It was maybe my 6th songwriting session I've ever been to, and they just gave me and a writer I used to write with 3-4 tracks and kinda just let us come up with whatever.
I used the music kind of as therapy, and it's just amazing that I feel so free after doing that. I feel like I had it trapped inside of me and now I feel free. So it's been a very good therapy session for me as well.
The best piece of advice I ever received about being a writer came from my brother Lee. I was just starting out and he told me that if I wanted to have a long career, I had to be versatile, that I shouldn't just think of myself in one way, because there would come a time when maybe that one thing wasn't working out for me - and I'd still want to earn a living as a writer.
I think I kind of approached music with this sort of, like, weird thing where I kinda set myself up where I could kinda be myself but not really. I kinda had a backdoor out. So if you criticized me, I kinda had my defenses working. And the problem is that some people seize on that as inauthenticity, which is understandable. So that's painful because it's not that you're being inauthentic...there's a difference between being a poseur and being someone who's so emotionally challenged they're kind of just doing their best to show you what they've got.
I think going away and disappearing for a couple of years - or a few years, or whatever - definitely changed the way I look at songwriting. It made me feel more free, it made me feel more like I could just write what I wanted to write about. I wanted to write more observational songs.
I took lessons for about everything you could imagine - gymnastics to karate to flute and piano. My mom always definitely kept me in some kind of class or program, but for guitar, I kinda gave up on then kinda just taught myself. Same thing with piano. I've never been good with following lessons.
You've all seen movies where the music isn't working with the story. And it's either because... the story isn't working itself. Or the composer kinda just wants to write whatever they want to write, not paying attention to the thing.
I started just concentrating on songwriting when I was abut 20; I'd been in rock bands six or seven years, kinda got that out of my system, I said, "ok, you ain't gonna be a rock star, you don't look like a rock star, it probably ain't gonna happen. So what you should do is write songs and maybe other people will do your songs."
Most songs I write are spur-of-the-moment-type things. I have to be spontaneous. If not, songwriting can bore me. There is no pre-design or idea of what I am going to do when I go into the studio. It's all like that for me. I could go in and write two or three songs in an eight-hour session. You can't over-think songs. You just can't.
I just feel like it's easier to co-write sometimes, especially if you have chemistry with somebody. It kind of takes all the pressure off of you. But, you know, I started writing songs by myself. I didn't really have a co-writer, besides my dad. When I see a record and it has a song on it that someone wrote [alone], I just really believe in them as a writer. I feel like it's a window into them, more than it is if you write a song with someone else.
We go to Europe, and they think we're totally prejudiced 'cause we hang the bars and stripes. But for us, the bars and stripes doesn't mean we want to see anybody in slavery or anything like that. It's just our heritage. To us, the bars and stripes means grits, 'y'all,' and the beauty of the South. There's no prejudice at all in that with us.
I always write to the moment. I've always been that kind of emcee. I don't wanna come in with all the paperwork and all o' that or whatever. That's good when you just an emcee from off the block that really don't have to work as hard as the next man. But when, you know... Y'all make me write like this, from, I guess, me makin' a classic and everybody callin' my stuff classic material - that makes me have to work ten times harder. But a lot o' times things just happen at the moment for me: spur o' the moment. That's just how it goes sometimes.
When I'm in a songwriting phase, it's a phase. I don't just suddenly feel inspired and then write a song, because I always write with a co-writer.
I've always been surprised when a straight guy likes me. It's just been like my whole life has been kinda like that. I definitely felt like when I started writing music, it wasn't writing for a gay audience at all. I was just writing for me. But what I say whenever I get this question is my best friends have always been gay, I've always been, as a person, just accepted by the gay community, and celebrated and had the best nights of my life at gay clubs. Always had a fashion sense usually with drag and I don't know. That's just kind of my people. That's just kind of where I fit in.
I don't rely on catchphrases or really like sing-along. I just do whatever I feel. Whatever the beat makes me say, I do that and I run with that. It's been working for me, so I'd be cool with that.
Even if you don't feel like sitting down to write or working on that big proposal, or whatever it is, just show up anyhow and the rest will follow.
I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything. Or these lines will come into my head and I'll write 'em down in a little book, just little sets of lines, but I won't try to make stories or poems out of them. I'm doing a lot of that now, just the lines.
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