'People hate to admit that they ogle over celebrities and celebrity culture,' says Slayyyter, whose new album 'STARFUCKER' explores her own rise to fame.
SLAYYYTER: When I heard that you were interviewing, I was so excited because you know I love your Substack.SLAYYYTER: Oh my god. Of course. I feel like you have such interesting takes on things. I eat it up.
SLAYYYTER: I feel like my focus right now is being able to make short-form content that’s in line with the music and feels really cinematic. I’ve been struggling with getting budgets for stuff lately, but I feel like the big budget music video doesn’t really do for an artist what it used to do. So when you’re a smaller artist, it’s hard to convince a label to be like, “Hey, can you put $100K behind this video?” Because that return is not really getting met.
SLAYYYTER: Absolutely. When I first got here, I was a hair-salon receptionist, I was a waitress. I dropped out of college. I made music because I have always loved music. But I didn’t expect any of this to become a real career. At the same time, I had a really serious drug and alcohol problem that was destroying what could have blossomed into something bigger. Now I feel like I’m a lot more mature and this is more of a career to me. I wake up and I do my job. I wear my little glasses.
SLAYYYTER: I can only make my music the best that it can be from where I stand, and that doesn’t always mean it’s going to be a hit with everyone. I think pop music has also become a little uncool in mainstream culture. Everything is really cyclical, so maybe when pop music comes back, I’ll change my mind and be like, “Oh, I reallywant a big hit.” But a hit song doesn’t really mean the same thing that it did a couple years ago.
HESS: That makes a lot of sense. Correct me if I’m wrong, but when you were coming up, there was a narrative around hyperpop and internet music and “Heaven.”
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