Author: Kyle Hayes

  • The Echo I Didn’t Expect: Kendrick, Taylor, and the Sound Between the Lines

    The Echo I Didn’t Expect: Kendrick, Taylor, and the Sound Between the Lines

    First, let me say this plainly: I am a Kendrick Lamar fan.

    Not the surface kind.

    Not the playlist kind.

    The kind who listens to the whole album, in order,

    Who waits for the videos.

    Who digs through lyrics like scripture, pausing, rewinding, sitting with bars like they were written for my memory alone.

    His music has never been just music to me.

    It’s been diagnosis.

    It’s been a protest.

    It’s been a mirror, cracked and shaking, but still reflecting something I needed to see.

    So when the Great Rap War of 2024 came like thunder,

    I stayed close.

    Not just for the spectacle, but for the weight.

    Because when Kendrick Lamar enters a war of words, it’s never just a diss.

    It’s a dissection.

    One night, long after the storm passed and the silence settled, I chased ghosts on YouTube.

    The way one does when sleep won’t come, and the truth is still humming in the walls.

    And there I stumbled across something unexpected:

    A page by Anthony Aiken Jr. (youtube.com/@AnthonyAikenJr).

    What he offered wasn’t commentary—it was archaeology.

    He unearthed not just Kendrick’s lyrics but their architecture, the cultural echoes, and one thing I never saw coming:

    Taylor Swift.

    Let me confess: I had never made that connection.

    In my world, Taylor Swift lived somewhere else.

    Somewhere, polished, pink, and distant from the cracked pavement where Kendrick built his kingdom.

    But Aiken pulled threads I hadn’t noticed.

    Lebron. Kendrick. Taylor.

    At first, it felt strange.

    Then it started to feel inevitable.

    So I did what I always do when I’m unsure,

    I listened.

    I started with a song Aiken mentioned: “Lavender Haze.”

    And I’ll be honest, I did not expect what I heard.

    What I expected was gloss.

    What I got was atmosphere.

    What I expected was pop.

    What I got was texture.

    Buried in the haze was a name I recognized, Sounwave.

    The sonic architect behind so much of Kendrick’s world.

    And there, floating above the fog of synth and softness, was Sam Dew,

    his voice cutting through like a whisper you didn’t know you needed until it arrived.

    In that moment, Taylor Swift wasn’t just Taylor Swift.

    She was something else.

    She was connected.

    It’s easy to draw lines between artists when the culture insists on fences.

    When the industry tells us who belongs to which genre, who speaks for what struggle, and who owns which sound.

    But music doesn’t obey boundaries.

    It bleeds.

    And if Kendrick taught me anything, it’s to listen deeper.

    Not just for bars.

    But for buried intention.

    So I kept listening.

    And I will keep listening.

    Not because I’m suddenly a Swiftie,

    but because I now know she is a lyricist.

    And if I missed this, what else have I missed?

    There’s a lesson in all this: something about staying open,

    about not letting genre, fame, or image keep you from recognizing truth when it sings.

    Because somewhere between Mr. Morale and Midnights,

    between “Not Like Us” and “Lavender Haze,”

    It is a space I didn’t know I needed,

    a space where craft speaks louder than category.

    So I’ll start again.

    Just like I do with every Kendrick album.

    Because meaning isn’t always found on the first listen.

    Sometimes it waits for you in the haze.

    By Kyle J. Hayes

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  • Can’t Slow Down: Lionel Richie and the Memory That Belongs to Me

    Can’t Slow Down: Lionel Richie and the Memory That Belongs to Me

    I did, in fact, listen to Can’t Slow Down again.

    But the truth is, I didn’t need to.

    The moment the first notes played, it was less about sound and more about memory.

    Because there are albums that remind you of a time,

    and then there are albums that are the time.

    This one didn’t gently carry me back.

    It yanked me past the clock, past the calendar, into that unmistakable, synth-saturated moment called the mid-80s, when emotion was worn loud and love songs had teeth.

    There’s a song on this album called “Hello.”

    And yes, Adele has a version by that name.

    A beautiful one. A powerful one.

    But this one is mine.

    And if I show you an image and say it comes from the video  “Hello”, and you say that’s not in Adele’s video?

    I will question our friendship.

    Because there are things rooted so deeply in your coming-of-age soundtrack that they become more than a preference—they become part of your cultural fingerprint.

    And this album, “Can’t Slow Down,” is precisely that.

    Yes, the songs were hits.

    Big ones.

    Songs you couldn’t escape on the radio or cassette decks.

    Songs that filled up living rooms during cleaning day, family road trips, school dances, and Sunday evenings when the sunlight started slipping through the curtains just right.

    But they were more than that.

    They were messages.

    Love letters.

    Reassurances and pleas.

    They were melodies that believed in emotion without apology.

    This was the era before irony became cool, when men could sing about heartbreak without covering it up with jokes or detachment.

    Lionel Richie didn’t sing to impress you—he sang like he needed you to understand.

    What I remembered when I hit play wasn’t just the lyrics or the beat.

    It was the emotional tone.

    The warmth.

    The earnestness.

    The cinematic drama that lives in songs like “Penny Lover” and “Stuck on You.”

    The way “All Night Long” somehow made up an African-sounding chant with such conviction, we all just went with it, laughing, dancing, never stopping to question the lyrics because the rhythm was the language.

    It was the soundtrack to a specific kind of Black joy—joy that knew pain but didn’t center it.

    Joy that was layered. Smooth.

    Polished but deeply human.

    Listening now, I understand why this album is among the 100 greatest albums of all time.

    Not just because of the production.

    Not just because of the hits.

    But because it meant something.

    And it still does.

    This album lives in the part of my memory that refuses to fade—where music and memory blur, where emotions return in stereo.

    It’s the kind of album that made the world stop for a second so you could feel.

    And that’s rare.

    That’s sacred.

    So no, I didn’t need to listen to it again.

    But I’m glad I did.

    Because some records don’t just belong in music history.

    They belong to us.

    To who we were.

    To who we needed to be at the time.

    And that makes them timeless.

    By Kyle J. Hayes

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    #LionelRichie #CantSlowDown #MusicAndMemory #BlackVoicesMatter #SoulMusic

  • I’m Learning

    I’m Learning

    As I’ve said before—and as most of my close friends know—I’m just now beginning to like my birthday.

    That might sound small. But to me, it’s seismic.

    You spend enough years pretending your day of birth is just another day, and eventually, you believe it.

    You teach yourself not to expect anything; over time, even the presence of joy feels like an intrusion.

    A noise in a quiet room you worked hard to make still.

    But now, because of the stubborn kindness of those around me, it’s changing.

    Slowly.

    Quietly.

    Almost against my will.

    They’ve made my birthday a project.

    Not a celebration, but a mission.

    To make me smile. 

    And I won’t lie—something about that type of caring, unsolicited but insistent, humbles me.

    Still, no amount of cake or candles wipes away the long memory of absence.

    There’s still the question of what was missing.

    And maybe worse, those who never cared enough to say they were wrong.

    A friend told me something today that I can’t get out of my head.

    She said, “Sometimes we don’t get an apology. That’s just reality. That’s why we have faith. God said, ‘Vengeance is mine.’ He will make it right.”

    I nodded.

    But the part of me that’s been carrying silence for decades didn’t just nod.

    It stirred.

    Because she’s right.

    We don’t always get the apology.

    We don’t always get the closure.

    Some of us are walking around with unfinished stories tattooed on our backs.

    We carry them into every conversation, every argument, every strained holiday dinner, hoping—just once—someone might say, “I’m sorry.”

    But they don’t.

    And the truth is…

    Maybe they never will.

    So I’ve been praying.

    I pray for guidance.

    Not for patience—not anymore.

    I used to pray for patience until I realized  God has a sense of humor.

    A disturbing one.

    Because when you ask for patience, God doesn’t hand you peace.

    He hands you people.

    Situations.

    Moments designed to strip you raw.

    I asked for patience and was placed in a line behind an elderly woman who was handwriting a check and logging it in her journal.

    I asked for patience and got coworkers who don’t do their treatments or charting.

    I asked for patience, and God reminded me I still have so far to go.

    So now I pray for guidance.

    Because I know right from wrong.

    But I don’t always know how to move through it.

    Because doing the right thing doesn’t come with applause.

    It comes with silence. With resistance.

    Biting your tongue so hard it leaves marks.

    Smiling at people you know would sell you out for less than you’re worth.

    Standing still while someone else gets away with what you could never do.

    So yes—I smile.

    Because I’ve learned that’s easier for other people.

    And on some days, it’s easier for me, too.

    But it’s not just a smile.

    It’s a shield.

    A sermon.

    A small declaration of war.

    Because inside that smile is the tension between “I’m trying” and “Don’t push me.”

    Because even though I’m praying for guidance,

    Even though I believe God fights my battles,

    Even though I believe vengeance isn’t mine to seek,

    I also think that some people walk too close to the edge—

    And that if I weren’t actively praying,

    I’d push them.

    Into traffic.

    Into silence.

    Into the reflection, they keep avoiding.

    So I breathe.

    I pray.

    I eat the cake.

    I take the hugs I never asked for.

    I thank the people who won’t let me hate this day.

    And when someone asks how I’m doing,

    I say, “Fair.”

    Because I am.

    And I thank God for the strength to keep from doing what I want to do.

    Even if He knows exactly how close I get.

    By Kyle J. Hayes

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  • The Gift I Never Asked For (Except One)

    The Gift I Never Asked For (Except One)

    My birthday is tomorrow.

    I don’t dread it, but I don’t celebrate it either—not in the way most people do, not in the way I’ve learned people expect.

    That probably says something about me.

    I imagine it always has.

    I didn’t grow up with the kind of birthdays that get remembered in photo albums.

    There were no decorated cakes, no noisy gatherings, no traditions that wrapped the day in joy.

    What I remember is silence.

    Birthdays went like any other day—quiet, functional, uncelebrated.

    Maybe someone said something in passing.

    Maybe not.

    It wasn’t cruel. Just… normal.

    We weren’t a family that hugged often.

    We weren’t loud with our affection.

    And because of that, I grew up with the kind of relationship to my birthday that you might have to a train passing in the distance: you hear it, you recognize it, but you don’t stop to wave.

    It wasn’t until I got married that birthdays began to take shape.

    My ex-wife refused to let the day go unnoticed.

    She planned parties like she was fighting for my soul.

    Decorations, dinners, full schedules.

    And no matter how uncomfortable it made me feel, she insisted.

    She believed birthdays should be celebrated with loud joy and wide arms, and she took it personally if mine wasn’t.

    To her, celebrating me was an act of love.

    It was like learning a new language I hadn’t asked to speak.

    And even after we separated, that kind of love followed me.

    I’m single again, but I’ve somehow surrounded myself with people who continue that mission.

    My coworkers—kind, relentless, hilarious—have made it their business to celebrate me whether I like it or not.

    They’ve done everything from surprise cupcakes to group lunches to awkwardly sincere birthday cards taped to my monitor.

    They’ve forced hugs, knowing I didn’t grow up with them.

    They’ve insisted on gifts, even after I said I didn’t want anything.

    And still, I smile.

    I say thank you.

    I stand there, arms stiff, trying to remember that this is what care looks like.

    And yet, for all my stoicism, I do make one request.

    Every year, since I’ve known them, without fail:

    Chantilly cake.

    That’s the line I allow myself to cross.

    The one indulgence I name without shame.

    A soft, sweet wedge of joy—light, delicate, touched by berries and memory.

    Not because I need it.

    But because I love it.

    They know that.

    They remember.

    And every year, without asking, they make sure I get it.

    I still say I don’t need anything when people ask what I want.

    It’s not deflection. It’s conditioning.

    When you’ve learned to expect little, asking for nothing becomes your native tongue.

    They always push back:

    “It’s not about what you need.”

    And I nod. I thank them. I accept their kindness as I’ve learned to accept compliments: carefully, quietly.

    Because I still don’t know how to explain that the desire to give is a gift enough.

    That is just the act of remembering, planning, and wanting me to feel loved—that’s the part that undoes me.

    What I’ve learned is this:

    The gift isn’t the gift.

    The gift is that they care enough not to listen to my resistance.

    The gift is the cake, they must be tired of eating every year,

    the smile behind the joke I didn’t know I needed,

    the group hug I’m still learning to stand in.

    Because deep down, there’s a part of me still believes I should be content with nothing.

    And these people—my coworkers and my friends—refuse to let me get away with that lie.

    So yes, I’ll smile.

    I’ll eat the cake.

    I’ll accept the hugs, even if I stiffen slightly.

    And I’ll be grateful.

    Because there’s a quiet joy in being cared for on your own terms—and a deeper, more humbling joy in being cared for beyond them.

    That could be what a birthday really is.

    Not a celebration of age, or survival, or candles.

    But a small, yearly protest by the people around you:

    “You matter. Even when you pretend not to.”

    And maybe—just maybe-I ‘m learning to believe them.

    By Kyle J. Hayes

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  • This May Sound Like I’m Angry

    This May Sound Like I’m Angry

    This may sound like I’m angry.

    That’s because I am.

    I’m angry about food.

    But not just food.

    I’m angry about what gets buried with it.

    What we let slip through our fingers.

    What we protect so fiercely that we never get to pass it on.

    Some recipes in families are so tied to memory, and they might as well be spiritual.

    Not written in cookbooks, not on notecards, but in gestures.

    In pinches, pours, and stirs done just so, the things you only learn by being in the room.

    But those rooms are empty now.

    We call it tradition, secrecy, and the selfish need to be the one who gets all the oohs and ahhs at the family gathering.

    To be the keeper of the sacred gumbo, the only one who knows how the sweet potatoes get that crust just right.

    We hoard recipes like treasure, and I get it—maybe it’s the only thing some of us ever had to call our own.

    But it’s not treasure if it dies with you.

    That’s not legacy. That’s vanity.

    And the loss is deeper than ingredients.

    Every time someone passes and their recipe goes with them, we don’t just lose a dish.

    We lose a moment.

    A whole damn lifetime of Sundays.

    Of back-porch stories.

    Of laughing so hard over The Red Kool-Aid and potato salad, you forget how hard life has been for a second.

    Healing as it’s passed hand to hand with every spoonful.

    You know what it’s like to taste a memory?

    To close your eyes and feel the presence of someone who’s been gone for a decade, just because their dinner rolls hit your tongue the right way?

    We lost that.

    Because someone wanted to be special.

    Because someone needed to be seen more than they needed to share.

    And then life happened.

    People fell out.

    Phones stopped ringing.

    The kitchen got quiet.

    And just like that, the recipe is gone.

    And all the meals it ever touched, all the stories it ever summoned—gone, too.

    So yes—hell yes I’m mad.

    Because these aren’t just dishes.

    They’re time machines.

    They’re inheritance.

    They’re how a little Black boy in the Midwest learns about a cousin he never met, not through a photograph, but through how his mama seasons her Greens.

    And we’re letting them vanish.

    We call food “soul” and starve our legacy because we’re too proud, wounded, or petty to pass it on.

    We forget that food was how our ancestors hid love in plain sight.

    That in a world where everything could be taken—freedom, names, land—the ability to make a damn good meal was the one thing they couldn’t steal.

    That’s what we throw away whenever we let a recipe die with a grudge.

    You want to be special?

    Be the one who teaches.

    Be the one who says, “Come on. I’ll show you.”

    Be the one who writes it down—not to post online, but to slip into the hands of the next generation.

    To say:

    This is yours now.

    This is where we come from.

    This is how we survived.

    Because the pot of greens is more than flavor.

    The macaroni isn’t just texture.

    The peach cobbler is not just a dessert.

    It’s home.

    It’s a ritual.

    It’s a reminder of who we were, even when the world tried to make us forget.

    So yes—I’m angry.

    Because we’ve buried too much already.

    I’m tired of funerals where we cry over both the person and the food we’ll never taste again.

    I’m tired of silence being passed off as tradition.

    I’m tired of watching people wait until it’s too late to care.

    If we want our culture to live, we must do more than eat it.

    We have to honor it, share it, teach it, and protect it—not like a secret but like the gospel it is.

    Because in the end, a guarded recipe dies in the dark.

    But a shared one?

    That’s how we stay alive.

    By Kyle J. Hayes

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  • “What We Remember, We Keep-Alive”

    “What We Remember, We Keep-Alive”

    I had been working on the newest book in my Culinary Crossroads series, where Jamaal was supposed to return home—to the States and the old South.

    I thought it would be simple.

    A return to where it all began.

    A pilgrimage from the polished kitchens of Manila to the front porches, fields, and kitchens that shaped so many of us long before we ever touched a passport.

    I thought I was writing about food.

    But the deeper I dug, the more I realized that it was never just food.

    It was survival.

    It was remembrance.

    It was resistance disguised as Sunday dinner.

    I read everything I could find.

    The recipes were there, sure.

    But what kept catching me, snagging me like thorns on an old fence line, were the traditions.

    Not just what we ate but how we ate.

    Why we seasoned the way we did.

    Why were our celebrations, mourning, and rituals around food and music crafted in ways no cookbook could fully explain?

    It started long before we were “we” in any way we would recognize now—

    on the plantations,

    where bits and pieces of fading memories were passed down by those brought here, enslaved, stolen, stripped, but not erased.

    They blended what they remembered with what little they had.

    Cornmeal. Greens. Off-cuts and castoffs.

    They made necessity taste like something more than survival.

    They made it taste like home.

    And over generations, through sheer will and stubborn brilliance, we built something uniquely ours.

    Not just in the food but in the music,

    the way we buried our dead,

    the way we married our loved ones,

    and the way we danced when the sun went down and the cotton fields emptied.

    These traditions aren’t static.

    They are not museum pieces under glass.

    They are living and breathing things—regional and even tribal, depending on where your people ended up.

    That phrase kept echoing in my mind:

    “Where your people from.”

    The old folks would ask you that when they met you.

    After you named whatever city you lived in now—Detroit, Chicago, Kansas City—they’d look deeper, waiting for the real answer.

    They were talking about the South.

    Not the city, but the state.

    The county.

    The plantation.

    The place that owned your ancestors.

    It was a question about roots.

    (Writing that even now feels like swallowing glass.)

    The place that owned your ancestors.

    So many years later, and it’s still hard to say.

    Still hard to look at without flinching.

    And then came the “Great Migration,” or as some called it, “The Great Exodus.”

    We left with almost nothing.

    No land. No wealth. No easy road.

    But we took what mattered.

    We carried our recipes.

    We carried our songs.

    We carried the parts of ourselves that they could not steal, whip out of us, or erase.

    And for decades, it sustained us.

    Soul Food. Soul Music.

    Names born not in marketing rooms but in living rooms, storefront churches, and kitchens where steam and sorrow rose together.

    And now?

    Now, the word “Soul” feels almost quaint.

    Almost forgotten.

    Funny, isn’t it?

    What slavery couldn’t kill, freedom quietly erased.

    In chasing new beginnings, we risk losing the old songs.

    The taste of real cornbread.

    The sound of a mother’s hum in the kitchen.

    The wisdom tucked into the folds of a handwritten recipe card.

    As I write Jamaal’s story, I realize I’m writing my own.

    Our own.

    The story of a people who carried more than pain.

    We carried genius.

    We carried grace.

    We carried soul.

    And it’s on us—not the history books, not the tourists looking for “authenticity”—to remember what we made from nothing.

    And to keep making it while we still can.

    Before the last song fades.

    Before the last plate is cleared.

    Before the last story goes untold.

    By Kyle Hayes

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    #BlackVoices #MemoryAndLegacy #WeAreOurAncestorsDreams #StorytellingMatters

  • What’s Going On: The Sound of a Man, a Moment, and a Movement

    What’s Going On: The Sound of a Man, a Moment, and a Movement

    Some albums are flawless—technically perfect—masterpieces of production, arrangement, and execution. And yet, something is missing—some intangible element that separates great from transcendent.

    I don’t know what that something is.

    But What’s Going On has it.

    It’s there in the first few seconds before Marvin Gaye even starts to sing. A murmur of voices, street-corner conversation fading in and out, a saxophone moaning in the distance. It doesn’t feel like the start of an album—it feels like stepping into something already in motion. Something real. Something urgent.

    Because Marvin wasn’t just making music anymore.

    His marriage was unraveling. The woman he built duets with, Tammi Terrell, was gone—taken by a brain tumor at 24, her voice silenced before it had the chance to live its full measure. His brother had come home from Vietnam, but Marvin had already been there in spirit—receiving letter after letter, each painting a picture more brutal than the last. He saw America burning in protest, drowning in war, divided by race, suffocated by injustice, and the weight of it all pressed down on him.

    And so, he did what only the great ones do. He put it all into the music.

    This album is not just a collection of songs. It is a prayer, a lament, and a call to action. It refines the messages of the ’60s—love, peace, resistance, revolution—into something pure and undeniable.

    A Different Kind of Protest

    Other protest music of the time was raw, defiant, and urgent. It called for fists in the air and battle lines to be drawn. But Marvin took another path.

    What’s Going On does not shout—it weeps. It does not rage—it pleads. It does not accuse—it begs America to look itself in the mirror and reckon with what it sees.

    “Mother, mother / There’s too many of you crying.”

    “Brother, brother, brother / There’s far too many of you dying.”

    These are not slogans. These are not rallying cries. These are wounds, laid bare over melodies so lush, so deeply felt, that you almost forget you are being confronted.

    A Vision That Was Almost Lost

    And what makes this album even more remarkable is that it rarely existed.

    Motown didn’t want this. Berry Gordy thought it was too political, too risky, too different. But Marvin fought for it. He refused to back down and kept singing about love and romance while the world fell apart. He believed in this music so much that he was willing to walk away from everything if it meant it would never be heard.

    And thank God he fought.

    Because this album still matters.

    The war may have changed, but the battlefield remains. The poverty, the racism, the injustice, the disregard for human life—it’s all still here. And Marvin’s voice, decades later, still asks the same question:

    What’s going on?

    This is what separates technically perfect albums from the ones that live forever.

    What’s Going On is not just music.

    It is soul.

    It is history.

    It is Marvin Gaye—raw, vulnerable, broken, and unfiltered—pouring himself into something bigger than sound, bigger than sales, bigger than time itself.

    It is, simply put, greatness.

    By Kyle Hayes

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  • Where the Real Food Lives

    Where the Real Food Lives

    There’s a quiet truth you learn if you sit down and listen long enough at a table that isn’t yours. I’m talking about food—the real kind. The kind that doesn’t come with laminated menus, mood lighting, or some Instagram-ready plate presentation designed to be photographed more than eaten. I like food the way it was meant to be cooked. Not dressed up for the American palate, not hollowed out of spice and soul, not twisted into something that feels “safe” for the suburbs. No. I want the unfiltered version. The authentic, in all its greasy, spicy, loud, proud, home-cooked glory.

    So when I get that itch—when I want Thai that actually burns, or birria that makes you sweat and sigh and say something profane under your breath—I don’t walk into a chain restaurant that’s polished its identity clean off. I ignore the neon signs, the catchy slogans, the smiling mascots. I go looking for them. The people who know it best. The ones who were raised with it, who smell a particular spice and remember their grandmother’s hands, who understand that food isn’t a product—it’s inheritance.

    So I ask. I walk up, sometimes awkward, always respectful. Where do you eat when you want the good stuff? And almost without fail, the answer is the same: my mother’s house.

    And listen—if they’re willing to take me? I go. You better believe I go. Because that house, that kitchen, that woman—she’s the final boss of flavor. Her curry will humble you. Her pho will make you question every bowl you’ve ever had. Her dumplings will taste like someone finally told the truth.

    But if that invite isn’t on the table—and it usually isn’t—I ask for the next best thing. The real-deal hole-in-the-wall. The strip-mall treasure with the chipped menu and plastic chairs, where the spice level isn’t adjusted to your comfort, where grandma is still in the back with a ladle in one hand and a cigarette in the other. That place. And when I find it, I sit down, shut up, and eat.

    But I can’t always go out. As it turns out, life is full of dishes that have nothing to do with food. So when I can’t chase it out in the wild, I chase it in my kitchen.

    And when I do, I don’t cut corners. I don’t swap the Sichuan peppercorns for black pepper because it’s easier. I don’t use pre-minced garlic from a jar or ditch the fish sauce because someone on Reddit said it smells weird. I try to cook it their way. Because it’s not mine to change. Because what right do I have to remix someone else’s survival?

    These recipes—their recipes—were forged in kitchens without much to spare. They came out of migration, colonization, desperation, and adaptation. They were stitched together over generations, passed down in pinches and palmfuls, in scents and stories. And here I come, with all my privilege, trying to “improve” it?

    Nah. That’s not what this is.

    Cooking someone else’s food the way they do is my way of showing up with my shoes off and my mouth shut. It’s reverence, not recreation. I don’t want to make it mine. I want to understand it—just a little.

    And in doing so, I find that food is maybe the last honest language we still speak. It tells you who someone is, where they’ve been, what they’ve lost, and what they’ve held onto with white-knuckled grit. You just have to listen.

    So no, I don’t want the watered-down version, the sanitized, culturally bleached, deep-fried-in-mayo, made-for-mass-appeal rendition. I want the dish that was never meant to be sold. I want the one your mom makes on a rainy Tuesday. I want truth.

    And if I’m lucky, I’ll get to sit at that table.

    But if not, I’ll light the burner, open the cookbook, and try to honor it—one clumsy chop, scorched pan, and heartfelt bite at a time.

    Because that’s how you show respect when you can’t speak the language.

    You taste it.

    And you don’t dare change the damn thing.

    By. Kyle Hayes

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  • Grams Not Guesses

    Grams Not Guesses

    So I wanted to cook,

    Not to become a chef. Not to impress anyone.

    I wanted to cook because I loved sweets. I loved good food.

    That pure, unsophisticated craving for something warm, buttery, something you pull out of the oven and burn your tongue on because you just couldn’t wait.

    But there’s a difference between loving food and understanding it.

    Between throwing ingredients together and crafting something worth remembering.

    Everyone wants to skip straight to the fun part. The stirring. The sizzling. The magic.

    But before you set up your mise en place, before the measuring cups hit the counter or the oven light flickers on, there’s one thing I recommend you do first:

    Learn the damn metric system.

    I know, I know.

    Growing up in America, we treated the metric system like some kind of foreign threat—a decimal-based conspiracy from the cold bureaucrats of Europe and Asia.

    Why use grams and milliliters when you could fumble through cups, tablespoons, ounces, and whatever a pint actually is?

    We were proud of our confusion.

    We turned inconsistency into tradition.

    But if you want to cook—and I mean really cook—you’ve got to let that go.

    Because the metric system isn’t about politics.

    It’s about precision.

    A gram is a gram.

    It doesn’t change depending on the weather, your mood, or how aggressively you packed that cup of flour.

    And that level of consistency is everything.

    Ever wonder why that cake turns out dry even though you swear you followed the recipe?

    Why did the sauce split, the bread collapsed, or the texture didn’t feel right?

    It’s probably because you were measuring like a cowboy.

    So here’s what you do.

    Go out and buy a digital scale.

    Not the fancy kind. Just a solid, reliable one.

    Get yourself a digital thermometer while you’re at it.

    Knowing the internal temperature of your roast matters more than what the recipe says 45 minutes in the oven should look like.

    These two tools—simple and affordable—will change the way you cook.

    Not because they make you smarter.

    But because they force you to slow down and pay attention.

    And that’s what cooking really is.

    It’s not chaos. It’s not improvisation.

    It’s control disguised as creativity.

    The freedom to riff, to invent, to push boundaries?

    That comes later.

    First, you need discipline.

    A foundation. A system.

    And it starts with knowing how much 200 grams of flour actually feels like.

    It starts with temperature, timing, and respect for the numbers.

    So yeah, you want to make sweets?

    Great.

    Start with the scale.

    Get your metrics straight.

    Because food is a lot like life.

    It’s better when you stop guessing.

    By Kyle Hayes

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  • Mise en Place and the Mess That Made Me

    Mise en Place and the Mess That Made Me

    When I first started cooking, it was chaos.

    A beautiful, clumsy, borderline dangerous kind of chaos.

    Pots clanged, drawers opened, and knives were in all the wrong places. Every piece of silverware I owned was used, and every pan was dirty. And the recipe?

    I was reading it while I cooked, squinting through steam and panic, trying to figure out the difference between “simmer” and “boil.”

    And still, somehow, the food turned out okay.

    Not great. Not refined.

    But edible.

    Which, given the circumstances, felt like a minor miracle.

    Back then, cooking was survival mixed with ambition.

    A love letter written in all caps with a grease-stained pen.

    But then I learned about mise en place.

    And everything changed.

    Mise en place: “Everything in its place.”

    A phrase you hear in culinary schools whispered like gospel across stainless steel kitchens, tattooed into the souls of anyone who’s ever worked a line.

    But it’s more than just a cooking philosophy—a way of life.

    The Breakdown

    Plan: Read the damn recipe. All of it.

    This isn’t a Choose-Your-Own-Adventure. Know what you’re about to get into.

    Get – Gather your ingredients and your gear.

    Every spoon, every pan, every awkward little measuring cup you’ll inevitably forget if you don’t do this step.

    Prepare – Chop. Measure. Peel.

    Treat each ingredient like it matters because it does.

    Sort —Use small bowls, containers, or whatever you have. Separate your garlic from your ginger, your wet from your dry.

    Place: Lay it all out around your cooking space.

    A clean space is a clear mind. Keep a towel on your shoulder—you’ll need it.

    I know people get tired of hearing this.

    They want the shortcut. The life hack. The TikTok version.

    But I’m gonna keep saying it until it sinks in.

    Because mise en place isn’t just about food.

    It’s about respect—for the process, ingredients, and yourself.

    It saves you time.

    It saves your sanity.

    And yeah, it makes your food better.

    As a nurse, I’ve always set up my cart the same way every shift.

    Same rhythm. Same layout. Same tools, same order.

    It’s not because I’m obsessive—when the heat hits and the pressure’s on, your body remembers what your mind forgets.

    It works in the kitchen, too.

    When I have a big cooking day, I prep the night before.

    I chop. I portion. I lay it all out like I’m about to do surgery.

    And when it’s time to cook, it flows.

    Not without effort—but without panic.

    It becomes a craft, not a scramble.

    So yeah, I’ll keep saying it.

    Take the time.

    Do the work.

    Respect the process.

    Because food isn’t just about flavor—it’s about intention.

    And if you can find clarity in the kitchen, the mess, the heat, and the chaos…

    You can find it everywhere else, too.

    By Kyle J. Hayes

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