Let’s first set the stage by meeting the star of the show. Behold, Teenage Jessa:
My hair is as straight as I was pretending to be.
Teenage Jessa was very different from the Adult Jessa y’all know and love. For one, Teenage Jessa was the goodiest two-shoes that ever existed, long before Adult Jessa learned the hard way that following the rules doesn’t land you the world on a platter. Teenage Jessa would have never cussed or had sex or smoked the devil’s cabbage, that’s for sure. She spent most of her free nights at church events, for fun! She still loved music, but her dreams were a lot bigger back then. Teenage Jessa wanted to be the next Taylor Swift; Adult Jessa would crumble under that kind of pressure. And perhaps the starkest contrast is my state of mental health, because Teenage Jessa had to contend with some of the worst of my OCD and anxiety, while I’ve learned to control a lot of it these days.
It’s funny that I got this prompt today because I often think about what I’d say to a younger version of myself if I ever got to meet her. I consider myself to be very in-touch with my inner child — she’s running the show half the time — but my inner teenager is another story. Maybe it’s because I look back at that stage of my life and cringe a little. It’s easy to give Child Jessa some grace as an undiagnosed autistic little girl who just really loved parakeets, but in retrospect, Teenage Jessa seemed absolutely insufferable. Good little church girl who gets straight As and served as senior class president? I’m surprised I wasn’t voted “most punchable face.” (In reality, I was voted “most gullible,” which is…not much better.)
So what would I do different if I could relive my teen years? Well, this is the advice I’d give Teenage Jessa if I ever got to speak to her:
Be Bolder
Sometimes I think of all the lost opportunities I left unpursued. I could have moved to Nashville or LA or New York and made it big in the music industry. I could have posted more diligently on YouTube or promoted myself better on social media. I could have asked Chase Johnson to prom with me. Looking back through my life, I very seldom regret things I have done. Rather, I tend to regret those things I haven’t done. If I could go back, I’d take so many more risks. As the saying goes, shoot for the moon — even if you miss, you’ll land among the stars. In a lot of ways, I feel like I never even left Earth.
Be Gayer
It took me a long time to come to terms with my bisexuality. Compulsive heteronormativity is one hell of a drug, okay? I definitely flirted with the idea of liking girls as a teenager, and I remember some complicated feelings arising around some of my close female friends, which I confided to my mother and absolutely no one else. Unfortunately, I was very steeped in an evangelical church that frowned upon all things queer, and so I convinced myself I was as straight as my artificially flattened scene kid hair at the time. I wish I’d given ladies a chance sooner, as I probably would have avoided quite a few less-than-stellar hetero relationships.
Be More Open-Minded
I’ll admit I parroted a lot of the bullshit my adolescent friends preached. All that “Adam and Eve, not Adam and Steve” crap. I didn’t really mean any of it, and a part of me knew it was wrong to believe that stuff, but I wanted my friends to like me, and most importantly, I wanted God to like me. I thought I had to check a bunch of boxes to call myself a Christian. I thought I had to be conservative and marry a man and pop out some kids and live the white picket fence life to make Jesus happy, when that’s not the truth at all. There’s no “wrong” way to be a Christian, unless you’re flying in the face of what Christ stood for (like a good amount of prominent evangelicals).
Develop Your Talents
I’ve always said that if I’d had even fraction of a crumb of an attention span as a youngin’, I’d probably be a virtuoso guitarist by now. Sadly, my ADHD remained undiagnosed for nearly three decades, so I feel like I wasted a lot of time I could have used on productive things, like practicing my instrument or learning another language. It sucks to think of all the potential I could have had. As much as I embrace my neurodivergences, there are aspects of my brain I really don’t like, and this is definitely one of them. If I could talk to my younger self, I’d tell her to pester literally every adult in her life until they get her a damn ADHD assessment. I was literally treading water with a disability I wasn’t even aware of.
Get a Car
This one might be on Mom and Dad, since I was the youngest by a lot and I always got the feeling that they were hesitant to let me “adult” on my own. That being said, it took until well into my twenties before I finally learned to drive, and so I didn’t really gain that sense of independence you should feel as a teenager. I didn’t get my Hilary Duff “Sweet Sixteen” experience of driving around with my blonde hair everywhere, and that’s sad. I wish I’d annoyed my parents about getting a car more than I did, and while I know some of it wasn’t their fault — we were a working class family without a lot of extra cash — I could have totally like, saved up for it, ya know?
Advocate For Yourself
I think this is a running theme. I needed to advocate for so many things for myself. Honestly, I’m a pretty assertive person nowadays. Like, I told off a whole man in the karaoke bar once. Teenage Jessa would have never. But I wish she would have had that energy. There were so many things she needed in order to be successful, and yet she was too afraid to speak up and make her needs and preferences known. It’s why I never got a car, never got ADHD meds, and was basically strong-armed into the uglier side of Christianity despite my gut not aligning with it. It took me a long time to find my voice, and even longer to learn how to use it.
Stop Straightening Your Hair
Seriously, you’re frying the fuck out of it. Someday you’ll appreciate your natural mermaid waves.
So unless you haven’t spoken to me in the past half-year or so, you probably know I’ve been hard at work making my first real full-length album happen. And soon, these songs will see a proper release on all music platforms, which is absolutely bananas to me. As a kid, I always assumed in order to record a song, you had to be famous, which is why I assumed from the old tape of my brother singing “Wild Thing” at karaoke that my brother was, in fact, Tone Loc. (He is very much not Tone Loc.) It never really occurred to me that I could learn to record and produce my own stuff until well into adulthood, but once I discovered the power of my college newspaper’s office’s computer’s GarageBand, it was over, man. I knew what I had to do. In fact, for my first EP, Oceanography, I holed myself up in that office the entirety of spring break, including my own birthday, and did nothing but record songs. That was an experience I’ll never forget, and over a decade later, my love of music production and songwriting has endured.
Which leads me to Lore.
Lore is a collection of songs that I feel both demonstrate my abilities as a producer and musician as well as my range as a lyricist. The songs are all very different, but reflect various aspects of myself and my life. There is nothing on this album that isn’t autobiographical in some way. I consider myself a follower of the Swiftian school of songwriting, where any and every relationship, good or bad, is potential song fodder, and each song written is deeply confessional. I drew a lot of inspiration from my interpersonal relationships, which in this context means everyone from my mom to my cute cruise fling to my cat and the asshat who threatened my girlfriend (more on that later). Relationships are what make us who we are — we are defined by our relationships to each other. I’m a musician, but I’m also a wife, girlfriend, daughter, sister, and cat mom. My relationship to myself was also an important factor. I’m Christian, queer, neurodivergent, and mentally ill. I’m learning to accept the various parts of myself, and all of these things contributed to what eventually became Lore.
Sonically, there’s a pretty wild mix of styles. I consider myself “genrefluid” and this album certainly reflects that reality. My music has always drawn a lot of influence from the classic rock, emo, bubblegum pop, and 80s synth-heavy pop I listened to a lot growing up, but I really wear my muses on my sleeve on this project. And every instrument, with one exception I’ll mention, was hand-played or programmed by me. Everything on this album was my own design. And none of the tracks utilize AI in the production or songwriting, a point I was sure to make after the Almost Icarus debacle that I wrote about as a cautionary tale. Everything on this album is raw, real, and most importantly, human. (Full disclosure: I did use an AI app to master the songs for the final release, but I made sure not to outsource any of my creativity. I’ll learn how to properly master by hand when I actually make it back into audio engineering school. Tuition’s brutal, y’all.)
I wanted to do a track-by-track breakdown of the track listing to explain some of the lyrics and give a bit of backstory on each of them. Like I mentioned, they’re all very different from one another, and no two songs are about the same situation or person. Let’s start with the title track!
1. Lore
I love stories. I’ve always been a storyteller, from the day I could hold a pencil and form words. I was the kid who breezed through lessons so I could ignore the teacher for the rest of the day and just write stories. And that was the initial inspiration for this song — my own story. I even snuck a literary reference in the chorus for good measure. (Shoutout Shel Silverstein!)
In the first verse, I talk about my childhood and hometown, “a blue-collar Midwest town with a river running through.” That would be Flat Rock, Michigan, and the river I’m referring to is the Huron River. I also mention my father, who passed away last year and whose memory I dedicated the song to. On his deathbed, I told him about the song, and while I’m sad he never got to hear it, I’m happy his legacy will live on through this tune. The second verse is about my love life, past and present. In the second half, I introduce “the first girl I kissed” in college, who later became my wife. My brother was initially not thrilled that I married a woman, but as of my father’s death, he’d started coming around to the idea of having a bisexual little sister. The original line was “My brother found out and man, was he pissed,” but I changed it to “for a while he was pissed” to reflect the character development. Sometimes people change for the better!
Recording this song, I started with the acoustic guitar, which felt like coming back to my roots after playing almost exclusively electric for some time. I wanted a “pop-punk meets heartland rock” vibe, a la The Gaslight Anthem, one of my favorite bands. The lead guitars harmonize in the main lick I play throughout the song, which was really fun to record and definitely made me feel a bit like Iron Maiden. There’s also a Truck Driver’s Gear Change at the final two choruses, because 1. I feel like it adds to the triumphant feeling of the song and 2. I just really like key changes. I had to modulate it down from the original key I wrote it in so I could sing those last choruses in my chest voice, though.
2. Vinyl
This is probably the oldest song of the batch, as I initially started writing it years ago and only finished it when I was living in Fort Wayne a few years back. The melody came to me out of nowhere, and the lyrics were inspired by a handsome French-Canadian man who resembled the title character of Howl’s Moving Castle, with whom I had a very short-lived flirtationship. Sadly, he was quite a bit younger than me and I was starting to feel a little Anthony Kiedis, which made me uncomfy, so I amicably called it off. (He was legal at least, but man, I had all 150 Pokémon memorized by the time this dude was born.) At least I got a total banger out of it.
I was always really fascinated by vintage media since childhood, so it’s a wonder how I never used records as a metaphor before. There’s something so sexy and intimate about sharing your favorite music with a partner. Needless to say, this song is one of the hornier ones on the album, rivaling “Rain Check.” It’s not as explicit, but it toes the line at times. It’s cheeky if nothing else.
Did I gank the chord progression from The Maine’s “Right Girl”? I plead the fifth. In my defense, Taylor Swift has like twelve songs that utilize that exact progression, so maybe popular music is just derivative as hell. There’s a whole slew of harmonies, since I was going for a kind of Queen sound. I wanted a glam rock feel — this is the spiritual successor to “Sweet Honey,” the single I released with Wake Up Jamie, after all. I consider it her weirdly hetero brother. Oddly enough, I don’t have a single sapphic song this time around, as all my muses were men. I guess I need to write another batch of love songs for my femme partners for the sequel to The Librarian’s Daughter.
3. My Cat & Me
Anyone who knows me knows Ann Wilson of Heart is my queen, and I was autistically obsessed with Bon Jovi as a child, but Freddie Mercury was the rock star who finally gave me the confidence to start pursuing music for me. He never played by the rules. He was living proof that one could write a catchy song about damn near anything, and a perfect (purr-fect) example of that is one of his final songs, “Delilah,” dedicated to one of his beloved cats. When I first heard that song, I knew I had a mission. But I never had an animal “get me” the way Krubby does, and that’s what finally prompted me to compose this little baroque pop piece. Krubby is my feline soulmate, my “best friend on four legs,” so to speak.
The song starts out pretty cheery, and it maintains a sense of whimsy the whole way through. But I did want to mention the emphemeral nature of pet friendships in the final verse, since I had to slam y’all with the feels somewhere. “Someday I know you won’t be there/So I’ll treasure every day we share” hits me so hard every time, and I wrote the damn lyric! Even though he can’t catch a mouse, I love that cat anyways, and I’ll miss him when he someday crosses the Rainbow Bridge. It’s a shame we tend to outlive our animal friends.
I may have ganked this chord progression from an country/Americana artist named John Hiatt, whose song “My Dog & Me” served as the other main inspiration behind this track. I was struck by how heartfelt the song was and wanted to create my own take on the topic of beloved pets. This track is one of two that are entirely MIDI, containing no “real” instruments at all. But trust me, I agonized over this one just the same. Have you ever programmed MIDI without a MIDI controller?! Also, the rhythm was tricky because there’s an extra measure of 3/8 right before the title drop, which gives it a bit of a disorienting feel. Overall though, it’s a very sweet, whimsical song.
4. False Prophet
Now we’re getting to the first of the angry ones, and I did not pull any punches on this album. I won’t get into too much detail about who specifically this one’s about, but we’ll just say it’s about certain religious leaders who I truly expected better from. I grew up in an evangelical megachurch because many of the friends I had in my youth went there, and I found myself looking up to so many of the folks involved there. After the advent of Trump in the US, I found myself confused how these people who once taught me to “love my neighbor” and “fight for the oppressed” were now siding with the oppressor. So that was the initial inspiration behind this one.
I loaded the lyrics up with Biblical references. As I always say, the only people who can fight Christian nationalism are progressive Christian who actually paid attention to the words of Jesus. We speak their language. And that’s why when I release the lyric video for this one, I plan to color the text that directly references specific Bible verses in red (itself a reference to how Christ’s words are often colored in red in certain Bibles). I’m particularly fond of “You’re so lost in the white Jesus sauce and I don’t have a doubt/That if the brown Jesus came back tomorrow, you’d be the first to ICE him out.” I never get political in my music, but there’s a time and a place for speaking up when injustice is happening.
This one, alone with “My Cat & Me,” is entirely MIDI-programmed, but like I said, don’t let that fool you — I put just as much blood, sweat, and/or tears into those two as I did the more guitar-driven tracks. The bassline that carries the song is reminiscent of “Stand By Me,” something I did not realize until nearly everyone I showed it to pointed it out to me. I have to laugh because it really does sound like a minor-key “Stand By Me” (“Stand Back From Me”?). I really love the harmonies toward the end as well.
5. Every Emo Song Was Written About You
This is the most recently written and recorded song of the batch, composed whilst on the emocruise. As fate would have it, I was able to weasel my acoustic gitfiddle onto the boat, which was very serendipitous as I found plenty of inspiration on the journey. My cruise fling was a cute lil emo guy from California who stole my heart and had me feeling as giddy as a high school girl again. I stole away to my cabin to write this little ditty as an ode to both my sweet paramour and the genre that I adored as a teenager and college kid. True to emo tradition, the title is a full sentence.
I hid a ton of references to various emo-adjacent artists in the lyrics. The second verse “I could be your punk rock princess, your heroine” refers to “Punk Rock Princess” by Something Corporate, “Your Call” by Secondhand Serenade is referenced at the end of the second pre-chorus, and “Hands Down” gets a mention in the bridge. Those are just the less-obvious ones. I wanted the lyrics to reflect that hopeful, wistful feeling of wanting someone badly and not knowing what to do with that. I really did want to capture that teenage longing.
Originally, I’d planned to have a fellow musician I’d met on the cruise play drums for this track, but due to scheduling conflicts, he wasn’t able to be on the final version. I’m still pretty pleased with how my programmed drums turned out, though. I tried to ape the some of the stylistic hallmarks of emo with this track, but sadly my voice isn’t exactly the whiny male tenor that’s typically associated with the genre, so I’m scared at times it falls flat. But perhaps that’s just my insecurities talking, because if I’m honest, this song goes hard. I’m not exactly Hayley Williams, but I feel like I did alright in spite of that.
6. Jeremiah
The heaviest and angriest song of the batch, this one comes with a disclaimer. This song is not about Jeremiah Mack, whose sweet, sweet sax saxohoning you will hear momentarily. I have never once wanted to chop that wonderful man’s dick off, so lest there be any confusion, let’s clear that up immediately. This is one hundred percent about a fucko who DMed my lovely girlfriend Olivia to send her all kinds of threats and other transphobic bullshit. To Jeremiah Mack, you are a fantastic human being and I love you. To a certain Jeremiah of South Bend, Indiana — watch your step.
The lyrics are truly some of the most rage-filled I have ever penned. I took a lot of inspiration from Ann Wilson, who invented feminine rage when she wrote “Barracuda” back in the 70s. I wanted them to be kind of sing-songy and almost nursery rhyme-esque, like I’m making fun of this asshat, which I definitely am. “You’re not a real man,” is me flipping the transphobic “You’re not a real woman” battle cry on its head, and the allusion of cutting this dickwad’s manhood off is poetic in a way. Oh, so removing your penis won’t make you a “real woman”? Wanna test that theory on yourself, big guy?
I put so many guitars on this track and turned the distortion up to the max. The main riff almost sounds like a much more overdriven “Bebe le Strange,” another Heart song from the 70s, which was again not my intention, but my music is nothing if not derivative. And I love, love, love the dissonant guitars in the instrumental section. At first I wasn’t sure I could pull off as heavy as I wanted to go for this tune, but I’m pleased to report I achieved the intended effect I think.
At least we’ve reached the song I plan to release as a single, the 80s-inspired “Rain Check.” This one is so unlike anything else I’ve ever recorded or released and it was honestly a really fun experiment. That being said, this one is definitely the horniest track on the album. Don’t say I didn’t warn you. It is highly sexual (and saxual). I wrote it as a challenge to myself to pen something that would make Sabrina Carpenter herself blush. The lyrics were inspired by a cancelled date with a lawyer who had to bail due to an important case the following morning, which I totally understood, but man, I was bummed. He’s also the lawyer I mention earlier in “Lore,” for what it’s worth. Because he has such an important job, he couldn’t be featured on the album cover, so that’s my Detroit partner whose lap I’m sitting in.
The lyrics are somewhat cringily blunt at times, and I still can’t say the especially awkward line in the second verse with a straight face (you will know which line I’m referring to). I do a silly rhyme dodge in the first verse (“…cause ya girl needs some…fun”), which isn’t the first time I’ve done something like that in a song. In “Taco Bell” off The Librarian’s Daughter, I say “I know that it might be quite crass, but I can’t help but stare at her big fat…grin.” I borrowed that idea from The Maine and their signature song “Into Your Arms” — “I’ll state something rash/She had the most amazing…smile.”
This is another very MIDI-heavy song, although there is some real guitar. There’s also a very real saxophone! I didn’t trust myself to program a realistic sax, so I brought on my old drummer, the aforementioned Jeremiah Mack, to play a little solo. The rapid fire sixteenth note synth is reminiscent of “Dancing On My Own,” the quintessential club hit from Robyn, but that wasn’t my inspo initially, weirdly enough. My “blueprint,” so to speak, was actually “So Emotional” by Whitney Houston. I wanted this song to be giving 80s Whitney. I utilized Linn Drums for the drum machine, which really gives it that throwback vibe.
8. Grandma
Finally, we end the album on a wholesome note. “Grandma” was my own personal manifesto that despite the odds being stacked against me as a queer, mentally ill Millennial, I will live into my geriatric years and I will become a grandma someday. I refuse to be a statistic. The inspiration came to me when I was working at my old job as a caregiver for old people, and I actually wrote the chord progression on the organ at the facility. I had this realization that the folks I worked with were quite literally living the dream. They’d lived long lives and were now spending the rest of their years in peace. The photo was fun to shoot because I ordered an old lady kit and used an instant aging filter to get the desired effect. Eventually I’d like to get a big group together and film a music video where we’re all just wreaking havoc around town dressed as grandmas.
Lyrically, I drew some inspo from my own grandmother, Joyce, who I derive my name from. She was the kind of lady who enjoyed the simple things, like watching game shows from her La-Z-Boy all day. (Though she would actually drink cornbread soaked in buttermilk, which was truly atrocious, so I took some artistic liberties.) The “My Way” reference is a double barreled reference, since I’m not just referring to Frank Sinatra, the original artist. I also wanted to pay homage to Bon Jovi, whose song “It’s My Life” makes the same reference.
This was another acoustic-driven one, and I really only used electric guitar for the lead parts. The ending is cool because I did what my old bandmate called a “terraced ending,” where each of the instruments drop out until all that’s left are the guitars. Aside from that, this one is pretty standard fare for me. This is probably the most quintessentially “Jessa” track on the album, which is also why I felt like it was the best song to end the project on. Writing it really took me back to my roots, and that’s what Lore is all about.
Which of these songs are you most looking forward to hearing? I’d love to hear your feedback!
As of writing, it is day two of the fourth annual Emo’s Not Dead cruise, and ya girl is having the time of her life. Like, you have not lived until you’ve watched Hawthorne Heights from a hot tub in the middle of the ocean. I can’t believe I almost elected to not do this cruise, and while it’s set me back financially waaaaaaaay more than I’d like to admit, I don’t regret this trip at all. Knock on wood, the voyage has been quite literally smooth sailing.
There are activities at practically all hours on this boat, but one particular event caught my attention — a panel on the history of emo, hosted by the guys from the aforementioned Hawthorne Heights. I wasn’t super familiar with the band before the panel, but I am a bonafide music history buff, so I’d be remiss if I missed out on the discussion. So I set my alarm alarmingly early for someone who’s supposed to be on vacation and hauled my ass up to the deck to catch it. And I’m so glad I did, because it was a reminder of how much this genre and this music scene has meant to me throughout the years.
Prior to high school, all I listened to was classic rock. I never even entertained the idea of seeking out music that had been made after I was born. To younger me, the best stuff had been already made and all new music was garbage and inferior to my heroes. But something unusual happened around tenth grade. My good friend at the time was dating her now-ex-husband, who turned out to be a total fucko, but he had great taste in music. So I was over at his place one time and, knowing I was a music lover, he offloaded all his old CDs on me. Among them was Jimmy Eat World’s follow up to their breakthrough album, Bleed American. It was titled Futures and it had a dark, ominous cover featuring a telephone booth. Something about it drew me in. So on a band field trip to Chicago, I put on my headphones and loaded it into my portable CD player.
And I’d never be the same.
Everything about their sound captivated me in that moment. I was playing cinematic movies in my head to the moody melodies and desperate lyrics. Every word and every twinkly guitar riff was soaked in pure emotion. The music sounded like what feelings sound like. It was a strange sort of synesthesia. And it made me realize that there were still bands out there making great music. In a way, JEW (which is a hella awkward abbreviation for a band name) was my conduit to the emo genre as well as the 21st century of music as a whole.
Funnily enough, Hawthorne Heights cited JEW as their conduit to the scene as well, and they talked in great detail about how they had similar journeys to mine. They were Midwesterners too, Ohioans to be specific, and they didn’t have much in the way of record stores or places to discover new music. But a friend had gifted one of them Clarity, the precursor to Bleed American, and that was that. Like me, the guys were drawn in by the music and the deeply emotional lyrics.
And that’s why they call it emo — it’s literally just emotions set to melodic punk rock. The guys from HH (a much better band abbreviation, by the way) brought up the fact that the word “emo” has a lot of baggage. In the beginning, it was almost an insult to be called emo. Bands didn’t want to be known as emo. Hell, I remember the slight moral panic in the MySpace era where authority figures assumed emo was shorthand for self-injury and other self-destructive habits. In schools, guys in the scene were often called f*gs and other cruel slurs, and girls in the scene were characterized as sluts or posers. But as the years have progressed, the “emo” label has since been reclaimed. Millennials like myself proudly wear the title “elder emo,” and younger folks are adopting the name and subculture as well.
I think fondly about the emo and emo-adjacent music I listened to as a young woman. I’ve had a lot of memories in the music scene, going to multiple Warped Tours and other festivals and making connections with the other attendees and artists. Live music is so important, and I’m glad I got to experience so much of it throughout the years (although I’m sure my ears aren’t so glad). I’ve written quite extensively on here about my fears regarding AI and the future of music, and those fears definitely still stand. But you can’t engineer away live shows. You can’t beep-boop an experience like the one I’m having on this cruise. That’s something the robots can’t replicate — the real, authentic human connection that comes with screaming along to your favorite songs with your 100 new best friends.
When the panel wrapped, the guys opened up the floor for guests to share their “coming to emo” moments. I hesistantly raised my hand and introduced myself as a fellow Midwesterner, albeit a Michigander (they forgave me). I shared my story of discovering JEW as well and how their music spoke to me like nothing else did. I also told them I appreciated how HH had come up out of Ohio of all places, because I get it. When you grow up around nothing but cornfields, finding beauty in the everyday isn’t easy. You have to make your own beauty, and that’s something else I love about music. I love the way folks can alchemize pain and hardship and even boredom into something lovely, something other people can appreciate too.
As an elder emo and a musician myself, this cruise has been a reminder of why I am in this game. It’s why I find guitar picks in my washing machine. It’s why I have callouses on my fingertips and can’t get baddie nails. It’s why I chose classical guitar over pre-med in college. It’s why I agonize over every word in every song I write. And it’s why I still believe in beauty in this world, even though I’ve seen so much of its ugliness as well. Music truly is what emotions sound like, and there is so much power in channeling those feelings into song. It’s a form of emotional bloodletting. It shows you that you’re not alone in this world. It saves lives.
That’s what emo is about. That’s what music is about.
Mind you, I have never been on a cruise, and I kind of always assumed I’d never even have the chance. I vaguely remember my much-older sister saying she’d take me on a cruise when I got my high school diploma, but after graduation, it changed to after I got my bachelor’s, and after that, it was my master’s. So I just assumed that was a nice thing she told me so I’d stay in school and not run away to join a rock band or the circus.
Both options are very within the realm of possibility, for what it’s worth.
But last year, I was playing in a band with a truly cool frontperson who, despite us not being close anymore, is still someone I respect greatly. They told me about the cruise and how it’s great for networking because you’re basically trapped on a boat with music industry folks and fans who care enough about music to drop a cool few grand to see their favorite bands. That was enough to convince me to exercise my poor credit card and join the excitement. I bought my ticket and a flight down to Miami, where we’ll be sailing off to Mexico, a place I have not ever been to and, again, was never expecting to actually see.
But if playground rhymes taught me anything, it’s that there are REALLY HOT GUYS AT THE DOOR DOOR DOOR.
I’ll be honest, I came close to attempting to recoup what money I could and bailing on the trip many times. My friend who inspired me to buy the ticket and I had a falling out, which made me question why I was even going. Then, rising political tensions made me wonder if it was even safe to travel outside of the country, and I kept getting nightmares that I’d be detained trying to re-enter the country or something. I got as far as posting an ad stating that I’d sell my tickets in the main Facebook group for the cruise, and I almost had a buyer.
Then my dad died. Suddenly, I was standing face-to-face with my own mortality as I watched the single closest person to me fall away into the afterlife. It hit me that I may never have the opportunity to do this kind of thing ever again, and I could hear my dad whispering to just jump in. I remembered his last words of advice to me: be yourself, take care of yourself, and enjoy yourself. He wouldn’t want me to cower and hide away. He’d want me to live in the light. He’d want me to enjoy myself any way I can in this hellhole.
And so that’s why I have my big purple suitcase packed to the brim with all my outfits for the trip and I’m panicking making sure all my reservations are in place. This is certainly the most I will have ever travelled on my own, and while I have some trauma regarding travelling alone (major trigger warning for that link, by the way), I feel much more confident now. Last year, my bosses sent me multiple times to St. Louis, Missouri, to train up some new trivia hosts, and I ended up getting very familiar with the TSA and travel etiquette. So I feel a lot less nervous with that experience under my belt.
Still, it is nerve-wracking, especially since I don’t have any of my partners or friends with me this time, and it’s my first time out of the country in a really meaningful way. I took a train through the mountains of Canada in high school with my family, but that was just a day trip, and I had my parents there the entire time. I’ll know my former bandmate on the cruise, and I’ve been in communication with my cabin-mate, a cute emo dude from California who likes Pokémon too, so there’s that. But I’m trying to view the journey as an opportunity to make new friends. It’s poetic that most of the Warped Tours I attended in my younger years were attended alone, because now I’m very familiar with now to navigate shows and music festivals as a solo audience member. I plan to use my extrovert powers to make a few connections on this trip at least.
I met one of my closest friends for coffee this evening, and I showed him the meat and potatoes of this post before I shared it with anyone else. We agreed to meet because we were both world-weary and desperate for the ear of someone who “got it.” After one read-through, he goes back to the part I wrote about what my dad would have said if he were here, his last words of advice to me. He found it reassuring, in a strange way. And I think I get it now. I think that’s the best way I can honor my dad — by living so vivaciously and so fully that the darkness of the world cannot extinguish my light. That’s how he wanted me to live, and that’s how I want to inspire others to live as well.
And if that involves setting sail on a fuck ass boat with a cute emo guy, so be it.
I realize this blog functions as something of a barometer of how my life is going at the moment. When things are great, you get fun travelblogs and reviews of Taylor Swift’s newestreleases. When things are not so great…well, that’s this post, sadly.
I feel like I’m sending a letter in a bottle to whoever is willing to listen. My life has been on a solid downhill track since Charlie Kirk had to get shot and ruin my entire plans for the future. Did you know my wife was the Office Depot girl? We were in the process of buying a house when the controversy went down and she lost her job over it, tanking my credit score and requiring us to drain my wife’s entire life savings to survive. Now I never liked Kirk, but I don’t think he deserved to die, and I’m especially pissed his smarmy ass got capped now because it literally avalanched into fucking with my well-being. Every time I walk by the house we were supposed to buy for our future family, I die a little inside.
A while back, I wrote this song. It’s called “Grandma.”
Now when I wrote this song, I wrote it as a personal manifesto — I will reach old age, and I will become a grandma someday. Even though it hasn’t been very long since I wrote it, with each passing day, it gets harder to sing it with my full chest. Because truth be told, I don’t know if I’ll ever reach senescence. I can’t help but feel either that either I’ll be gone in the next few years, or the entire world as we know it will be gone.
My entire life, I’ve wanted to follow in the footsteps of the rock stars I’ve looked up to growing up. Now, we barely have rock stars. We’ve got Taylor Swift, a shit ton of political talking heads, and a smattering of microinfluencers that like two people actually care about. That’s it. Those are your “rock stars.” If you’re lucky, you’ll have a song blow up on TikTok for a second, but then what? There’s no gaining fame and fortune from music anymore, especially with the advent of AI. Why would anyone seek out new music when you can just beep-boop three thousand pirate metal songs about kanagaroos? I probably sound like “old man shouts at cloud,” but having played with fire and seeing how destructive it is firsthand, I think I’m justified in feeling a little paranoid.
Now, I don’t even know if I want to go public with my music, or anything for that matter. I’ve seen how quickly things can go south. You can get cancelled over the slightest transgressions, and I don’t know if I could handle that kind of scrutiny. Not to mention the litigious nature of the music industry as it stands today. Music is and has always been a derivative art form — musicians are constantly aping other artists they look up to. But in a post-“Blurred Lines” world, you can get slapped with a lawsuit over songs that share a similar vibe, regardless of whether or not they have any commonalities on a theory level. It’s enough to sue over a song that’s inspired by someone else’s. That’s right— you can’t even have inspirations anymore. Why the fuck would I want to keep writing music when there’s a chance my heroes can slap me with a suit? I’d put down my guitar forever if that happened to me. I’d rue the day I picked it up in the first place, in fact.
And not to mention that a bisexual white woman who was near my age was just fucking murdered by the state, and what is the general public’s response? Instant character assassination. I can’t even share some of the shit I saw people post about the late Renee Good, who was, by all accounts, a great person. But according to the shitheads online, she was a terrible mother who had it coming. Never mind the fact that she could have been like, Casey Anthony levels of “terrible mother” and she’d still deserve a fair trial. How the hell are we letting these armed thugs wander the streets acting as judge, jury, and executioner. This is America. Where the fuck was her due process?
I don’t know where I’m going with this. I’m just scared. The political violence is ramping up and I don’t know if I’ll be the next victim. And if I am the next victim, what will the world write about me? Will they say I’m a slut who deserved it? Will they bring up my divorce and say I was a bad wife? Will they make up even worse for me in order to justify my murder? I sincerely don’t want to be a martyr. I always dreamed I’d be the next Ann Wilson, not Anne Frank. I wanted to change the world through my music, not be slain with such casual cruelty and thrown away like garbage. I always dreamed of better for myself. I sound like I’m suicidal, and I promise I’m not, if only because the only thing that scares me more than this life is the thought of what could come afterwards.
I don’t like the direction the world is going, and I sincerely wish I could get off this ride. I don’t want to die, but I don’t want to keep living like this.
Chappell Roan is simultaneously living my dream and my nightmare. Imagine being some random ass girl from the Midwest one minute, and in the next, the eyes of the entire world are on you as if you’re Lesbian Jesus. On paper, she has the exact life I’ve fantasized about for decades. She wrote that one hit song (or two…or three) that will immortalize her for generations to come. She gets to wear some of the most extravagant outfits I’ve ever seen on a performer, stuff I’d die for a chance to wear.
Imagine getting to wear this in public.
And her infinite coolness has even been acknowledged by my own childhood heroes, the Wilson sisters of Heart. Nancy Wilson accompanied her onstage for a cover of “Barracuda,” and she even got to sit down and talk with Ann Wilson on her podcast. Needless to say, when I wished upon a star all those years ago, I’m pretty sure the wires got crossed somewhere and my wish went to Chappell instead. And let’s be real, the girl deserves it. She does have talent. She’s an incredible performer, and her songs are catchier than anything anyone’s else has been doing in this boring-ass pop music landscape. But there’s one aspect of Chappell’s life I’m so glad I don’t have going for me:
The scrutiny. God, the scrutiny.
So Brigitte Bardot died recently. Don’t reach for your tissues just yet, because she wasn’t really someone worth mourning. She actually kind of sucked. Like, a lot. She was literally so racist that the government of France fined her over it. She basically called the entire #MeToo movement bullshit. She called queer folks “fairground freaks” and blamed the destruction of French culture on the gays (as if French culture isn’t already, by definition, pretty gay). That last point is probably the most important to note, as Ms. Bardot has become something of an unwilling lesbian icon thanks to the aforementioned Chappell Roan.
In the opening lines of her song “Red Wine Supernova,” Chappell croons “She was a playboy, Brigitte Bardot,” paying homage to the cinema legend’s exquisite looks. Obviously, it’s a shallow reference that doesn’t address the fact that Brigitte would flick her nose at the kind of fairground freakiness Chappell gets up to. Nobody really took issue with the throwaway line initially — it was understood that Brigitte’s name was simply used as shorthand for the kind of glamour that only existed in a bygone era. She could easily have used Marilyn Monroe, or Greta Garbo, or Jayne Mansfield, or even Elizabeth Taylor, as a certain other frequently sequined starlet recently did. But “Brigitte Bardot” just fit the rhyme scheme better, and as a bonus, Chappell gets to put on a sexy lil French accent when she says it. Everybody wins!
But then, this happened.
To be fair, Brigitte would hate this for herself.
If my Threads and Reddit feeds were anything to judge by, the Pink Ponies (Is that what we’re calling Chappell Roan fans?) were livid at the sight of the tribute, which entirely glossed over Brigitte Bardot’s checkered legacy. To be fair, a little while later, she’d post this:
To a lot of folks I encountered online, though, the damage had been done. Her reputation had already recently taken a hit from partnering with MAC Cosmetics, a company that notably supports Israel, after she famously passed on a White House performance over Palestine. But eulogizing a certifiable asshole was a step too far, and Chappell had been officially…cancelled.
We cancel a lot of people. Taylor Swift, who I alluded to earlier, even wrote a catchy ass villain song about it. Sometimes, the cancellation is justified. For example, Bill Cosby? Pretty fucking justified if you ask me — I can’t see a situation in which it would ever be acceptable to name-drop him as anything other than a predator and creep. Same with guys like Diddy and the absolute monster from Lostprophets. As the intro to that one Law and Order spinoff says, sexually charged crimes are especially heinous and should be weighed as such when considering uncancelling someone. But take, for example, Snoop Dogg, who recently came under fire for some questionable remarks regarding same-sex relationships in media. Is it time we retire “Gin and Juice” as a feel-good anthem forever?
We still got this bluegrass cover!
But here’s the thing — Snoop apologized. And he acknowledged he is still learning. In fact, I’d say his apology was damn near spot-on: “Teach me how to learn,” he said in his statement. “I’m not perfect.”
There’s the difference. That’s what separates the rightfully cancelled from the flawed human beings who sincerely want to do better. It’s right there — that self-awareness that you are imperfect, and that willingness to improve. That the secret. It’s completely understandable to want to hold people accountable. That’s the only way advancements will happen in society. But we can’t keep pushing away potential allies for every transgression. We’ll always stay divided.
I think very few people are beyond redemption. Honestly, if Kanye and Nicki wanted to have a massive heel-face turn and walk away from the right-wing grift, I’d welcome them back with open arms, and not just because I want to listen to the indisputable banger that is “Monster” guilt-free again. But they’d need to show some remorse. Grace should be given freely and abundantly, but the person receiving that grace needs to be legitimately sorry for what they did too. It’s a two-way street.
I think the folks trying to cancel Chappell for her Bardot post don’t realize they’re shooting us in the foot by dividing us further. We already don’t trust each other as a society and we’re falling deeper and deeper into isolation. Community is scarce, and there really is an epidemic of loneliness wreaking havoc on our society. What we need now isn’t some puritanical litmus test. We don’t need a “perfect ally” — we just need folks who are willing to stand up for us, and sometimes those folks aren’t perfect.
It’s funny, just this evening I got into a verbal tussle on that godforsaken social media site we all know and hate over whether or not “rest in power” was an appropriate phrase to say in remembrance of a white person. Never mind that said white person, Renee Good, was oppressed in other ways (being queer and a woman, for example) and was literally killed by her oppressor. This person, who I imagine had good intentions, maintained that the phrase can only be used for people of color. That is the kind of over-the-top policing that hardens hearts. How does that black-and-white mentality make us any different from the conservative evangelicals who dictate that we have to do x, y, and z to be saved?
I’m not saying we shouldn’t call people out for egregious screw-ups, or even smaller transgressions that maybe came across wrong (Chappell’s memorial post is a great example), but there needs to be some grace delivered alongside the message. Otherwise, we’re going to cancel each other into the fucking ground. We need to begin viewing each other as people again — beautiful, deeply flawed, and capable of change.
So, ya girl finally made it to the Big Apple. It only took me thirty-two years to get there, but better late than never, right?
To be honest, I always felt like I belonged in the big city. I’ve always joked I’d be the quintessential Musical Gay™ had I grown up close enough to civilization to engage with musical theatre. My measly little school did not have the talent to pull off a full production of anything, let alone something like Rent. And I’d make a badass Mimi. I slay “Out Tonight” at karaoke any time I attempt it. But alas, my hometown is a teensy weensy Skittle in the grand scheme of things, and so my Broadway career was doomed from the start.
Still, when my best friend/bandmate/honorary little sister Ellie messaged me to tell me about a LIT ASS HANUKKAH PARTY in NEW YORK CITY, I was so immediately down. Said party was hosted by a chef influencer who is like, actually famous, and we are but crumbs whose band is still in its embryonic stage, but as fate would allow, we landed those sweet, sweet tickets. The trip was going to be me, Ellie, and Cole, our bassist, who I can best describe as “cool personified.” We all piled into Ellie’s little white car and began our ten-hour drive to NYC, with all three of us taking turns behind the wheel. The drive itself was not especially noteworthy, except for when we finally got to the city and it took us literally two hours to find a place to park, and then we finally said “fuck it” and parked in a big stupid garage that costed us like $200 overall. So yeah, uh, not everything about the city is great. The fees are astronomical.
Once we’d found a place to park, Ellie led us to her family’s Manhattan apartment, where we were promptly ushered in and offered some of the finest hospitality I’ve had the pleasure of encountering. Seriously, my wife has talked up Jewish hospitality (her ex and her best friend are both Jewish), and I can definitely see why, having now experienced it firsthand. Ellie’s Aunt Elana was the first to welcome us, whipping up a trio of dishes and presenting them to us weary travelers like starter Pokémon. Then, her grandmother invited me to play a game of Mad Libs with her, which was a lot of fun if not for the fact that I had to restrain myself from using “fucky wucky” as an adjective. At night, the city streets treated me to a serenade of Pavement and other indie favorites through my open window. We’d explore the city in the morning.
When we woke, Aunt Elana led Ellie, Cole, and I to a diner (ahem, deli) a few blocks away called Barney Greengrass. The atmosphere wasn’t too dissimilar from the Coney Islands we have back in the Detroit area, but the menu differed greatly, with more of a focus on fish and pickled stuff. I ended up trying lox for the first time (which, considering how much I love salmon, is a wonder I’ve not tried it sooner), and also had some lovely latkes. I restrained myself from eating the latkes with a savory tomato and vinegar paste (ketchup), as I would at home. In my defense, I am a. not Jewish, and b. not exactly a bastion of great culinary taste. (My boyfriend, David, on the other hand, eats latkes with hot sauce like a maniac, which I think negates all 10 percent of the Jewish ancestry on his 23andMe results.) The waiter was kind of rude in a charming New Yorker way that I appreciated actually, and immediately clocked me as not being a city native. He thought I was from Portland, and having watched many episodes of Portlandia, I can’t say I blame him for that assumption.
When we got back, Ellie and I put on an impromptu performance for Ellie’s extended family and their friends. We played our extended set with several covers and even threw in a few of my solo songs as a bonus. Aunt Elana even invited us back to perform again, promising to bring more of her friends from the city next time. After our little gig, we rested for a few hours. The main event would be that evening.
After spending that afternoon getting ready for the night, we crammed into a taxi and made our way to Brooklyn, and I mourned the fact that I couldn’t blast my favorite Beastie Boys song the whole way. During our hour-long journey, we got to see so much of the city. It hit me just how enormous this place was compared to Detroit or even Chicago. I was not in the Midwest anymore.
Once we’d gotten to the venue, we had about an hour or two to kill before doors opened. So we took that time to explore the stores on the block, including an art and imports store that sold everything from elaborate knives to ornate rugs and taught knitting classes out of the basement. The shopkeeper was a friendly older Arab man who was delighted that I was able to say goodbye to him in his native language (working in a Lebanese restaurant comes in handy). The next store we visited was run by another older man whose ethnicity I couldn’t quite place, but he was very kind as well. To be honest, most of the New Yorkers I met were very amicable or at least charmingly aloof. Having seldom left the Midwest, I’ve heard horror stories of how wildly unfriendly the outside world is, so it was a relief to have most of our interactions be positive ones. In fact, the only animosity we detected at all was while we were at that store. A few dudes there were talking mad shit about me and Ellie in Spanish — not realizing Cole is actually Mexican and knows Spanish. He decided against intervening, as he didn’t want to start shit and hadn’t clocked them as a real threat, but he ended up telling us about it after the fact for the laughs.
At last, we got to the event. The venue was smaller than I was expecting — a singular room behind a swanky hotel — but it was crammed full of elegant decor and twinkling lights. Ellie and I escaped to the ladies room before the event really got rolling, only to meet THE chef behind the party. I, being faceblind and stupid, did not register that this was her, and so I went on some rambling tangent about how girls should be able to Venmo titty to each other (I stand by this idea). I should also mention that she was like, really pretty. Like, astonishingly pretty. Everybody there was that pretty. Well, the guys were okay. But the girls. DAMN. THE GIRLS.
I have never seen so many sexy Jewish women in one room. Oy.
Then, the 400 milligrams of a certain herb that is legal in both the great states of Michigan and New York that I had taken prior to the party started to kick in. And suddenly I was surrounded by all of these beautiful posh Jewish girls from the city and here was my hillbilly ass pretending to fit in as the edibles made me extra strength autistic. I swear that shit intensifies the ‘tism. I clung to Ellie the whole time as I kept worrying the entire night if my face was making a weird expression or something. I did meet a few really cool folks, including a very sweet burlesque dancer and a guy who worked in Africa doing poaching prevention. Sadly, it was really hard to hear in the venue, due to a combination of the loud music, my head being sorely congested from an especially gnarly cold, and my issues with auditory processing, so I didn’t do as much socializing as I would have liked.
The stage would be filled with all kinds of performers and speakers throughout the night, including several talented pole dancers and a very silly drag queen, but I think my favorite moment was the kiddush, or blessing recited by the rabbi, who was, in fact, pretty fly. He spoke about how we need to preserve our sense our empathy for all things— “even the neo-Nazis” as he added, which blew my mind. It’s so easy to lose sight of the humanity in people who don’t recognize the humanity in you. The rabbi’s speech actually left me a little misty-eyed. As I drove away from the city the next morning, I kept his words with me. The world would be better if we all had a bit more empathy for one another. Maybe the first step is experiencing life outside your comfortable corner of the universe and seeing that deep down, we’re really not all that different. Jewish or Christian, Midwesterner or New Yorker, we’re all silly little creatures on this big weird rock in space, and we are all capable of love.
I’m sure you’ve all heard about my newest musical endeavor, The Kalamazooligans. If you haven’t had the pleasure of being trapped in a car with me in the last week or so, allow me to show you our first single. It’s…interesting.
Especially once “Elmo” and the “children’s choir” join in.
Following the “success” of “What’s in a Name?”, the members of the project started cooking up a ridiculous, over-the-top twelve minute monster song that essentially paints me as this benevolent, chaotic musical goddess known as the BEAT MOTHER who has taken all these misfits under her wing and gave them purpose and, perhaps most importantly, sick ass beats. It started as a joke, but it’s a huge role to step into, especially since, between me and you…
I don’t know what the fuck I’m doing.
How I feel doing literally anything, but especially music.
I am not a Certified Audio Engineer™ nor do I have any proper training aside from one semester in the media production program at the local university, which I subsequently had to drop out of due to financial reasons. I have no business calling myself a “music producer” or “sound technician” or “audio engineer” or even “person who vaguely knows what they’re doing with a digital audio workstation.” In short, I feel like a fraud. An imposter.
Surely you’ve heard of imposter syndrome, that awful feeling that you don’t actually deserve to be perceived as “good” at the thing you’re known for, even despite whatever achievements you may have in that field. My old band, Syrin, had a pretty dope song about the subject, although I don’t have a link to it anywhere. Hell, I’ll probably write a song about it myself. It makes for great writing material, but it sure is hell to live through. Frankly, I don’t feel like I deserve the title of “beat mother.” I don’t feel like I deserve to teach music. Half of the time, I don’t even feel like it’s my right to play music.
But I’m learning to just do it anyways. Do the damn thing.
That’s the difference. That’s what separates the men from the boys, the women from the girls, and the grown-up nonbinary folks from the wee enbies. Maybe it’ll be uncomfortable at first, and maybe you’ll embarrass yourself a little. Do it anyways. You’ll never improve if you don’t try.
You can’t call yourself a musician or a writer or an artist or anything if you don’t do the thing. That is the crucial part of the equation. I can call myself a football player, but throw me onto the field and I’m useless because I’ve never done the work. But here’s the cool thing — there’s a very low barrier for entry into a lot of interests. If you wanna learn guitar, all you really need is a guitar. But you have to, you know, practice the guitar. Then, that’s when magic happens. That’s when you’ll start to feel that sense of being an imposter fade away. “Doing the thing” is the mortal enemy of imposter syndrome because it gives you the power to stare it down in the face and say “Well actually, I can call myself a musician because I am playing music.”
You don’t need a fancy degree for most things if you’ve got the fortitude to seek the knowledge yourself. Allow yourself to explore stuff that interests you and learn a thing or two. Most of what I’ve learned about music production, I’ve learned by dicking around in various digital audio workstations. Maybe a formal education would make me a stronger producer, but I’m not going to let my lack of professional experience keep me from already doing what I love to do. That’s where the word “amateur” comes from, actually — the Latin root for “love.” It’s not about making money or garnering fame. Amateurs do things simply because they love to do them, and there’s nothing wrong with that. Being an amateur doesn’t make you an imposter — it makes you someone who is in love with the act of learning itself.
Unless your interest is brain surgery, you shouldn’t need formal training to dabble in the things that fascinate you. In the immortal words of Nike and/or Shia LaBeouf, just do it.
Alright, let me tell y’all a little story about how I found my voice in a little bar in the heart of Kalamazoo.
We’d just moved to the city not long after my ill-fated music therapy internship crashed and burned. At the time, I was feeling real down and out about my place in the world of music. My lovely wife, knowing I’m so extroverted I will literally die if I don’t get attention for thirty minutes every hour on the hour, suggested karaoke as a solution. And well, it certainly was the solution. We found friends here that are going to last a lifetime. We found a whole ass village out here, all thanks to the wildly supportive karaoke scene. It revitalized my love of music and even gave me some killer collaborators. And ground zero for this karaoke revolution was a little dive bar called Old Dog Tavern.
I don’t know a lot about the lore of the building, except that it definitely used to be something else. Just taking a cursory glance outside (because part of this was written on location, because I’m a weirdo who writes at the bar), it was once part of a paper company. The interior is dark and dingy, but in the way that gives a comforting old dive bar its signature vibe, with largely wooden decor and plenty of mirrors for ambiance. The main entrance opens up into a corridor with an adjacent room set aside for ping pong table shenanigans. But once you enter the main room, that’s where the magic happens. On that stage, everyday civilians transform into rock stars every week.
Where else could I take a picture this cool?
On any given Friday night, Finn will be manning the karaoke machine (well, laptop — it is the 21st century). Ask him for a song and he’ll put you up in his next round. Outside, the regulars are passing around joints and anecdotes, ranging from the heartfelt to the raunchy. A few of us are showing off our newest creations. One occasional regular is a visual artist who brings his materials to work with. Another frequents the open mics as a singer-songwriter and will regale you with stories from the best nights. Under the stars and fairy lights, you can see downtown Kalamazoo bursting with life. The merriment only lasts for a while, because once your name is called, someone yells for you to get your ass to the stage. And that’s when you come alive.
The Old Dog karaoke crowd is the most ridiculously supportive community I’ve ever been a part of, to the point where I often characterize karaoke night as my sort of surrogate “church.” As a recovering evangelical, I yearn for long nights of fellowship and music like I had in the church of my youth, only without the toxicity, nepotism, and homophobia. I feel like I finally found my “spiritual community,” and it’s not even a spiritual community in the traditional sense at all. But we live and love like Jesus did. And let me tell you, I bet Jesus would rather hang out with us than that weird-ass pastor who’d chastise me for voting for Bernie Sanders (when I like, never brought that shit up, yo).
I never even showed him the crocheted Bernie I have displayed on my living room shelf!
This is the kind of community that will cheer you on even if you attempt “You Shook Me All Night Long” and are panting for breath by the end. It’s the kind of community that will shake their asses off while you sing “El tiburón” and make you feel like a freakin’ king. We’ll clap and sing and dance and probably cry if you sing Billie Eilish. We’ll put in requests for our favorites from our friends. Everyone’s got a favorite song they wanna hear from someone else, and everyone’s got their song or artist. David “Karaoke Dad” Parent is known for his Elvis renditions. David “my boyfriend as of last week” Bannon sings the hell out of AC/DC. Mary Emma kills “Never Enough” from The Greatest Showman, and when Steve performs “Minnie the Moocher,” shut it the fuck down. Me, I’m known for Heart and Britney Spears, which probably makes me the only person on the planet who can pull off both Heart and Britney Spears.
You know, I bet Ann Wilson could totally make the snake thing work too.
My point is this place is something magical, and ever since we started going regularly, our lives have improved tenfold. It’s not a secret that we have a loneliness epidemic, to the point where I’m literally seeing the Michigan government putting up billboards that beg folks to just go outside and talk to people. This is the solution, guys. We need more spaces like Old Dog where you can simply go and drop the armor. The bar actually has a little sign up that I managed to snag a picture of, and I really love the sentiment.
It truly is a place where all the misfits and outcasts can be vulnerable and at peace. Every town needs a place like that. I’m glad I’ve found mine.
Here’s a confession: I was originally planning to spend this month locked in my apartment with nothing but my laptop and recording equipment in order to bully myself into making an entire EP in a month’s time. I had a whole plan of action and everything. I was going to do a collection of covers of my favorite recent Chappell Roan and Taylor Swift songs and name it The Rise and Fall of the Life of a Midwest Showgirl Princess because I’m already extra as hell so why not lean into it? And I figured with how relevant both artists are right now, at least someone important would hear my project and like, give me a bunch of money to make music forever.
That’s how record deals work, right? They didn’t teach me that stuff in music school.
But here’s the eternal problem I run into — I’m an extrovert through and through. I’m actually stupidly extroverted at times. I envy the cute quirky introverts that just need like, a book and a cup of coffee to go, because I need at least thirty solid minutes of conversation every hour on the hour or I die. So I decided I’d try to appease both the part of me that wanted to record music and the part of me that wants to hang out with folks by throwing my gear into a sack and schlepping it over to my friends’ places.
And that’s when the real magic started happening.
I’d break out my laptop, load up the DAW, and my friends would hover over me excitedly as I cooked up silly little beats for them to mess around with. None of us are actually rappers, but we like to write raps about stuff and pretend we are. I think the first song in what would eventually become The Kalamazooligans project happened at Luke’s place. He’s a writer, one of my closest friends, and a frequent collaborator of mine. He wrote a really heartfelt verse about finally finding companionship in the karaoke scene, and our mutual friend Willy made up a chorus inspired by a “live laugh love” sign (featuring Kim Jong Un — don’t ask) Luke had hanging up in his living room. Then David (who’s one of my Fairale bandmates, actually) rounded out the second verse, and I took the last. Suddenly, we had an entire song we literally pieced together with nothing but Logic, some Apple Loops, and that Focusrite Scarlett audio interface every fucko with a podcast owns (myself included).
They make them bright red to match the flags that come with having a podcast.
Was the finished product “good” by the standards of the music industry? Absolutely not even close. This is not Top 40 radio. Max Martin (my Swedish pop hero) would not touch these songs with a 39-and-a-half foot pole. The average listener would probably be surprised to learn that anyone involved in the making of this music was actually a professional-ish musician. But something special happens when people who have no business creating art say “fuck the rules” and do it anyways.
Outsider art is art made by folks with no connection to the “legitimate” scene, aren’t properly trained in their field, and/or often have stuff like mental illnesses and other disabilities working against them. In other words, not your glamorous ideal of an artist. Outsider art includes visual art as well (an infamous example being controversial cartoonist Christine “Chris-Chan” Weston Chandler), but on the music side of the loosely defined genre, you have guys like Tiny Tim, who somehow broke into the industry as a niche act armed with nothing but a ukulele and a wild falsetto. There’s the elusive proto-singer-songwriter Connie Converse, whose tragic life I actually immortalized in this very blog. Even Brian Wilson, the legendary freaking Beach Boy, was considered an “outsider” by some metrics, although this is debated. These are all characters I find infinitely more fascinating than the manufactured pop star image being pushed by the mainstream music machine.
Wouldn’t you rather read about thisdude?
I’d like to think the future of music rests with the outsiders. Whether they realize it or not, people tend to gravitate toward artists who have a fascinating backstory. It’s why Taylor Swift managed to captivate so many people despite being born rich and pretty — she was still able to sell herself as the girl-next-door underdog with a guitar and a dream. Fans have been revisiting the drama between bands like the Beatles and Fleetwood Mac for generations now. I feel like artists today are too sanitized and “professional.” We need musicians with personality. We need musicians who take chances. We need freaks, geeks, and weirdos making the music no one else would dream of. We need outsiders.
When I was studying music therapy, my eventual dream was to help everyday folks make music they could be proud of. I knew firsthand how healing the process of music creation could be, and I wanted to share that with my clients. Obviously, that dream died a horrible death — but maybe it didn’t. Maybe this is what I was meant to be doing this whole time. My friend group has been alight with ideas, and my phone has been blowing up with requests for new songs and beats to work with. Everyone is so excited to cook up fresh material, and it’s revitalized my love of creating music like nothing else. The crew even dubbed me the “Mother of Beats,” and I gotta say, after everything I’ve been through with music, it feels good.
I think our culture needs to rethink its relationship with music. Music isn’t only for attractive people, rich people, or able-bodied/neurotypical people. It’s the birthright of every human. Kids are always humming little songs to themselves — until society beats it out of them and says they’re not “good enough” to be singers. I’m fucking sick of that mentality. In a world where you can literally just beep-boop a “perfect” song, get dirty and create something yourself. Make it messy. Get your imperfections all over it. Who cares if it doesn’t sound radio-ready? The grit and grime are what makes it special.
I’m excited to see where The Kalamazooligans ends up. I hope it inspires more “outsiders” to get their hands dirty and create. Perhaps it’s a lofty goal, but I want to start a creative revolution, even if it never leaves this Midwestern college town with a silly name. If I can make my own corner of the world brighter, more whimsical, and more musical, I know I’ve succeeded.
JESSA JOYCE 
