Farewell, St. Louis! A Look Back on Five Weeks in the “Show Me” State

Hello everybody! First things first — I’m alive and well. My socials have gone dark for the last few days for reasons that I can’t really get into at the time being, but just rest assured that I’ll be back posting your regularly scheduled unhinged shower thoughts and the occasional horny poem when the time is right. For this brief interim, I’ll be using this very blog to communicate my thoughts to the world.

And right now, those thoughts are kinda bittersweet. Because this is my final night in St. Louis, Missouri, a city that was previously unknown to me, but has since become something of a second home to me.

I remember when my boss first floated past me the idea of sending me via plane to train up some folks in a new region of the country. I should probably mention what I do for work before I go much further. I host game shows for local bars. I’m basically Alex Trebek for the drunken trivia enthusiasts of Kalamazoo. And occasionally, the parent company I work for sends me to new places to start up trivia and music bingo shows there. Like last autumn, I made a series of trips to Chicago. But even for those trips, I drove my own car. Getting shipped out to St. Louis was entirely new. The first few times, they flew me down, which was already a whole ordeal considering I was traveling with this thing in my suitcase:

The flights were mostly uneventful, although I found I enjoy killing time in airports a little too much. Did you know you can buy lipstick from airport vending machines?! I promised myself I wouldn’t waste money on anything stupid, but I did need a new dark red, since my old favorite was discontinued. As a result, I am now the proud owner of a Kylie Cosmetics lip kit. Well, as proud as I can be considering it’s got Kylie Jenner’s name on it, and she irks me to no end for a slew of petty reasons.

The hotel they put me up in for all five weeks was a humble Best Western, and honestly, I can’t complain at all. It’s not the Ritz, but it’s comfy. There’s waffles in the morning. Hotel waffles just hit harder, okay? And the front desk lady was a total dear. She came out to one of my shows, actually. I wish I could remember her name. If you’re reading this, Sweet Front Desk Lady, just know I appreciated you!

In fact, I met so many kind people in this town. The owners and bartenders of the first bar I hosted at, Brothers Beer and Bourbon, welcomed me with open arms, and I befriended many of the patrons as well, including a really cool silver-haired woman who loves green and listens to Sabrina Carpenter. We talked for a long time after the show last night, and that was really the first time it hit me that this is goodbye. The owner of the bar made me his special cocktail, the Hippie Mule, one last time to take back to the hotel with me. (It’s a nonalcoholic version of a Moscow mule that substitutes the vodka for THC liquor, so it’s perfect if you’re Cali sober like me!) I actually teared up a little as I sipped it. The trivia show I started there has begun to take off, and now my baby’s grown and ready to thrive on its own. It feels good, if a little somber.

The second bar, OSP Tap Haus, was also a lot fun to host at, even if they only had me for two nights. That bar has one of the best (and only) nonalcoholic porters I’ve ever had, Deschutes NA Black Butte, which I am going to proselytize to every bar in the greater Kalamazoo area until they start carrying it too. Music bingo there was a little more subdued than I’m used to — my main shows back home always get wild — but it was still a blast. I’m sad I didn’t get a chance to try any of the food there though.

That was just my shows, though. I took myself out on lots of field trips while I was down here as well. I figured I’d have way more fun exploring the city than sitting alone in my hotel room. I checked out the Missouri Botanical Gardens, which was packed with so much vibrant life. I really enjoyed the arid climate atrium, which housed a little oasis in the center that looked like it belonged in Marrakech, not the Midwest. The fountain made for a great impromptu photoshoot.

Definitely almost dropped my phone in the water for this shot. Worth it.

Here’s a sheep sculpture that was part of a series of sheep sculptures. The artist’s write-up said they intended the sheep to be used as benches and encouraged people to pose with them, which I thought was kind of neat.

And here’s some flowers:

The zoo was an enjoyable excursion as well. I managed to get real close to some hippos and a polar bear, and I spent literally a half hour watching an elephant play with her food. She keep picking up hay with her trunk and slamming it down, watching it flurry in the air. I also rode the carousel, because I literally do not give a flying fuck if I am well into my thirties now, I am holding fast to my sense of whimsy ‘til the day I die. Listen, do you want to be a stuffy adult who has no fun, or do you wanna ride an ostrich?

Blueberry Hill was the last thing on my list of stuff to check out here, and I made sure I swung by at least for a little bit tonight. I’d be remiss as a musician if I didn’t plan a trip to such an important and historic landmark in music history. Chuck Berry, a St. Louis native, performed there regularly, and he’s one of the founding fathers of rock and roll. It was certainly humbling to stand where he probably stood there at that bar. Sadly the stage wasn’t open for me to check out, but at least I got to take a look at some of the memorabilia scattered about. I wish I would have snapped a pic of one of Chuck’s famous gitfiddles that were sitting behind glass near the entrance.

As of writing, it’s almost 2:30 and I have to be up in two hours to catch my flight back to Michigan. I might not even sleep, to be honest. I kind of just want to sit up and let it all sink in. My heart is in Kalamazoo, but now I know I’ll always have a home in St. Louis. It’s funny — before I came here, I didn’t even know how to pronounce the name of the city. Like, I always assumed the “s” was silent (like in Louisville, Kentucky, where you will probably be crucified and subsequently fed to the local fauna if you articulate that “s”). I also never realized how vast and metropolitan it was. I’m a Midwesterner through and through, and while Midwest emo and Chappell Roan have done a decent job making us look cool in the media, we still have a reputation as “flyover country.” I’ve lived in this region my entire life and I’ve heard it again and again that Chicago and maybe Detroit are the only cities here worth visiting. This trip taught me that that’s simply untrue. There are so many hidden gems out there, and I’m blessed to have a job that allows me to go out and explore them at times. St. Louis has been so good to me, and I’m already plotting my next trip down here. I can’t not come back, even if it’s just for one more Hippie Mule.

Until we meet again, St. Louis!

Between Sorrow and Schadenfreude: A Progressive Christian’s Response to the Assassination of Charlie Kirk

I am so fucking sick of living through major world events.

If you’ve been on some remote retreat in the Himalayan wilderness and haven’t had access to literally any media anywhere, alt-right influencer Charlie Kirk was assassinated at a college event in Utah. I saw the infamous video. It was pretty wild to witness. I’ll confess, a lot of emotions washed over me in that moment, some I’m not proud of. Did I feel a twinge of schadenfreude at the death of man who advocated for me to be put to death for being queer? I’ll admit, maybe a little. Did I feel a bit of relief that he can’t spew any more hateful rhetoric. Absolutely. Let’s get one thing straight — Charlie Kirk was not a good person. If you don’t believe me, I dare you to click that little link up there. He is not someone to idolize or even eulogize, the same way you wouldn’t write a sweet memorial piece for Scar.

“He was a loving uncle and fierce leader for his people.”

All of that being said, I want to make another thing clear: I consider myself a follower of Christ. I feel uneasy using the word “Christian” as of late because of how horrifically perverted American Christianity has become, but my theological beliefs line up most readily with Jesus’s teachings. The real Jesus, not the evangelical one. You know, the wildly subversive pacifistic brown-skinned Palestinian Jewish man who repeatedly preached against tyranny and the wealthy? I’ve always been fascinated by His life and ways, and while some of my personal theology contradicts the established dogma of most denominations, I consider Him to be my spiritual guide and savior.

And that’s what’s making this hard for me. The part of me that’s human wants to dance on the dude’s grave. Yet the part of me that has been redeemed by Christ, that divine inner voice, wants to honor the fact that he was still a person, and he was a child of God too.

Two things can be true at once. Charlie Kirk can be a truly despicable person and the world can be better off without him, and we can also mourn the fact that humanity has devolved to this point. We can mourn the humanity in him, the part he willingly killed in himself years ago for the sake of extremist politics. We can mourn for his kids, who didn’t ask to have him as a father and now have a disturbing core memory to contend with. We can mourn for our trans brothers and sisters, who will inevitably be scapegoated for this. And we can mourn the fact that we’re heading to a very dark place if something doesn’t change quick.

I recently read a post that said that the true test of a Christian isn’t whether or not they love Jesus. It’s whether or not they love Judas. Jesus is easy to love. Judas is much more challenging. And in a lot of ways, Charlie is my Judas. He is proving very, very difficult to show compassion toward. The man got what he had coming to him. To paraphrase the Good Book itself, you live by the sword, you die by the sword. But there’s another relevant verse:

“You have heard that it was said, ‘Love your neighbor and hate your enemy.’ But I tell you, love your enemies and pray for those who persecute you…”

Matthew 5:43-44

We can’t fall into senseless hate. That’s what Charlie would have wanted. The best way to “honor” his memory is to fight back against everything he stood for, including violence and hatred. This isn’t to say there’s never a time when violence is the answer — we had to kill a lot of Nazis in the 1940s to ultimately save a lot of innocent folks, and even Martin Luther King, Jr. understood why folks lash out violently at times — but we also can’t become desensitized to this shit. This can’t be our new normal.

I’ve been worried about the state of the world all day, and I’m praying this won’t be a Franz Ferdinand situation and WWIII doesn’t spring from it. But I’m scared it’s too late. People have become so brainwashed already. I called out my first boyfriend on Facebook for waxing poetic about the man as if he were a saint, and he responded with some of the most vile, vitriolic, hurtful bullshit I’ve ever had directed at me. It was bizarre. He was such a sweet kid, but it goes to show you how effective these conservative influencers are in manipulating young men. We’re dealing with a lot of propaganda and disturbing messaging in the media.

My heart hurts for the state of the world and for the future. I always dreamed I’d become a rock star and have children and live to be a little old lady like the ones I work with. I don’t want to go to war. I’m a lover, not a fighter. This isn’t the future I want for me, and I hope it’s not the future you want either. I sincerely hope with every fiber of my being that we can turn this around. In the words of the late great Ozzy, maybe it’s not too late to learn how to love and forget how to hate.

Maybe the Prince of Darkness and the Prince of Peace had more in common than you’d think.

All I know is I can’t handle much more of this. I was simply not made for times like these.

3 Going On 30: The Loss of Childhood in the Media

I got into a fight with a guy on social media this morning.

Well, it was more “me picking on a prude on a Sabrina Carpenter post.” They make it very easy to do on Sabrina Carpenter posts because whenever there’s a post about Sabrina Carpenter, the prudes love to get on their high horses about how they would never stoop to taking off their pants to sell records.

As if anyone would pay to see *your* hairy gams, *Greg.*

Of course, I said something inane about pants being a crutch anyways and how nobody should wear pants, because I love creating awkward moments for folks who comment slut-shamey things about girls’ bodies. Then, the guy I was talking to said something that I’ve heard many, many times before. The classic line. You know the one.

Think of the children!

As if that’s a valid argument when the artist in question is a few short years from thirty and has no interest in making music for children anymore. God forbid a grown woman make songs about things that interest grown women instead of pandering to the same base she had as a 14-year-old. I’d be losing my shit if I had to essentially stay artistically 14 forever. Maybe, I argued, parents need to be parents and monitor what their kids are listening to.

But, I realized, you can’t just say “Well, put on something else for your kids!” and not have a dang clue what that alternative even is.

All this to say that children’s programming is pretty abysmal as of late. We don’t have “cool” adults like Bill Nye, Steve Irwin, or LeVar Burton teaching our kids basic subjects anymore, save for like, Ms. Rachel maybe. Nobody even knows the main players in children’s entertainment anymore. I make a living as a trivia host and a few nights ago, a question was asked about Cocomelon, one of the top three YouTube channels by subscriber count and the premier platform for videos for kids. Nobody got it right. And by the way, how did Disney’s latest movie do?

I might not be the most qualified person to write this blog post. I’m not a parent, at least not yet. But I plan to start looking into avenues into motherhood in the next few years, and I want my future kids to have entertainment that actually allows them a childhood. I love Sabrina Carpenter, but I’m not letting them listen to her until they’re able to comprehend that “House Tour” (my new favorite song of hers, by the way) is not literally about showing off your new home.

“And I promise none of this is a metaphor.”

They say to be the change you want to see in the world, and I have a feeling that when I do pop out a baby of my own, I’ll likely try my hand at creating children’s music myself. I’ve toyed with the idea already, but I feel out of my element trying to make content for kids when I don’t really have a child of my own yet. Still, I know when Cadence is here, I need to make sure she has music to enjoy without me worrying she’ll pick up impolite language. Because if she’s anything like I was when I was little, that girl is gonna have some echolalia going on.

The world is a fast-moving place and kids are growing up quicker in a lot of ways. We need to make sure the next generation is getting positive messages. It’s not just about keeping kids from seeing or hearing about sex and violence, but also about encouraging the good stuff. That’s why the recent cuts to funding for PBS are so disheartening. I’m cynical enough to believe the shift is deliberate. Kids are more useful to corporate interests when they’re essentially little adults buying products. Look at the trend of literal children buying anti-aging skincare and showing it off on TikTok. You can’t convince me Big Cosmetics isn’t partly to blame. But at the end of the day, everything rests on dear old mom and dad.

Maybe she’s born with it, maybe it’s questionable parenting choices.

It breaks my heart to think that kids these days don’t have the same kind of warm, wholesome childhood I had. We’ve abandoned car rides with Barney cassette tapes for iPads loaded with click bait and rage bait. And that, my friends, is no way to grow up.

Holiness, Hustle Culture, and Why We All Need a Break

I’m coming to a terrible realization. I need to sleep.

Yes, I’m coming to terms with the fact that I can’t keep going at the rate I’m going unless I want to end up in the hospital — or worse. This realization comes on the heels of me being asked to work five nights in a row, including one 12-hour shift. I’m thankfully on the last of those shifts as I write this, but I’m already panicking about the fact that my other job is sending me out of state tomorrow morning and I still haven’t packed a damn thing and oh God, the plane boards at 10 and the airport’s over an hour drive from my apartment and…

It’s a lot.

I’ve also been trying to get back in touch with my spirituality to an extent, since I probably need to lean on a Higher Power to get me through all of this. I’ve gotten back into the habit of reading my Bible, and I figured I’d start with Ecclesiastes, my favorite book of ancient emo poetry. It was written literal millennia ago by one of the most powerful men to ever walk this planet, King Solomon. It would be like if Elon Musk had a single creative or introspective bone in his body. These writings come from a place of having had it all in life. But in the words of acclaimed Canadian indie band Metric, all the gold and the guns and the girls couldn’t get him off.

And so, he wrote about how futile it all is. At one point, he writes:

“There was a man all alone; he had neither son nor brother. There was no end to his toil, yet his eyes were not content with his wealth. “For whom am I toiling,” he asked, “and why am I depriving myself of enjoyment?” This too is meaningless— a miserable business!”

-Ecclesiastes‬ ‭4‬:‭8‬ ‭(NIV‬‬)
‭‭

There it is. Like a flashing neon sign from God Himself, the problem I’m facing right now. The problem I think most of us are facing, to be honest. We’re so deep in hustle culture, we forget we need to take a break sometimes.

We got ourselves into this mess because of religion — think the Protestant work ethic that permeates American culture — but I don’t think this is the life God really wants for us. We weren’t meant to be working these grueling long hours away from our loved ones. Even experts are saying these long work weeks aren’t normal or healthy. We’re expected to break our backs at work, then come home to work on whatever side hustle you can hobble together out of your interests. Where’s the time for connection with friends and family? Where’s the time for working on a creative project to fill your soul, not your pockets? Where’s the time for rest?

Here’s the part of the blog post where I tell you my secrets to getting out of that awful work cycle!

Except if I’m honest, I haven’t gotten that far myself yet.

But I know this system isn’t cutting it for us. No one is happy like this, as much as we try to tell ourselves otherwise. Working ourselves this hard is simply not sustainable. Going back to the Good Book, even God Himself needs a break once in a while. Genesis 2:2-3 says “And on the seventh day God ended His work which He had done, and He rested on the seventh day from all His work which He had done. Then God blessed the seventh day and sanctified it, because in it He rested from all His work which God had created and made.” That’s why we’re supposed to take a whole day, once a week, to just rest. It’s okay to do absolutely nothing. It’s healthy — holy, even — to do absolutely nothing. Some especially pious Jewish folks don’t even believe in ripping off pieces of toilet paper on the Sabbath, as that’s dangerously close to doing a thing.

So here’s my advice, and I’m going to do my best to take it as well. Carve out some time every week for just you. It doesn’t have to be a whole day, but make sure you allot at least half a day. You deserve it. And whatever you choose to do during that time, don’t judge yourself for it. If all you’re doing is watching Netflix, that’s not wasted time. You’re refilling your soul the best way you know how.

It’s a sad fallacy that our culture perpetuates, the idea that we need to be productive at all times to be successful. There’s more to life than being productive, and we are more than just what we contribute to society. We have inherent value as human beings. I hope we can get back to a place where we can embrace that.

Because let me tell you, hustle culture sucks.

How Ephemeral Love Becomes Eternal Through Music

Brace yourselves, kids. In this post, I mention both Heart and Taylor Swift.

A few days ago, Heart’s original manager, Michael Fisher, passed away. Actually, calling him just their manager is kind of an understatement. In the autobiography of Heart frontwomen Ann and Nancy Wilson, Kicking & Dreaming, Ann tells the story of how Michael was her first love. Their whirlwind relationship inspired one of the band’s earliest and most iconic songs, “Magic Man.”

Why do I mention this? Obviously, Ann and Michael didn’t work out. Michael ended up marrying someone else and having like eleven freakin’ kids, and Ann went on to become a rock star. But their stories are forever intertwined because of that one song. And that’s what this post is about, because when you write a song for someone — or create any art in their honor — you’re preserving a piece of that relationship forever.

I’m a lifelong songwriter. I’m also fascinated by interpersonal dynamics. If you took every song I’ve ever written throughout my life, they would tell countless stories of people who have come and gone and somehow left a mark on me. The songs almost act as containers for the emotions left behind by those old relationships. Each song is a museum of memories. That’s why I have this theory when it comes to songwriting. Well, maybe it’s more of a maxim than a theory. And the maxim is this: If you get even one beautiful creation out of a relationship, it was not a waste of time.

People enter into relationships usually expecting — or at least hoping — to spend forever with someone. The point of dating is to find “your person” (or people, if you’re polyamorous like myself). So when relationships go south, it’s easy to write off the entire experience as meaningless. That’s where art comes in, though. With the magic of creativity, even the shortest-lived tryst can be fuel for a song or a film or a poem or painting.

Taylor Swift is a songwriter I admire deeply, and she’s a great example of this maxim in action. People have given her so much shit throughout the years for writing about her relationships, but honestly, that’s one of the things I like about her writing style. Not because I’m one of those parasocial weirdos who obsess over her dating history, but because that’s how I write songs too. I write about people. She has had many exes, as have I, but I feel like that’s what makes us better at writing. We have these lived experiences we can churn into music, and nothing can take that away from us. Like, she’s not with Taylor Lautner anymore and she hasn’t been with him for over a decade. But “Back to December” is still a beautiful song all these years later, and a song that millions of people still listen to and relate to.

I think of my own songwriting similarly. I think back to Jacob, whom I had a short-lived fling with my freshman year of college that led to the writing of “Smiles & Anchors” and “Tsvi.” I think about Dylan, my high school crush, who inspired “Off the Deep End” and the unreleased track “Outta My System” off my upcoming album Lore. There’s TJ, the muse behind “Song of the Sea,” and Phil, who never reciprocated my feelings but nonetheless influenced the writing of “Oceanography.” There are even songs I’ve squeezed out my non-romantic relationships and the ones that really went south, like the falling out with a former bandmate that led to the writing of “Ladies Don’t Start Fights (But They Can Finish Them).” I can find closure for relationships I wasn’t ready to leave just yet, and peace in relationships I’m happy are over, all because I’ve been able to transmute the pain into something I’m proud of.

I know I write about songwriting pretty frequently, but it is something I’m deeply passionate about. It’s what has gotten me through many breakups and heartaches and unrequited loves. But none of those situations were in vain, all because I could make something beautiful out of them. Relationships — romantic and otherwise — are the backbone of songwriting. We write about human beings and the way they relate to each other. Maybe those relationships don’t last forever, and sometimes, they shouldn’t last forever. Michael Fisher may have been absolutely miserable had he ended up with Ann Wilson, and vice versa, but the love they shared briefly inspired music that people will treasure for generations to come. And to me, that’s the beauty of songwriting.

If you enjoyed the writing in this post and elsewhere on the site, please consider donating to Jessa’s tuition fund! Any help is appreciated!

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The Life of a Showgirl: Why the Arts Matter in a World on Fire

So Taylor Swift announced a new album.

And I am announcing that I am *very gay for this woman.*

The world came to a crashing halt, all because the biggest pop star on the planet teased some new music. Fans, celebrities, corporations, and motherfucking Elmo paid homage to Swift in their own ways. Even one of my personal heroes, Nancy Wilson of Heart, got in on the Tay love, posting this picture with the caption “life of a showgirl.”

To be clear, Nancy is the woman in the mirror, not the tiny adorable pupper.

With the announcement of the new album casting an orange glow over the world, it’s easy to miss the fires that have been raging the entire time. Trump’s Big Bonkers Bill is gutting healthcare for millions of Americans who rely on it. Public radio and television, one of the last bastions of true journalism and free speech, is also being gutted. And you have that quadruple-divorced fucko who swears she knows so much about the “sanctity of marriage” trying to take away my right to have a wife and family, so I mean, it’s fucking personal now. Then you throw on everything happening in Ukraine and Palestine and it’s fucking exhausting. The world’s on fire. Innocent folks are dying, and everyone’s freaking out over a Taylor Swift album?!

But — and hear me out, here — that might not be a bad thing.

I’ve written on this site about the concept of “glimmers,” which are functionally the opposite of triggers. While a trigger is an event that causes you to feel uncomfortable or afraid, a glimmer is an event that brings intense joy. They’re the tiny moments that make life worth living. A lot of glimmers come through art. Think about the last time a song gave you chills or the plot of a film or book moved you. Those are glimmers in action.

It’s easy to write off the creative and performing arts as vapid and unimportant, but art is a rebellion against a world that tries to quash any anti-conformity and critical thinking. Art is an invitation to think deeper — something the oligarchs don’t want us to be doing. Even mainstream art like Taylor’s is punk as hell in times like these, as it unites folks together. Music gives people hope. It inspires. It galvanizes. I think that’s part of why the elites are keen on eliminating things like arts education and pushing AI to make things instead of training up human artists. Art is dangerous. Creativity is dangerous. Hope is dangerous.

I don’t think it’s a coincidence that this image popped up on my feed while I was doing research for this post:

This is a simple but true statement, and I’d apply it to both your own work and other people’s works. If an artist’s music helped you in any capacity to enjoy your time on this planet, if even one song paints the planet just a little brighter for a moment, it served its purpose. And that purpose is to be a sort of analgesic to the pain of everyday life. That’s what I believe Taylor understands so deeply, and that’s what I hope to embody in my own creative endeavors. The life of a showgirl is to serve glimmers and bring hope.

In a world that is intent on snuffing out anything whimsical, beautiful, or different, embrace that spark that makes life worth living.

If you enjoyed the writing in this post and elsewhere on the site, please consider donating to Jessa’s tuition fund! Any help is appreciated!

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Something to Believe In: What Bon Jovi Taught Me About Deconstruction and Faith

Not so secret confession: Bon Jovi is my favorite band.

Well, I don’t know about absolute favorite. That honor probably goes to Heart at the moment, who I also seldom shut up about. But Bon Jovi my “comfort band” for sure, a nostalgic auditory bowl of chicken noodle soup when I feel most torn up about adult life. They were my childhood obsession, and if there was a “Jessa Don’t Talk About Bon Jovi For One Day” Challenge, I’d lose almost immediately. Richie Sambora is half the reason I play guitar (the other half being the fact that one-on-one guitar lessons were the only activity my then-undiagnosed ADHD ass couldn’t get kicked out of).

Yet despite my immense love of Bon Jovi as a youngin’, there was one single song that was always a “skip” for me. That song? “Something to Believe In,” a track from their wildly underrated 1995 flop, These Days, an album that, to Adult Jessa, has absolutely zero skips because it’s just that good.

Behold, Bon Jovi’s weird moody grunge phase that actually goes *hard.*

It certainly didn’t help the song’s case to be a power ballad, as that was an art form that would take me a few more years to properly appreciate. But the lyrics were what gave me the most pause, as a good little church girl. The opening lines say it all:

I lost all faith in my God

In His religion too

I told the angels they can sing their songs to someone new

Yeah, you can kinda see why this song gave me pause. It makes me think of my first time going to youth group, right in the middle of this huge campaign to gather up “ungodly” albums and other media for a huge bonfire. I was too attached to my beloved Bon Jovi collection to send it to the flames just yet, but it did make me rethink what I was listening to. And I could not, as a good little church girl, listen to something that so blatantly questioned God.

I struggled with this feeling for a long time, every time I put on the full album and heard the opening drum beat begin. I wanted to love the song — something drew me to it, despite everything — but the song seemed so anti-Christian and blasphemous.

I never appreciated it for what it was — a song about deconstruction.

In exvangelical circles, deconstruction is the process in which you begin to question and unpack the beliefs the evangelical church instilled in you. Now, Bon Jovi is not from an evangelical background. In fact, much of the band was raised Catholic to the best of my knowledge, with frontman Jon admitting to being a “recovering Catholic.” But I feel the exvangelical experience and the lapsed Catholic experience are very similar in many ways.

In re-listening to “Something to Believe In” as an adult, I realized one of my lifelong musical heroes had the same wrestlings with God that I was having. It was very similar to the feeling I got when I first re-listened to “Someday I’ll Be Saturday Night” as an adult and realized Jon may have had the same mental health struggles as me, even worse at times. It really humanized this guy I’d viewed as a god growing up. Like, I used to play make-believe that I was Jon Bon Jovi as a little kid, and here I was having this entire revelation that he’s literally just a human being like me.

With his own struggles.

And his own dark, depressive thoughts.

And his own religious trauma.

That’s what “Something to Believe In” started to represent to me, that funnelling of religious trauma into something beautiful. After all, it is not a sin to have religious trauma, nor is it even a sin to have questions at times. In 1 Thessalonians 5:21, we are told to test everything and hold to what is true. That seems like a pretty big green light to, ya know, have questions.

The evangelical church discourages deconstruction as it can lead to the person believing in another faith, atheism, agnosticism, or perhaps scariest of all, a less oppressive, more affirming form of Christianity. That’s where I ended up falling in the end, but it wasn’t an easy road. There were definitely parts of my life where I felt exactly like how Jon describes himself feeling in the song. Sometimes, you have to reach that nadir in your relationship with God before you truly begin to unpack the toxic things the church has taught you in His name.

Listening to the song now is a reminder of where I’ve been in my spiritual journey. It’s a reminder that this feeling is universal and I’m not alone in this struggle. And most importantly, it’s a reminder that deconstruction can be beautiful.

If you enjoyed the writing in this post and elsewhere on the site, please consider donating to Jessa’s tuition fund! Any help is appreciated!

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The Librarian’s Daughter: A Look Back

It’s been half a year since the release of my double EP, The Librarian’s Daughter.

These EPs were a unique endeavor for me because they started life as Christmas presents for my partners. The Sun version was dedicated to my wife Crass and filled with songs inspired by her, and the Stars version was written and recorded in honor of my girlfriend, Olivia. I always describe my form of polyamory to folks like that — Crass is my sun, and Olivia is my stars, and I love them both in different but equal ways. Although this project began as a private gift, I almost immediately realized the rest of the world needed to hear these songs too. So I quickly but carefully put together what would become the full project, and the rest is history.

The title was chosen because of my partners’ shared backgrounds as daughters of librarians, with Crass’s mother having served as head honcho of her public library and Olivia’s father having worked his entire life in service of his city’s library. I thought it was a whimsical, memorable title that fit the theme of the EPs. I wanted a title that made people wonder — who is the librarian’s daughter? The album art was inspired by tarot and designed by me. I really liked the pretty gold and jewel tones I chose for both versions of the album as well as the “compilation” playlist.

This album was recorded over several weeks in the summer of 2024, primarily in the town of Niles, Michigan, in a small Airbnb my wife and I rented after the fallout of my failed internship. I knew that if I wanted to get this thing finished, it was going to have to be produced quite a bit ahead of schedule. At the time, we were in the process of regrouping and trying to find a place in Kalamazoo, so I wasn’t sure how much energy I’d have to work on it when it was actually the holiday season. So I labored many hours in the steamy living room of that place and set up my entire mobile studio to capture what I wanted.

Since the release of the EPs, not a lot has changed — yet it has. I didn’t do much promo on the album because I was pretty exhausted by the time it came out, and I felt like the people who needed to hear the music the most got to hear it. It wasn’t a breakthrough album. And yet in a way, it was. Barring the Oceanography EP, I’ve never had an album or EP release. Releasing The Librarian’s Daughter showed me I was still capable of doing amazing things in music after what felt like my entire career crashed down in the wake of the internship. It gave me renewed sense of hope.

So if you haven’t heard these songs, here’s a little track-by-track breakdown of everything that’s on the EPs.

“One Way Train”

This song began life as one I actually wrote years ago about an ex, but I didn’t really have any connection to him or the lyrics anymore, so I completely rewrote the words from scratch to be about my wife instead. The title changed between “Wishing Well” (from the opening lyrics, “Made it down the wishing well”) and “One Way Train” more times than I can remember, but everyone seemed to like “One Way Train” best when I asked them. The colors mentioned in the second verse refer to our favorite colors as well as the color of a map, which almost aludes back to “I Can See the Rest of Our Lives From Here,” an unreleased Wake Up Jamie track with the lines “Throw a dart at the map and let’s take flight.” I also threw in a kazoo solo because I thought it would make my wife laugh. (It did.)

“Taco Bell”

Musically, I wrote this song as a challenge to see how many times I could change the key without it getting weird. (I call it the “I Walk the Line” gambit.) Lyrically, it’s a testament to mine and my wife’s strange, unique, beautiful dynamic. We’ve never been romantic in the traditional sense of the word. Our idea of intimacy is eating Taco Bell and watching bad movies together, and I honestly prefer that for us! I mention how she hated me at first, which is not a lie, and in the bridge, I actually sneakily incorporate my wife’s name into the words. The “big fat…grin” was inspired by The Maine’s “Into Your Arms” — “She had the most amazing…smile.” I thought that was a real fun, cheeky line, and I love The Maine, so that was a kind of my small homage to them.

“Chicago”

This is my take on the “run away with your lover” song trope. At the time of writing, we were plotting our next move, and it was looking like either Chicago or Kalamazoo. Kalamazoo won out in the end, but I couldn’t find a way to fit the word “Kalamazoo” into a song for another half a year. So “Chicago” was the end result. I’m particularly proud of the guitar work in the finished product. I literally drenched my tone in reverb for the opening bit and it gives my guitar a very characteristic and unsettling sound. The solo is one of my favorites I’ve written. I’m not much of a lead player and I’m sure one of my buddies who can really shred would have elevated it to the next level, but I did the best with the resources I had, which was literally just me.

“Olivia”

Onto the Stars version! “Olivia” was my attempt at channelling my inner Paul McCartney, who is one of Olivia’s musical idols. The piano features heavily throughout the song, although it’s not a real piano but entirely painstakingly MIDI-programmed. This one also features several key changes, both flipping between parallel major and minor keys (between the verses and choruses), and jumping up for the solo and once again for the last chorus. Overall, it’s a real short but sweet tune about the night I met Olivia at a Valentine’s Day-themed show we both were performers at (and yes, there was a real kissing booth!).

“When You Tell Me Goodnight”

The origins of this song are murky at best, because it actually wasn’t originally about Olivia. I’d penned a very primitive draft probably way back in 2012 at the earliest, although at the time I couldn’t think of a good enough muse to truly dedicate it to, so it languished in my drafts. But Olivia gave me the missing piece, and the song came to fruition with her inspiration. It’s a very barebones song, with nothing more than my voice and my Stratocaster with a nice twinkly setting on it. It’s stripped, and I wanted it to be that way on purpose. I feel like so many of my songs are big and over-the-top, and this is a simple love song. It means a lot to me though, and soon, Olivia and I will be releasing on a new version together that incorporates her chiptune work. I’m excited to share that with you too.

“I Wanna Fall in Love With You”

Finally, the song that was the biggest nightmare to produce, but it was absolutely worth it because it turned out breathtaking. I used a lot of synth for this track, so it took a while to piece all of those sounds together. The guitar solo was inspired by “Without Love” by Bon Jovi, from their timeless album Slippery When Wet. Ifyou listen closely, the guitar and synths are playing in unison, and I wanted to achieve a similar effect here. This song contains some of my favorite imagery and one of the best lines I’ve written: “Someday when I am gray and old, I’ll look back at this night at know / For a moment, life was beautiful.” I think that’s the overarching theme of these EPs — the love in my life make all the struggles worth it.

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Don’t Quit Your Day Job: How to Avoid Selling Out and Make Art You Actually Like

I like to read books on the intersection of creativity and productivity. It’s kind of my way of sharpening my mind for writing and creating music. Reading has always been a form of escapism for me, but these diving into these books of practical tips and hard-earned advice have really helped me develop my own philosophy toward art and work. One book I’m working through at the moment is Make Your Art No Matter What by Beth Pickens, which is crammed full of helpful information and philosophical approaches guided by everything from modern psychology to ancient Jewish wisdom. It’s a great book so far, but the second chapter was what prompted me to write this post. It’s a chapter simply titled “Work,” and it delves into all the ways our hectic capitalistic work schedule fucks with our abilities to create.

Here’s a hard truth I’m learning: if you want to create good art, get a day job. I’m not kidding.

If you want to create unadulterated, pure art, free from the expectations of corporations and The Man™, you need to get a day job. Because the second you rely on your art for your income, it’s not yours anymore.

My wife is an artist. I talk about her quite a bit on here. One thing she does for work is commissions. She specializes in doing quick unhinged portraits of people’s fursonas (furry art is a lucrative field, yo). Imagine if you paid $5 of your hard-earned money for a sketch of your character and you got back a lovely sketch of Shrek. You wouldn’t exactly be pleased, would you?

I don’t think I *could* be mad at this, to be fair.

The second people start giving you money for your work, you owe it to them to give the people what they want.

But if you can make a living independently of your art, you can do whatever the fuck you want with it.

And it’s freeing as hell.

When I was younger, I wished I was Taylor Swift famous. And the truth is, when you’re Taylor Swift famous, you have a little more wiggle room. She has enough leverage to do what she wants creatively. If she wanted to pull a Poppy and go full on metal, she totally could.

And here is proof that it would be absolutely badass.

Here’s the thing: most artists don’t have that privilege. No, not even many artists who are now considered legendary. Take Heart, for example, because y’all already know I’ll take advantage of any opportunity I get to fangirl over them.

Jessa Shuts Up About Heart for Five Minutes Challenge (IMPOSSIBLE!)

Back in the 70s, Heart took over the rock world with timeless songs like “Magic Man,” “Crazy On You,” and the classic musical middle finger to creeps and sleazebags known as “Barracuda” (which I channeled recently at karaoke when approached by a fucko). But by the 80s, they were reaching a nadir in their career. The industry had changed around them, and suddenly, music was less about realness and artistry and more about manufactured image. The frontwomen of Heart, the Wilson sisters, faced with the very real threat of irrelevancy and the impending death of their music career, decided to roll the dice with what I call the Liz Phair gambit. Suddenly, the band went from looking like this:

To this:

In order to survive, the band had to sell out. And with great success! They scored their first ever number ones during their bombastic, hairspray-fueled ‘80s run. Everyone knows and loves their output during this era. Who can forget the epic power ballad “Alone,” with a music video that was so influential to me growing up that it shaped my entire aesthetic?

But despite all the earthly riches MTV could offer, it really wasn’t the music they wanted to make.

I’ll let Ann Wilson herself do the heavy lifting of explaining the situation in her own words:

“What made me the most uncomfortable in the 1980s when Heart was doing everybody else’s songs was that the songs seemed like the empty fishbowls that you could pour anybody into and it would be a hit,” she said in an interview. “That’s the ultimate example of me biting the hand that fed me. But, at the same time, I’m a creative artist and I want to be authentic and I made this Faustian bargain to do other people’s songs and get No. 1s.”

Sure, she did what she had to do to achieve the rock star life. But sometimes I wonder if she would have been happier tackling the music industry the way I am in the 21st century, working overnight as a caregiver while laboring over her MacBook during the day to make the music she wanted to make. I wonder if I’d be as miserable as she was in the ‘80s, having to sell my artistic soul to have a viable career.

The truth is, I may never see more than the measly excuse for royalties Spotify pays out. I’ll likely never be more than Kalamazoo famous. But at least I can make the music I want to make. I’m not beholden to anyone. If I wanted to scrap my upcoming project, LORE, in favor of a Weird Al-style parody album, I could get away with it. And that’s all because I have financial stability outside my creative work.

I won’t say it’s an easy life to live. Balancing a full time job on top of any passion projects is not a task for the weak. But if you want to make the stuff you wanna make, it’s the best road to travel. It’s okay to work a dumb job you don’t like for the paycheck if it means not letting your art become that dumb job you don’t like.

Selling out just ain’t worth it.

Creativity Overdose: What It Is and How to Fight It

So my wife and a good mutual friend of ours recently staged an intervention in my living room over a glaring problem that’s been worrying them for a while.

(Okay, it wasn’t an intervention, but it sure felt like it, dammit.)

You see, I suffer from something I’ve dubbed Creativity Overdose.

It’s an insidious beast that comes at the intersection of bipolar and ADHD. Creativity Overdose is when your ideas start to come at the expense of people around you. Another good name would be “Eddy from Ed, Edd, & Eddy syndrome,” since it’s basically what he has. Every three seconds, you come up with some hairbrained get-rich-quick scheme or the newest version of The Best Idea Ever™ that consumes your entire being. And that would be fine if you a. followed through on these ideas and b. they weren’t coming at the detriment of your loved ones.

My poor wife has had to deal with approximately 6,348 new ideas since January, and getting back into academia and becoming a specialist on the way AI affects the brain on a psychological level was the straw that broke the camel’s back (I’m shocked it wasn’t my short-lived oil painting business). I don’t envy her for having to deal with my manic ass on a daily basis, and I want to be a better, more reliable partner for her. She deserves that much from me. So here are four ideas I’m putting into practice to negate my struggles with Creativity Overdose and keep the mental and interpersonal peace:

1. Write down your ideas (instead of burdening people with them)

This is hard if you’re an autistic extrovert like me. Sometimes, the neurospiciness kisses the extroversion just right and you feel the need to infodump about every grandiose idea you’ve ever had to your loved ones. I can assure you, they don’t want to hear about it. I know it hurts, but for the most part, it’s true. This is tough love. Nobody wants to hear about your Parakeet Circus idea, especially when the last time you tried to start a Cirque du Soleil featuring parakeets, you blew up three parakeets. Unless the project is cued to be finished or released, absolutely shut up about it. Not everything is about you. (I’m talking especially to myself here.)

2. Write down all of your current projects

Okay, now that we’re not telling everyone all the shit we’re up to, let’s figure out what we’re actually up to anyways. Write down every single thing you’re currently working on, no matter how small or insignificant. My current list has all the musical projects I’m working on, my two jobs, school stuff, my podcast, and even getting my passport. Write down some steps you’ll have to take for each one, too. Putting it all down on paper will help you see how busy you really are and maybe give you a little more perspective on how much you actually need to fill your plate. When you’re excited about stuff, it’s easy to underestimate how much it really takes to get things done.

3. Pick one thing to hyperfocus on for a month

Here is the tricky part. You’ve gotta prioritize. Label the projects on your list from most to least important. Like, “you’ll die if you don’t do this” to “this can wait a few months or even years.” Shelf the stuff that can wait. If writing the book that’s been on your heart for years can wait a few more years, that’s perfectly fine. Like, I’m probably gonna end up releasing Venona at an absolute snail’s pace, but I’m not worried about getting the story out there at this point. Unless something goes terribly wrong, we’ve still got a lot of time on this planet. Don’t worry if you can’t get to everything in the next year or so. Pick one thing (maybe two, since you’ll probably need to pick whatever your main job is for survival reasons) and really buckle down and get it done before moving on. It feels good to get something done for once, trust me.

4. Help someone else create something instead

Here’s something I’m really learning — it’s better to collaborate than work alone, and sometimes it can be just as rewarding helping your loved ones meet their goals as it is meeting your own. My wife wants to be a professional artist and merchandiser, so I’m going to step aside a while and let her work on that. I’m going to take a year off school so she can save for the equipment she needs, and I’m going to support her any way I can. See what your friends need for their endeavors and ask how you can help them. Assisting someone else in reaching their dreams can be a good feeling in and of itself, and it can further inspire you in your own dreams as well. The best part of having creative, ambitious people in your circle is that you can all help each other up.

So what do you think of Creativity Overdose? Have you experienced this in your life? Let me know your thoughts in the comments.

If you enjoyed the writing in this post and elsewhere on the site, please consider donating to Jessa’s tuition fund! Any help is appreciated!

CashApp: $TheJessaJoyce

Venmo: @TheJessaJoyce