In the gaping hole of timeliness,
with lavender ascent,
doth kraft cheese and dy
WHO GOES THERE?
sex, my friend
it’s always been sex.
changes to the machine,
withe a rama-lama gretsch guitar
shake for me X 1000.
I don’t want to feel
my prior ruin.
I want glitter, volume, lights.
A painless life.
dust is clouding always
but it’s most visible
in the slanted sunset’s pour.
streamers of light
through pink sandy puffs,
the charcoal ghosts of 4 wheelers,
and gasoline enthusiasts.
under navy milk skies
pockmarks of starry freckles shine, shine, shine.
blanket of night-
split open by the cries of
I AM HERE! YOU ARE NOT ALONE!
wimper through the
uncaring distance of space.
the grey and twisting juniper corpse
lays indifferent by the campsite road.
dry as moonrock,
it can still be recognized
“former tree of life, child of god”
now designates parking.
the beginning of tent city,
nylon, thinsulate, marshmallow sticks
empty, green gas canisters.
tack your receipt to the post.
ranger Judy, once sexual, hums through camp.
our dirt pit, affectionately renamed
“the G spot”
while dead juniper carries on.
I’ve received a number of requests for the chords/a lesson on how to play this song. I am honored that other musicians are interested in it, and so decided to post my own “how to” video for the song. Video below, and a downloadable chord chart is posted below that. Please reach out if you have any questions. Thanks for watching!
i tried six salutations
on Kane Creek’s gravel road.
All the men refused me,
but one mother waved
from her dune buggy.
Behind her mirrored goggles
I’m sure the corners
of her eyes
were creased from smiling,
year after year
child after child,
sprouting in her home.
the men did not wave.
Couldn’t be bothered.
I know now, thanks to their
that they are stronger than me,
and their penises,
Patterns in the mud
remind me of
how little I matter.
you can hunt* me,
but I’m just a ripple.
I’m just, spilling ink,
a carnal, sugar-filled gorilla
burning lucky dinosaur bones
on a lark.
My wheelbox spits clouds
out it’s rusty asshole,
smelling putrid, but thankfully
the vapors are invisible
so I don’t have to care.
I don’t have to think.
These days, it’s considered overachieving.
Daydreams can’t be stopped
but they are passé.
Two Poems from Moab – written by Jackson Emmer – 10/2018
I’ve been teaching songwriting workshops recently, so I put together a brief packet to help students jumpstart their “song” brains. Most of the information I cover in the workshop is about the writing process, and encouraging good writing habits. This always leads to a lively conversation with students- but there’s one page of the packet that is fairly “nuts and bolts.”
It covers basic chords, how those chords fit into keys, and a brief note on how to transpose (change keys) by using a capo. I’ve posted this sheet below, and hope you find it helpful. Please comment, share this link with your friends, or message directly if you’d like me to clarify anything. Again, I hope this helps! Enjoy.
I decided to compile my favorite music of 2018. These are not just songs or albums that were released in 2018, but what I found myself listening to most this year. The tunes are compiled in a Spotify playlist. Enjoy!
Hello friends and fellow music-lovers,
I am often asked about my influences, and always do my best to answer thoughtfully. I’m honored that anyone cares enough about who I listen to to ask. I see this as an opportunity to send more ears to the music of my closest influences and friends. For example: Sam Moss, Trevor Wilson, John Lilly, Terry Klein, Alison May, Letitia VanSant, and Alexa Rose are all artists I have performed or written with, and believe in.
If asked specifically about my favorite country songwriters, I often mention Townes Van Zandt, Guy Clark, John Prine, and Hank Williams– All of which should be fairly obvious. Chuck Berry should be on that list too, but I don’t mention him often because I don’t feel like arguing over whether or not his style was country or rock. It was both, and he was a talented, hardworking genius. I understand that celebrating Chuck has become increasingly problematic (as is the case with so many artists). Read more about that here, here, and in his own words, here.
What I rarely mention, is the influence of literature and poetry in my songwriting. It takes a while to explain, and I don’t think much about it during interviews because I’m too busy trying to field questions honestly without saying something stupid. That said, it’s time I give a few writers their due.
Colleen Barry is a contemporary poet whose book “Sunburn/Freezer Burn” I read daily. Her work is stunning.
E. E. Cummings showed me just how far one’s imagination could take a poem- I started reading his work when I was 11 or 12.
J. D. Salinger was also a big influence. I was an eager reader during my pre-teen years, and “Catcher in the Rye” made me feel understood, and inspired me to take writing seriously as my own form of expression.
Wayne Hoffmann-Ogier taught literature at my college. He told me once “Your writing is not good enough.” Then suggested I read “The Elements of Style” by Strunk & White. I’m glad Wayne was straight with me about this. I learned a lot.
Tom Robbins was my first introduction to crass, masculine writing. Dave Eggers served as a nice contrast to this- a little more anxiety, pain, realism. T. S. Eliot, Robert Frost, Edward Abbey– all staples of my early literary diet. Then it was on to Rumi, Hemingway, Vonnegut, Twain, and Shakespeare.
You may have noticed that there are more men on this list than women. Although I wish my consumption was more evenly split, I find that I often relate more towards male narratives. Perhaps that will shift over time.
Dan Reeder, David Byrne, Howlin Wolf, Willie Nelson, Missy Elliot, Fela Kuti, Dolly Parton, Little Walter, Merle Haggard, John Cage, Tony Rice, Glenn Branca, Tom Waits, Eazy-E, The Notorious B.I.G., and J Dilla have all influenced the way I use and organize sound. Their music has also taught me worlds about “message,” and distilling one’s artistic voice. This list doesn’t even include the producers, engineers, and accompanists who worked on those records and helped craft such influential sounds.
I hope this list helps you find more art to love. I hope finding more art to love inspires you to make your own- write a song, write a poem, write a book, whatever moves you. I hope people will someday list you and your irreplaceable work as one of their influences- Thanks again for asking about mine.
This is a re-post from my prior website.
As we approach April 27th, (the release date for my new album, “Jukebox“) I’m finding my music in more and more corners of the internet. Glide Magazine premiered my song, “Don’t Leave Me Blue” and declared: “The song has a loose, rambling country sound that immediately brings to mind the redneck-meets-hippie culture of Austin, Texas in the 1970s.” I can think of no higher compliment.
The blog, Daily Country, premiered the album’s title track, “Jukebox” and called it: “A sweetly sentimental trip to simpler times that appeals to both your ears and your heart.”
I’m honored and excited to be receiving a little attention for the new record. I’m proud of the music, and hope other people will have the chance to enjoy listening.
Thank you for your continued support! It means a lot.
- JE –