DAVID LESTER ART

Normal History Vol. 217: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

How about this? Y’all get 200 years worth of oil (you can handle yer own transport, etc.), and we get Washington, Oregon and Northern California? Y’all can keep L.A.. Deal contingent on Mike Jordan going to N. Korea to deliver a custom-designed pair of Nikes to KJU.

“Gravity Believes,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 216: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Obliterating History—a guitar-making mystery, domination and submission in a small town garage re-invents the history of the electric guitar, crediting some unlikely characters with a feminist link between Jimi Hendrix and riot grrrl. Rewriting the sacred chronicles of rock music by inserting fictional origins of a mid-’90s social movement, gives young Carol the opportunity to take a Greyhound to Olympia, Wash., to attend the International Pop Underground where Tae of the band Kicking Giant encourages her to start a band of her own. If only it were true. If only she’d gone and not stayed at home in Nazareth, Pa., home of the Martin guitar factory.

For all that, current-day Frank is a kinky, middle-aged man cheating on Carol; original interpersonal dynamics reveal clues to his inclinations. Delving into family backgrounds to illuminate psychological proclivities, the reader travels back to Frank’s childhood. With an actress for a mother and his father a self-absorbed art director—an original Mad Man—at Manhattan’s Ogilvy & Mather, was anyone considering how young Frank’s exposure to deception might shape his world? In 1964, his father was inventing a phenomenon of storytelling where household products played in starring roles on TV sets across America. Meanwhile, his mother had a part in a Broadway play—Stop the World I Want to Get Off—but, as far as four-year-old Frank was concerned, she was onstage pretending to be another lady—one too busy to make him his pork and beans with wieners on toast just the way he liked it.

“Cyclone,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 215: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Part of painting for a month in Miami was watching two kids for five days while their parents went to an art fair in Europe. We all survived, and I got back to painting. When I next saw one of the kids, the 10-year-old girl, her mother had brought her over to the artists’ residence to say goodnight.

“Good night, my sweetheart,” I said, giving her a little hug. “Sleep tight, my darling.”

Standing next to me, a Famous Art World Artist who had just arrived from England—nice guy.

“Good night, my sweetheart,” he said and hugged the girl. “Sleep tight, my darling.”

Wait. He totally copied what I said and even he looked slightly confused, considering he’d only just met the girl that day.

Jet lag, I thought—or maybe that’s how he got to be a Famous Art World Artist. Over the next few days I noticed that he did this repeating thing repeatedly; he used the same words as the person he was having a conversation with. I noticed that I liked it when he used my words. I liked him more when he used my words back to me.

Maybe Art World Artists from all over are doing this thing, this repeating thing, copying others, to get somewhere. Maybe it works. Maybe it works.

“Beppo’s Room,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 214: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

“How well do you know me?” questions at the end.

Something larger than a mouse ran under the stove when I walked into the kitchen at 5:00 a.m. by the half-light of the bathroom down the hall. Larger than a mouse where I come from. No idea how big a Miami mouse is. I backed up fast, clocking the wine thermador unit with my left hip, water sloshing out of the tumbler I was taking to the sink; yesterday’s coffee mug in my other hand, the dried residue of Pilon decaf on the bottom (a damn good Cuban roast).

I went back to my room to put on my socks and shoes.

“How well do you know me?” questions: Do I return to the kitchen and eat the almond encrusted pastry ring that a group of visiting art collectors barely touched (left out all night, unprotected, on the table)? Do I also eat the portion of almond encrusted pastry ring in the garbage can, unscathed, resting on junk mail?

“Pamela Makes Waves,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 213: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Friday is housekeeping day. Anna, the maid, will arrive soon. I’m out of soap in “my” bathroom, and I’ve looked everywhere for a tiny green replacement bar. Not to be found. Anna doesn’t speak English, and I only speak English. I was thinking I’d try to get a new bar of soap off her. I play such scenarios out in my mind, in advance, to weigh pitfalls versus the potential for success. I would approach her with my question, but of course we would not connect, and soon enough I’d have to take her down the hall to the bathroom and show her the empty soap dish. Before that though, I’m afraid I’d blurt out “soap,” which I’m pretty sure is soup and not soap, and so, I think I’ll just go without soap for the remaining five days to avoid taking Anna down the hall to the bathroom talking about soup. Not good.

“Alibi,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 212: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

“What is souse?”

“The feet,” he says, watching my face. “And the ears.” He gently pulls on his ears, both ears. I shake my head.

“And the chicken souse. You already know what souse is,” he says, and I’m thinking, chickens don’t have fucking ears.

I shake my head. “Don’t do it to me, man,” I say.

He sort of chuckles. Maybe it was just a smile, but something softened.

“I’ll come back later,” I say and walk outside where another guy, also older, is tending whatever is on the BBQ unit.

“Smells good,” I tell him as I walk past.

“Tastes even better,” he says, closing the lid and a thought drifts through my mind, a feeling that I was just refused service in a not exactly deliberate way, but one that I recognize from interacting with the general public, when someone inappropriate wanders in and you’re just not up for it; it’s easier not to proceed. It just goes that way. Slow and wary responses, hoping they’ll just go away if you let them know they aren’t going to get what they want. You know it, but they don’t know it yet and you don’t really want to step out of how you perform your job, so you let them know some other way. And they get it.

Like Roky says, “You don’t love me yet.”

Maybe I’ll go back up there and try again today.

Later, at the studio, Gavin Perry of Holly Hunt said, “They probably thought you were from the health department.”

“Trapped Inside Your Heart,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 211: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

I’m a white lady driving around Miami’s Little Haiti looking for lunch, unsure of how my bright blue sweater, striped shorts and what amounts to Keds with ankle socks translates. Tourist? Thrift-store-chic soccer mom?

Seeing smoke coming off the big BBQ unit on the corner of 10th and 54th, I turn down the deserted side street and park my red rental. No meters. Crossing the totally dead street, I smell the deliciousness of the smoke and pause on the sidewalk to look at items painted in red on a lunch board. Knowing that I’m doing the right thing, I push open the door and step into the darkness.

A small, older black lady in the kitchen—horn-rimmed glasses and cardigan clasped at the neckline—looks at me and slides the kitchen door closed.

I’m looking at the menu on the wall when I hear a voice in the darkness telling someone, “Come right out in the open, come right out.”

My eyes adjust and I see an older black guy sitting near the back wall—hat, glasses and cane. I walk closer to what I now see is the ordering window and there’s another older guy, but maybe not as old, standing off to the side, looking at me with some combination of emotions that informs me I’m basically in the wrong place. I ask about BBQ (a subject I know very little about) and he says there’s nothing ready yet.

“How much longer?” I ask. I’m looking for lunch. It’s 1 p.m. on Thursday. The sign outside says L-U-N-C-H. Big red letters.

“One hour,” he says. “Except maybe the wings. The wings special that we always run.”

I say, “I don’t want wings.”

He says, “Except maybe the pork souse.”

“Only Heat,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 210: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Making art
like packing snowballs
to chuck at trucks going by
at night.
The snowball smacks the logo
and slides down the side of the truck
over the slogan,
slush dripping onto the wet,
black road.

The truck speeds off to its destination
and soon enough spring arrives
and then summer
when one becomes preoccupied
with finding the right blade of grass
to hold between one’s thumbs
to make a whistle,
understanding that some nouns
are also verbs.

And then fall.
The following winter
one doesn’t care
about snowballs
and trucks
and some of us
like to think
about why.
that is.

“Frozen Rain,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 209: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Noting that you don’t fit the stereotype of International Noise Conference participants, how did you become involved?
I’ve never been one for rhythm and counting. I find it weird that some sounds are called notes and therefore “OK” and other sounds are “bad.”

What about noise appeals to you as a performer?
I like responding during, not after. Not even slightly after. Playing this way is like having a great conversation where both people can talk at the same time without the gumminess of words—or notes and time signatures. Mutually agreed on patterns—song structures—can be very satisfying. Like a slice of your favorite pizza. Noise is more like climbing into a huge stainless-steel mixing bowl and slithering around in cake batter while trying to avoid the whirling rotors of the mixer. It is hardly a matter of trying to appear to be cool or capable. Noise is like the sex that I always hoped I’d have, but have not been able to locate because mainstream men in their 50s seem to be more about manipulating, imitating and disappearing.

How should listeners approach the International Noise Conference?
Ideally, in my approach, a litany of simultaneous ignitions override and expel orchestrated antics—which should result in acute listening amongst performers. This lack of pre-configuration puts the audience at the helm of their own experience. Rather than being presented with something built with repetition, it’s more like being exposed to pure, unregulated energy. Listeners may fare better if they abandon anticipating predictable structures—or any structure at all.

None of this is to say that the trio is sexual in nature or that we even like cake (or power).

“Crimson Dragnet,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 208: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

My father and I were talking in the kitchen about a pair of stereo speakers that photographer Selwyn Pullan made for my parents, which, because they take up a lot of room, my parents want to get rid of. I had my eye on them until the point when my father blew out a bass cone when he decided, in a rage, to deal with a noisy neighbor by dragging one of the speakers to the back door and blasting said neighbor. I probably asked at the time, “With what?”

I will have to ask again. “Hey, Dad,” I’ll say. “Remember when you blew up Selwyn’s handmade speaker by cranking it at the neighbor?”

And he’ll say, “Yes, Jean. Yes I do.”

And I’ll say, “What were you blasting? Like, who?”

And maybe he’ll say Keith Jarrett The Köln Concert or Oscar Peterson or it would be better if it was a horn man. Lester Young, with whom I have the longest connection, spanning back to before I was born. In my late teens and early 20s, I got into jazz after having been subjected to it through childhood. I was all grown up at 20 or so, living across town with a man 10 years my senior, playing jazz and having people “over for dinner.” It is now quite likely that I will happily never have anyone “over for dinner” ever again, but that’s what I was doing back then.

My parents were coming over, and I’d bought a couple of new albums that I was going to play for them, one of which (I’ve told this story, I know) was Lester Young’s “Mean To Me.” It was at that dinner, that my dad told me that he had that same album and he was playing the hell out of it while my mother was pregnant with me.

I bought a fucking sax because of this album and set about learning to play it in the basement of that house. I was 21 or 22, I suppose. I still have the album. I really like knowing that I heard this exact music through the burble of blood and muscle and skin, while I was in the womb.

Anyway, so he wrecked the one speaker and I think Selwyn said to replace the cone with something from Radio Shack. Lordy. I looked at it in the early morning light Christmas day, the holes from where the original speaker had been mounted; shaking my head at some of the things my father has done.

“Something To Be Said,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 207: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Selwyn Pullan, a photographer whose work was recently published in a book on West Coast architecture, phoned my father over Christmas. Evidently, he normally does. They are friends, my father and Selwyn, since the late 1950s, when my father, an art director at Lovick’s, a Vancouver ad agency, used Selwyn for ad campaigns. One of which won Selwyn an award, my father told me on Christmas day, while we were both up early, standing in the kitchen talking about the pair of speakers Selwyn built for my parents.

I happened to see Selwyn’s book online back in the fall, while I was looking for photos of the house I grew up in.

Now 90, Vancouver-born Selwyn went to the Art Center in Los Angeles as a young man, where he was a student of Ansel Adams. After the war, he was offered a job at Life magazine, but as a Canadian, he was limited to work in Canada.

Our house was designed by Fred Hollingsworth, who was influenced by Frank Lloyd Wright (who offered him employment in 1951). The photos in the book are during the time when the Clarks lived there.

My parents changed a lot of things. They painted most of the cedar walls off-white, took out various details such as the very Frank Lloyd Wright light boxes (seen in the dining room). Hollingsworth (who lived not more than five minutes away) came to the house at one point and suggested that my parents move rather than continue to change (destroy) his work. That didn’t happen until 1984 or so.

My father tells a story about what I told them when they wanted to paint my bedroom walls, something about remaining true to the architect’s vision. I mean, I myself had, in a fit of rage, etched “I HATE GOD” with a lead pencil into the wall beside my bed, but even as I did it, I realized that it was wrong. Hating god wasn’t wrong, but defiling another artist’s work was. Subsequent to the first five letters, I lessened the pressure, digging less emphatically into the wood, but I finished the sentence. I would love to go back and see what they did with that spot on the wall. I remember doing it. Lots going on in that moment. Recognizing rage and impulsivity. Hating god for whatever reason; I think it had to do with my mother having cancer, but, at the same time I was thinking that I couldn’t actually hate god, because I did not believe in god. I felt the initial eruption and creation—action—and that immediately resulted in conflict. Shame for having lost control and for the destruction and fear; this was going to be seen and get me into trouble. I don’t think anyone ever mentioned it to me. It was right beside my bed, under the light by which I was reading a lot of James Baldwin, at about age 10 or 11. I think my parents were very pre-occupied, or maybe they saw it and decided not to address it. I don’t know. Maybe they didn’t see it. Maybe I should ask them.

“Vacant Night Sky,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):

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Normal History Vol. 206: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

I’m going out on a limb (please enjoy the pun) to make a connection between online dating and porn-induced ED (erectile dysfunction). In the past, I’ve speculated that men seek women from beyond their social spheres to see how they are doing with their erection issues. In my online dating demographic (men in their 50s, basically), ED was a major factor in my experience. A guy who can’t maintain an erection will have problems using a condom.

Now I’m thinking that men who consume internet porn and men who are adept at online dating are of the same group, in that they both use the internet. I’m not saying all men who watch porn use online dating and not all men who use online dating watch porn.

Perhaps it’s time to re-consider those guys with all the typos who claim to HATE THE COMPUTER (entire profile typed with a single finger, all caps). Maybe they’re better in bed.

“Museum Of Open Windows,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 205: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

“When I met him, he was working as a dishwasher, making a few bucks more an hour than I was, running out of money every month, borrowing from his friends to make the rent. He had this weird sort of indignant attitude that his friends should all chip in and pay his expenses so he could paint.”

“Entitlement,” Lee says, passing me the bread basket.

“He also told me that he liked getting presents, but that he himself didn’t give anyone anything. At Christmas he seemed extremely pleased with himself for getting me the perfect gift—some kind of brainstorm he’d had. He could hardly wait for me to open it.”

“What was it?”

“A coffee tamp from the hardware store.”

“What the hell is a coffee tamp?” Lee asks.

“A chunk of metal you use to compress coffee grounds for an espresso pot.”

“How much can that be worth?”

“$12,” I say.

“Tell me you’re kidding.”

Slowly, being out at a nice restaurant with Lee, I begin to feel like I may be worth more than $12.

“Museum Of Open Windows,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 204: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

My buddy Lee tells me about his trip to Dublin, how he walked into a travel agency and booked a flight for Nice the next day. How he took a bus to the airport and got on the hour-and-a-half flight to the south of France. I am thinking that Ron could never do anything like that in a million years. Make a plan, book a flight, go somewhere, do something. Ron had been collecting bottles in the alley to buy cat food. When I told him I was worried about my future he said, “Me too, baby.” I knew he didn’t mean that he was worried about my future. He was worried about his future, too. I felt so much worse.

“Texada Warns Me,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 203: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

In the beginning, he was so nervous. It took him a couple of months for him to relax. I was required to smooth over his anxiety around intimacy, to be patient, to keep waiting. The focus was on him. Sex was all about him. I wasn’t enjoying it, and he wasn’t too concerned about that. We almost broke up over it—it just seemed selfish that he should be the only one enjoying sex. I asked him to try some things in bed, but he just kept focusing on his dick. Sex was about his erection, his orgasm. I started to wonder if I would ever feel turned-on again or if I had reached some sort of hideous stage of life of not having orgasms during intercourse. This had never been a problem before. I tried to accept the kind of sex we had as loving, and yet it was entirely unsatisfying. The intensity with which he watched me while he tried to stimulate me manually required that I close me eyes to concentrate on some fantasy or another. If I opened my eyes, he’d be staring at me like I was some sort of science project.

“On The Row Of Dials,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 202: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Lois asked how I came to give my heart to a political artist, and I had no idea what she meant. I asked her to repeat what she’d said and then I realized she meant my boyfriend Ron, who was standing beside me.

The day Ron admitted that he’d lied to me was also the day he tried to get out of driving us to a show. We’d been going out for five months and he’d never seen my band play. He asked if he could just drive us to the club and not stay. Great. My unemployed boyfriend can’t stay out past 9:00 p.m. because he’s too tired? Or was that another lie? Was he trying to get me to break up with him? There wasn’t much point in asking him about anything after that.

“Walking The Walls,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 201: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Jean Smith will be in Miami for the month of February, painting a slew of large, politically charged, abstract-expressionist canvases in space provided by the Fountainhead Residency Program.

“Straying To Summer,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 200: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

I am excited by Norman Doidge’s work in neuroplasticity. The last novel I wrote is about curing a personality disorder with abstract expressionism. The narcissistic personality disorder is said to be incurable, but my protagonist, a museum curator, was able to establish a method of communication with the narcissist about his abstract images, within which he believed he could hide the emotional landscape that contributed to his disorder. Her understanding of narcissism overlapped her uncanny ability to interpret his abstract expressionist paintings.

I wrote this novel one year ago, in the winter of 2012, and subsequently queried literary agents in NYC. By this I mean 10 hour days for a couple of months researching, composing and submitting queries (and working part-time at the gym).

Four or five agents requested the full manuscript, including the agency that represents the work of Bernard Malamud and Eudora Welty. Some of these agents have yet to respond or they may not contact me either way. That, it seems is the agent querying game.

The intensity of querying took me deep into the spring. Summer arrived and it was time to paint for the September art exhibition at Northern and then on to booking shows and lectures for a west coat tour in October: rock clubs, university classrooms and library events that included songs, paintings and details about narcissism.

After the tour, Mecca Normal went to Miami to record a new album with Rat Bastard and Kramer. Some of the new songs are excerpts from The Black Dot Museum of Political Art (literary fiction, complete at 80,500 words), other songs are directly from my previously completed (unpublished) novel Obliterating History: a guitar-making mystery, domination and submission in a small-town garage.

“Waiting For Rudy,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 199: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Here at Curves in East Van, we have huge windows at a busy intersection where our logo is prominently displayed. Beneath it, our slogan, in hand-cut, foot-high, stick-on vinyl letters: The Power to Amaze Yourself (which I think may be outta the bible).

“Someone” switched out the “az” with “us” changing it to The Power to Amuse Yourself. Nobody noticed until a member finked to the manager, who then went running around trying to find out who would do such a thing.

“There’s a lot to be said for the power to amuse yourself,” I said. “Maybe it’s a sign.”

The manager dug out the lump of vinyl from which the letters were cut and laid this lump on the counter in the backroom, mentioning to me something about new letters needing to be cut and adhered to the glass, to which I said, “How about we simply give out prizes to any more members who notice!” Clearly we have different problem solving styles.

The signage scandal in the window at Curves reminded me of my first trip to New Zealand. I was met at the airport by my boyfriend’s boss, the owner of IMD (record label putting out Dunedin bands and distributing good stuff from the USA). No sign of the boyfriend. 

By the time I got out of the car in town (presumably on my boyfriend’s doorstep), I had a job at the label. My boyfriend was A&R and I was … wait, what were job titles at record labels? 

My job was to type and fax letters to other labels, to set distribution in motion. I used my connections at K and Matador to make things happen. IMD distributed their stuff, and they distributed ours.

At some point, feeling hard done by, for whatever reason, I designed and ordered an IMD rubber stamp and proceeded to stamp all the LPs, CDs and catalogs. “Disturbed by IMD” went unnoticed for quite some time. When the boss had it brought to his attention, he went bonkers. I forget what actually happened, but eventually the whole thing collapsed and I returned to Canada. Some years later, I noticed that he put out an IMD compilation album called Disturbed By IMD. Clever fellow.

“Greater Beauty,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 198: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.

Last night “we” had “our” “staff Xmas party” at the home of “our” “manager.”

“We” were to be there at 7:30 for “snacks and hot drinks.” I worked until 7:30 after which I locked up, changed out of my stretchy hooded gym garb (into an actual dress with knee-high black boots) and walked the five or six blocks over there, marveling at how cold the air was rushing up under my burgundy Thinsulate duffel coat (that I’ve had since I was 19).

I’d emailed the manager earlier in the day to warn her that two more of the staff were making sounds about not attending due to colds, exhaustion and long bus rides. A 21-year-old said that 7:30 p.m. was too late. Christ; that’s sad.

I myself had contemplated not going (because I did not want to go), but when the “manager” knows you work until 7:30 and her place is basically on your way home, it’s pretty difficult to come up with an excuse. In my email, I said I felt another cold coming on. I said I’d basically just be dropping in, not wanting to jeopardize anyone else’s health, you know. She didn’t reply to my email, so I had to accept that my thinly veiled threat to infect everyone was not received.

I had the hood up with the big glasses on when my manager slowly opened the door and said, “You will be my only guest this evening.”

For the love of god that I do not believe in.

I stepped inside, the glasses fogging up immediately, and struggled to untie the now tangled string holding the hood tight around my face. I must have looked a fucking moron.

I was carrying a consumer shopping bag that may have given my manager the idea that I came bearing gifts or at least something to contribute to the “party.” No, just my hiking boots to change into for the walk home.

I took off my 20-pound pack, got out of the coat and removed the glasses. Cheese and crackers on the coffee table, I was guided into the kitchen for a hot drink. All of this was somewhat awkward because there is tension between us right now, these days. So it wasn’t exactly what I wanted to do; to be the only guest who turns up at the boss’ place for the staff Xmas party. Nope. Not really.

We moved back to the living room. I sat on the couch and watched her while she spoke. Every now and then I looked quickly at the cheese. She didn’t take any cheese. I like cheese. I waited. She talked. She said fuck more than she does at work. That was nice. She threw in some shits, too.

I picked up a tiny sliver of a hard and crumbly cheese and opted not to grapple with a cracker, thinking that structurally, the cheese didn’t require a cracker. I made “good cheese” sounds, and she described how the cheese was made. I commented favorably on all three cheeses, and she told me things about them, such as fat content and where she’d bought them.

I was careful to balance questions with comments, trying to pick points where she might notice that I was mostly just asking questions. I made statements at those points.

“I would have thought a cheese called borgonzola would taste more like gorgonzola,” I stated, while wondering if “bore”gonzola was a boring version of the entirely likeable gorgonzola (my favorite cheese), or does she shop at some place called Boresville. You know, stuff I couldn’t say in the grand scheme of being both underling and the only guest at party.

She told me she had made two kinds of soup.

“I am going to have both kinds,” she said.

Noting that I hadn’t been offered soup, I paused to figure out how to deal with this.

“If I was offered soup,” I said. ”I, too, would have both kinds.”

Pretty good, eh? We sat at the dining table in the kitchen area that was absolutely not a kitchen table. It was obviously a dining table that happened to be in the kitchen. Anyone could see that. The microwave bell rang, and a bowl was placed in front of me. I did not move. I’m not a fucking idiot.

She put her bowl in the microwave and sat down. I did not touch my bowl. See? She took her napkin out of her napkin ring and laid it on her placemat. I took my napkin out of my napkin ring and put it on my lap. See? One step ahead, people. One fucking step ahead.

The bell rang and she got her bowl out of the microwave, sat down, placed her napkin on her lap and picked up her spoon. I picked up my spoon. I’m doing good, right? But the fucking soup is too hot. Spoons down. I reach for a pre-sliced bit of cheese, move it above a plate piled high with crackers. Her eyes are on me. I put the cheese on a cracker and slowly transport it to my mouth. This move is watched very carefully. I think I may have made an error. OK, somewhere deep in my primordial understanding of manners, I know have, but what can I do? I should have lifted the cracker with my right hand, transferred it to my left before reaching the entirely acceptable distance to the cheese. Then I should have placed the cheese on my cracker within my own airspace. As it was, I did a sort of public drop of cheese, not from any height or distance, but yet, I know that putting the cheese on the cracker while the cracker was still with the other crackers is a violation. I know this, but I did it anyway. And it was noted. Actually, I did it again. Maybe two or three more times, but I definitely did not eat too much cheese; I just ate it the wrong way.

“A Kind Of A Girl,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 197: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

I felt terrible leaving Vancouver. Deeply stressed and utterly exhausted. I started to have a panic attack as we settled into our seats on the plane. I had a very strong urge to push through the clogged aisle and get out of there. Poor Dave. I asked him to talk about what we were going to do in Miami to subdue the anxiety rising. This helped a bit, but I told him I would have to have a drink if it didn’t subside. As a non-drinker for more than a dozen years, this was the closest I’ve ever come to having a drink. Weirdly, just saying it, knowing a shot of whiskey would actually work, reduced the panic to a manageable level.

My nerves were shot for the first day, but as we got started—and all my plans enacted smoothly—I was able to focus with only a few mental intrusions of where I left the situation at home.

To get the record done, I needed to be beyond communication. Some days I think I should go and live with them, but there are many other combinations of possibilities swirling around. I cannot foresee how it will all play out. After watching my Dad go from a lucid individual to a delirious and fragile old man, I have more faith that I can cope with whatever happens. I think it’ll be the amount of time involved that gets me. I’m good in a crisis, but selfish when it comes to giving up creativity.

“Nobody’s Asking,” from Flood Plain (K, 1993) (download):

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Normal History Vol. 196: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

Oh, I wish I could go and see my Dad this morning. He was so frightened yesterday when my brother and I got to the hospital. I calmed him down, listened to his nightmarish tales, and he was pretty good until it was time for us to leave. He thought his bed was a suitcase. I felt terrible asking him to climb into a fucking suitcase that he thought was just out in the hallway. I asked him to take a few nice deep breaths—hold and exhale. He does it, which amazes me.

When we got there, he was out of his bed in his beige pajamas struggling with the chair and the walker. His eyes were wide, ringed with delicate purple. His face pale. He was terrified. We got him to sit down on the edge of the bed and he talked about things that had gone on in the night. They’d torn the side of the building off, two nurses had been sent home because of him. They wouldn’t talk to him (he means listen; he’s the talker) and he’d refused to take half his pills. He didn’t trust the nurses. My brother went to find the nurse.

“I’m not going to take them just to be a good boy,” Dad said, angrily.

“You trust me, right, Dad? Let’s get the nurse to tell us what the pills are for. You need your heart pill and the one for the infection. Will you please take them for me, Dad?” I said.

The nurse returned.

“Is there water in that?” I asked reaching for the small paper cup on his table.

“Yes.”

My brother handed Dad the little container of pills, and I handed him the water. He took them one by one. The nurse was amazed.

“Thanks, Dad,” I said.

Moira, the social worker, asked Dad a vague question. “How are you going to feel tomorrow about going home?”

All eyes on him, Dad explained that he could not, with any certainty, predict exactly how he’d be feeling at any point in the future and that, based on his present condition, his judgment was not to be trusted.

Moira and Stephanie, the home-care liaison, exchanged a look—as if to say, “This guy’s fucking brilliant.”

Yup, that’s my Dad. I was so proud of him.

Stephanie asked Dad if he was a veteran, thinking that there are services available through that route. My brother said he’d already contacted them without any luck. Stephanie asked if my Dad had a number. He didn’t answer. I was sitting next to him on the bed.

“Do you have a number from the navy, Dad?”

“V46538e,” he said.

Christ. I had no idea.

“How long were you in the navy?” Moira asked.

“Ten months.”

“I think they require a year,” she said, quietly.

It was right at the end of the war when he went from Vancouver to Halifax by train. His generation signed up, risking their lives to fight the Nazis. My Dad signed up to protect my freedom, and now I could to protect his. I knew he wanted to go home as soon as possible, but he was hallucinating. He explained that a piece of quiche had basically gotten up off his plate and slithered over the table and down to the floor.

“You’re on one bad trip, man,” I said.

He laughed and agreed. He knows he’s hallucinating. It seems to get worse with the stress of being left there.

Absurdly enough, I have to go to Miami. I have decided not to check in with them while I’m gone for these four days. There’s nothing I can do from there. I need to make this new record.

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Normal History Vol. 195: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

Oh shit,” I say to my brother on the phone. Dad is being discharged too soon. He’s still hallucinating.

“Jeannie?” Mom calls from her chair in the living room.

“Yes?” I say, still on the phone.

“Bring me the round bottom pot on the lower shelf in the cupboard to the right of the sink.”

“You mean the top of the double boiler?”

“Yes,” she says. “I feel sick.”

Good to know her preferred piece of cookware to vomit into.

“Gotta go,” I tell my brother, who has jokingly forbidden me to stay more than one night with my mother for fear I’ll go insane.

She doesn’t throw up. I rub her back while she has some dry heaves.

“Oh, Jeannie, you’re so good with me.”

And I am, but I am also frustrated and frightened. I don’t exhibit fear with my Mom. This must be how it is for my brother, too, when he tells me he feels defeated. And of other amateur caregivers, family members chucked into the chaos of keeping their parents’ lives together while their own lives go down the drain. While I’m with her, I do what I am told. I listen. I hold her hand.

I got her to eat some yogurt when she said she felt sick. She didn’t like the yogurt because it had a “strange flavor” and it’s likely that I’m supposed to think the yogurt and the pasta sauce from the night before has made her sick. I don’t know.

She says she’ll have cheese on toast for lunch. I tell her I will make it for her, but right at that moment I am heating up leftovers of the “too strong” pasta for my lunch. I sit down to eat it in my Dad’s chair and she says, “I guess I’ll get my cheese on toast now.”

“I will get it,” I say. “But may I just finish my lunch first?”

“Of course, dearie,” she says.

Who has lunch five minutes after almost throwing up? Not to mention, she had breakfast an hour earlier. I rush through my lunch and get back to the kitchen to make hers. I slide a slice of 60% whole wheat into the toaster, grate a very small amount of cheddar, slather Becel margarine on the toast, spread the tiny layer of cheese on the toast and get it under the grill (not before having a corner of the fragile toast break off and cheese spill onto the warm stovetop to melt and make a big mess, me cursing silently, vehemently, nearing the end of tether, rope; hoops all jumped through).

I carefully get the toast out onto the right plate, cut it diagonally, check the clock, grab a few grapes and head in there.

One (me) is always doing something wrong, it seems. Back to the kitchen to put the plate on the tray. She sits there a long time looking at it and while I packed up my things she manages to eat half of one piece, so basically a quarter of one slice of bread, before saying, “This is more cheese than I normally have, Jeannie dear. Can you wrap this up for my lunch tomorrow and put it in the fridge?”

“Yes.”

“Use the wax paper.”

“Yes Mom.”

The doing of dishes—breakfast, lunch and dinner—never seems to stop. There is a bag of garbage tied up on the floor near the fridge, ready to go outside to the garbage can, about three times a day. Where is all this garbage coming from?

Yesterday, while we were looking for the stopper for the hot-water bottle, she wanted to go through the garbage. I used the scissors to cut open the bag and started moving the mounds of used Kleenex around, hoping to see the red plug in the sea of damp white tissues without having to get my hands in there. I started to feel a bit sick myself.

I ended up buying a new hot-water bottle, after which I found the stopper in the bottom of the laundry basket, when I went to fold more towels than any household should actually have.

“Do you use a towel once and then put it in the wash?”

“No,” she said.

I had the bus times figured out, but after lunch it was time for tea or was it time for the precisely poured glass of milk? On and on.

“I’m not going to worry about the dirty marks on the bathroom floor,” she says.

Which means go and clean the bathroom floor, Jeannie.

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Normal History Vol. 194: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

Yesterday, I hugged him while he was sitting on the bed. He was standing when I left. I hugged him again and said, “I love you so much, Dad.”

Today I want to be there when the doctor arrives, to see if he really should go home. I will take him home in his car. I will get him settled. I will stay the night. I am the right person for this. I am concerned about his meds. I am concerned about how Mom will react. I am worried about the delirium and the possibility of another heart attack. I will stay the night. I will stay two nights if necessary. I wish I had some clean socks. All this coming and going.

It feels very life and death. I have to be there. Our whole history is in my hands. I want this to go smoothly. He has a walker. We will get to the car. I will put it in the trunk. We’ll get home. Mom’s chest will heave in anxiety. Her lips will tremble. I’ll try to get them both to sit down. Mom has congestive heart failure—an ongoing condition as opposed to an episode. I am the right person, but I have never done anything like this before.

Time has gone all funny. On Wednesday, my Mom said, “You haven’t been here for a while.”

“Yes,” I said. “I have. I was just here.”

Then I had to think when that was. What day did I go and see Dad to find out that he had delirium? Two days ago. The same day Mom and I went to see him when I left her at the front doors of the hospital with her walker before parking the car, rather than have her walk so far.

I asked her to wait right where she was, but she kept rolling toward the main doors of the hospital. I wanted to park the car and come back to where she was; I asked her to wait. She kept moving forward. How annoying.

It’s a transition. Slow down and make sure that she’s completed tasks safely.

“Let’s get you seated on the walker over to the side,” I said.

She sat down on the walker seat. I put the brakes on.

“I’m going to take your purse,” I said.

“No,” she said. “I’ll keep it with me.”

“I’m going to take it,” I said. “We don’t know who is around here.”

My brother thinks they let street people sleep in the waiting room of Emergency. Street people in the country? I don’t really get that.

I took her purse and went to park the car, concentrating on details. I couldn’t quite see her from the pay station, but I knew she must be there. And she was. She waved as I approached.

“Who’d have thought, after everything you and I have been through together, that we’d end up here, eh?” I said, thinking it just wasn’t that long ago. None of it was.

Everything, meaning birthday parties in the backyard, Halloween-costume tantrums, scrapped knees, all the Christmas turkeys. And now this.

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Normal History Vol. 193: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

I had a strong urge to get out there early to tell him about the urinary-tract infection messing with his brain, to let him know that he would be OK. That he was going to come back to normal. I got there just before 9 a.m. carrying a big portfolio. He was dressed, sitting on the edge of his bed with a cup of coffee, facing the other way.

“Hi, Dad,” I said, leaning the portfolio against the end of the bed. He didn’t respond. I came around, in front of him. I didn’t want to speak too loudly with three other patients in the room.

“Hi, Dad,” I said again.

He turned, his face brightening. “Hi,” he said, cheerfully. “Did you enjoy your birthday party?

My birthday is in August. Christ. I sat down at the foot of his bed, thinking about what I’ve read about delirium, about gently returning to reality.

“It’s your birthday,” he said.

“No,” I said, smiling. “This is from dreamland.”

“Oh,” he said. “It’s not your birthday?”

“Nope.”

“No party?”

“Nope.”

He told me about the party. It was in a very large impressive place and I was talking to lots of important people and he wanted to talk to me. He asked someone where I was and they said I was talking to impressive people and Dad was trying to find me, but someone tied his hands to his chair and then they glued his shoes to the floor. He looked down and realized he was wearing a hospital gown and that he shouldn’t be at my big important party with impressive people and right then, I walked in. I don’t think I’ve ever felt myself to be more exactly in the right place.

He was sitting on the edge of the bed in stocking feet, and I noticed fluid on the floor. Bad combo. I went and got some paper cloths off the cart in the hall to sop it up, pushing the soggy mess under the bed.

I explained the infection and asked if anyone had told him what was going on. No. He recalled the incident from the day before, but thought it had occurred an aircraft carrier. I told him that we weren’t going to spend a lot of time reviewing things that weren’t reality. He seemed part way in both worlds and made a comment about being able to choose.

“No, you won’t be choosing,” I said. “The antibiotics are going to keep working, and you will return to normal.”

“So you’re telling me that white car outside isn’t sliding sideways down the hill towards us.”

I turn to look. “No, the car is parked. Totally stationary car. It’ll take a few days for the drugs to rid you of the infection and you just need to rest and you don’t need to work so hard to figure out what is happening.”

“So you’re telling me that I have an infection that is causing me to experience things that are not reality and that I don’t need to struggle with what is real and what isn’t.”

“Exactly. Perfect description. You don’t need to struggle.”

“So basically the pill is going to deliver a load of sand to put on the road up there and that car will stop sliding towards us.”

I laughed. Perfection! So much like my Dad, so quick and funny.

“I brought something for you to look at, to brighten up the beige and baby blue of the hospital scene,” I told him. “One of Mom’s paintings.”

I brought it out and he was thrilled. He gets so much pleasure out of her paintings.

“I’m not going to leave it, but we can look at it while we visit,” I said.

“Now this makes sense to me,” he said.

We discussed what a great painter she is and I pointed out a section in the bottom left and he talked about how he was amazed at the ease with which she responded to nature. He responds beautifully, too, but differently.

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Normal History Vol. 192: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

A Public Apology to the Ladies of the Bakery

Continued.

In my mind, driving home in the dark, I imagine a guy—not my dad—with untied work boots and a bullhorn getting out of his old Ford truck, leaving a woman with damp curly red hair on the passenger side sobbing, her hands covering her face. Perhaps Catherine is embarrassed—maybe she knows where this is going. She’s overwhelmed by the non-stop antics of a guy with long history of trying to solve his problems with a bullhorn. She begged him not to do what he’s about to do.

Catherine is worried that he’s going to trip over his bootlaces as he pulls himself onto the truck; she taps on the inside of the windshield, pointing at his feet. He has no idea what she’s trying to tell him.

He switches on the bullhorn, making that squelchy-squealy sound. He taps the bullhorn with his index finger—clunk-clunk-clunk—before announcing, “I owe the ladies of the bakery a public apology.” He clears his throat. “To the ladies of the bakery, I’m sorry, I didn’t know you baked the cakes and made the pies in-store. I’ve shopped here 20 years, and I know you all by sight, if not by name. I’d never met a Zelda before. To the ladies of the bakery, I apologize. I didn’t listen when you told me whatever it was you said.”

In the back of the store, behind swinging doors where the paint has been worn down to the wood by 20 years of buttery palms and strong arms carrying trays of bread baked in-store—not trucked in from Saskatchewan—for men who solve their problems with bullhorns that women can’t hear. Twenty years of pushing and holding doors open.

At the front of the store, in the parking lot, we have ourselves a bona-fide situation. In his misguided attempt to apologize, his words go unheard by the ladies the bullhorn addresses. He climbs off the hood, gets back in the truck and slams it into reverse, cursing loudly, over and over and over again, at Catherine.

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Normal History Vol. 191: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

I am in a songwriting project with someone I respect. It’s a secret. I mean, he didn’t tell me to keep it a secret. Maybe he’s telling people. I don’t know. For me, it’s a secret.

Hey Name,

No idea how this will fit with the music. This probably isn’t how song lyrics usually arrive on your desk, but let’s see how it goes. It will become shorter in the next stage of singing/editing.

A Public Apology to the Ladies of the Bakery

This comes from visiting my parents on Sunday; they live about an hour out of town. They are very old, but they have all their marbles. My dad and I, we have a tradition of going to the grocery store to buy a BBQ chicken for dinner. My mom makes a salad and heats up three rolls.

So I’m at the grocery store with my dad, and I see a big table of nice-looking pumpkin pies, $2.88 each. I ask my dad if he thinks we should get one.

He says, “Your mom likes pumpkin pie.” But I know she doesn’t like things to happen that she isn’t expecting, things she can’t control. I decide to take a chance on the pie. Her reaction was basically negative.

“Who’s going to cut it?” she says with quite a lot more concern than the situation warrants. The subtext being: This pie is a problem for me on a level that I don’t understand, but I am going to allow it to manifest in the form of making it seem like someone else has done something wrong.

“I’ll cut it,” I say. She’s 92. He’s 87.

We’re eating the pie—we all like it. My dad mentions something about it probably coming from Saskatchewan on the back of truck. To which I respond, “I think they made it there, in-store. I think it said that on the $2.88 sign.”

“I have shopped there for over 20 years,” my dad says. “But I don’t think I’ve given the ladies of the bakery enough credit. I think I owe the ladies of the bakery a public apology.”

To be continued.

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Normal History Vol. 190: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

“Put it on the back of the top shelf,” my mother said. “Don’t torture yourself.”

I thought maybe she meant my problems with my job, earning a living. Later I wondered if she meant my father. What I can’t get from him, the thing a daughter needs from her father. A morsel of validation. And when I am at my best, I don’t bother seeking it. But because I was rattled, involved in so many projects, I told him about them: “I give a lecture in university classrooms, can you imagine that, Dad?” And, I admit, I wanted him say, “My my.” Or something; something other than the emotional shrug that felt like, “Why would I be interested in what you are doing?

This is not essentially malicious on his part. It is how he is. How his brain works. How he developed as a child, for whatever reason. He has great qualities, but as his daughter, it is not so great, has not been so great, as it turns out.

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Normal History Vol. 189: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

A female body can love profoundly. What he wanted was to have sex with the least amount of involvement possible, and he basically told me that at the very beginning and I thought it might work, but it didn’t. Not for me. It may have been great for him. He said it was. I’d agreed to be nobody. A female body. Available. If a woman does that, that is what she is. Nobody. A man will not care about that woman. This is why women try to get guys to pay a price that, to them, translates into being valued. Buy dinner, give gifts, phone when they don’t want to phone. If a woman doesn’t make a guy do these things, then she’s just a body. 

It’s all just too fucking stupid and destructive. Hopelessness in a world where one can love profoundly.

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Normal History Vol. 188: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

Disconcerting is what it was, but I wouldn’t come up with that word until later, standing at the kitchen counter grinding coffee beans for a cup of decaf. I googled “Jonathan Franzen” and found an interview with a photo of him. The interview referred to the monumental nature of a novel I’d heard of. Corrections. This reminded me of a similarly titled novel, one I’d spontaneously ripped in half while I was reading it. This is the only time that’s ever happened. And then when I next saw its author, which happened to be at my own book launch, I told him about it. How his book was the only book I’d ever spontaneously ripped in half while reading it.

I recalled a woman at the gym talking about the way Franzen constructed characters. The woman’s blonde ponytail swung aggressively as she ran on the spot. She had been enthralled by the way he wrote about people and their interconnections.

I’ve bumped into the blonde woman twice in grocery stores. Once, she’d just returned from her honeymoon. So there was that to talk about. And then again a year later, when she was noticeably pregnant, without make-up, telling me when the baby was due. She joked about the next time we’ll bump into each either, how she’ll be pushing a stroller, as if the milestones in her life were the only thing of interest to either of us.

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Normal History Vol. 187: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

Martin got up, put the book on the wicker chair and went to the kitchen. The Man Without Qualities by Robert Musil. Nadine picked it up, sat in the chair and flipped through it, trying to recall the story. Its pages had gone yellow since she’d last had it out. Martin returned with the panini on a big white plate.

“You didn’t say what you wanted on it, so I got a little of everything,” he said.

Nadine laughed, recognizing the very male nature of his decision. A woman, she thought, would be more likely to err on the side of a specific sandwich with limited additions, thus lessening the chance of going wrong. As she awkwardly put together her comparative philosophy about men and women sandwich-buyers, she started to remember a little bit more about The Man Without Qualities. She was in her early 20s when a boyfriend had encouraged her to read it. She’d been dipping into philosophical fiction, enjoying Kafka, discovering Camus.

“Thanks Martin,” she said, handing Martin The Man Without Qualities and taking the plate. Martin could have said you’re welcome and now Nadine realized that he didn’t, as a rule. This reminded her that getting to know someone took time, time to notice such patterns and then, the trick, not to ignore what the patterns meant.

“Smoked meat?” she asked, inspecting the cross section between the focaccia.

“I hope that’s OK,” he said. “It’s excellent.”

Nadine laughed. “You had one?”

“Absolutely,” Martin replied. “Are you kidding? And there’s only so much you want to add to a smoked meat sandwich, when it comes right down to it.”

“So true,” Nadine said and took a bite.

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Normal History Vol. 186: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

In the mid-’80s, David gave me a lot of great albums by bands he’d found out about when he squatted in London in the very late ’70s. I was introduced to punk rock by way of X-Ray Spex, Slits, Poison Girls, Raincoats, Au Pairs and Crass. Most of the bands he listened to had women in them; the exceptions were the Clash, Sex Pistols and Gang Of Four. Often David had stories to tell about seeing these bands live. I think he saw Gang Of Four on the back of a flatbed truck at a No Nukes rally. Several years ago, Mecca Normal was playing an afternoon event at a house in Battle Ground, Wash. A member of Gang Of Four was there, but we didn’t know it until after, when he came up said he liked us. What a thrill!

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Normal History Vol. 185: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

I was not yet a singer in a band when I heard the Raincoats, but I wanted to be. I took a cassette of this song and drove my ’74 Corolla down to the waterfront in Vancouver, near the docks and industry. I stopped in the middle of a large, isolated gravel lot and turned on a secondary tape recorder while this played on the car stereo. I recorded as I sang along, feeling like a total idiot. I also sang along to X-Ray Spex’s “Warrior In Woolworths,” but I did not like doing this nor how it sounded later, at all. At our first rehearsal, David took me out onto the tiny balcony on the back of the old wooden house he lived in across the alley from the Value Village on East Hastings in Vancouver. He handed me a potted plant and told me to chuck it onto the cement pathway leading from the house to the alley. I did.and then we came back inside and he said, “Belt it out!!!” I turned on the cassette tape recorder and we did our first song, “Conform.”

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Normal History Vol. 184: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

For the month of September, paintings and illustrations for David Lester’s MAGNET column Normal History are on exhibit for the Black Dot Museum Of Political Art at Northern: the Olympia All Ages Project. Panels from The Listener graphic novel are included in the exhibit.

Links to art pages updated every week in September.

The exhibition also features work by Jean Smith, including paintings by Martin Lewis, a character in her recently completed novel The Black Dot Museum Of Political Art. In his series “No Coal” and “Raven Coal Mine,” Martin makes political art in an attempt to prevent an environmentally destructive coal mine from opening off British Columbia’s pristine coast. In his abstract expressionist series “Nine Symptoms Of Narcissism,” Martin’s paintings reveal a possible cure for the incurable disorder.

Posted in DAVID LESTER ART | Leave a comment

Normal History Vol. 183: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 28-year run, with text by vocalist Jean Smith.

For the month of September, paintings and illustrations for David Lester’s MAGNET column Normal History are on exhibit for the Black Dot Museum Of Political Art at Northern: the Olympia All Ages Project. Panels from The Listener graphic novel are included in the exhibit.

Links to art pages updated every week in September.

The exhibition also features work by Jean Smith, including paintings by Martin Lewis, a character in her recently completed novel The Black Dot Museum Of Political Art. In his series “No Coal” and “Raven Coal Mine,” Martin makes political art in an attempt to prevent an environmentally destructive coal mine from opening off British Columbia’s pristine coast. In his abstract expressionist series “Nine Symptoms Of Narcissism,” Martin’s paintings reveal a possible cure for the incurable disorder.

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