Categories
DAVID LESTER ART

Normal History Vol. 101: 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 27-year run, with text by vocalist Jean Smith.

On a Valentine’s Day long ago, I dressed up all sexy for the guy I was seeing. He refused to look at me. I made him dinner, and he didn’t say one word. We ate in total silence. His awkwardly averted eyes scoured the ceiling, the walls. He left, and I sat there crying, feeling like the biggest fucking idiot in the world. So much for trying to be sexy.

Of course it was different in the beginning, back before he needed to “prepare” before he got here, back when he raced over here without putting on his socks to get his hands on me. Somewhere along the way, there was a little transition. The wanting to get his hands on me as soon as he got in the door seemed different. He needed to “prepare” before he got here. I didn’t ask how, but when he arrived he was in a rush to jump into bed, me saying, “I wouldn’t mind talking for a few minutes, wouldn’t you like a coffee? And a little bit of foreplay wouldn’t go amiss.” But he was ready. Already ready. It felt like being with me any length of time was a big turn off. Any amount of time spent in my presence was going to diminish his interest. I was the thing that was destructive to his state of arousal. I pictured him sitting in his leaky car outside my apartment building flipping through the pages of girlie magazines. Preparing. OK. Ready. Going in. Get to the buzzer. Get upstairs. Yikes, there she is. Avert eyes. Think of the magazine, think of the girlies. Decline coffee. Move toward bedroom. Close eyes. Think of the girlies. Phew. Mission accomplished. And now for that coffee.

“Orange Sunset”
This sunset spreads orange
Across the sky
A lid pressing down
In Grand Central Station
Pickpockets look for tourist eyes
I am more obvious
White female
Ambassador of lust
He said,
“Come with me.
I know, you like to suck and fuck.”

I wrote this song after a two-month trip alone to India in 1985. I stopped in Colombo, Sri Lanka, on the way, thinking I’d take a boat to Madras, but there was a war, skirmishes off and on, and the boats between Sri Lanka and India were occasionally attacked, so I flew over to India. While in Sri Lanka, I stayed in an army barracks converted into a hostel, but because of the war, there was hardly anyone staying there. Somewhere, many corridors away, a guy coughing all night echoed through the nearly empty building. I was only there a day or so. I took a look around the city and was pestered by people wanting me to pay them for a tour. I actually didn’t have any Sri Lankan currency on me since I wasn’t planning on being there long, but this one guy was determined to show me a temple. I told him I had abso-fucking-lutely zero cash, but he wanted to take me there anyway. This wasn’t a calm, svengali, moustache-twisting, eyebrow-wriggling sort of proposal; this guy had bloody bandages on his feet, he was hobbling past things burning in the middle of the road, turning back to me, waving emphatically for me to follow him. And I did. There was an actual war going on, and for some stupid reason I’d flown to Colombo from Bangkok, lured by some cheap flight and a romantic notion of crossing the ocean in a fucking boat. I was 25 or so, but I still had another 15 years left of adolescent behavior in me. I kept wondering what the scam was, how was he going to get money out of me. At the temple he told me to take off my boots and leave them out-fucking-side, on the steps of the temple. On the street, basically. I was extremely reluctant to leave them there, and I probably shouldn’t have, but they were there when I returned, eyes adjusting to the overly bright sunlight after the dark of the temple, a small crowd standing around looking at the boots.

Someone in Colombo told me if I took the maximum allowable amount of cigarettes and booze to Madras, I could make a swell profit selling them to taxi drivers at the airport, so I bought a 26er of whiskey and a carton of Marlboros. The whiskey sold right away, but I guess the men of Madras weren’t Marlboro men. Now that I think about it, maybe the cowboy thing just didn’t connect with these skinny guys wearing lungis. I was stuck with this stupid carton of cigarettes strapped to the outside of my completely full packsack for three weeks, until someone finally wanted to buy them.

Back to the song. I was walking on a beautiful city beach in Colombo at sunset—families and couples strolling along—and this guy walked right up to me and said, “Come with me. I know you like to suck and fuck.”

Categories
GUEST EDITOR

From The Desk Of The Jayhawks’ Gary Louris: Music

Gary Louris and Mark Olson left Jayhawks fans in a lurch when they parted ways rather abruptly in 1995. Turns out Olson had tired of all the obligations and trappings that came with the Minneapolis-spawned group’s hard-won success. So he escaped to the Mojave Desert to ply a rootsier, salt-of-the-earth trade with the help of wife Victoria Williams. Ah, but time—and perhaps a little fiscal motivation—has a way of smoothing over the rough patches in many productive creative partnerships. (Unless you’re Bob Mould and Grant Hart.) And 15 years later, the Jayhawks have returned to us more-or-less fully intact. For how long, no one really knows, but they just did a string of shows to back the enhanced reissues of 1992’s Hollywood Town Hall and 1995’s Tomorrow The Green Grass (American/Legacy). With their sugary (if unrefined) harmonies, rugged intelligence and casual accessibility, the albums are to the alt-country movement what One Of These Nights and Hotel California were to ’70s SoCal country rock—even if the comparably modest sales figures may not indicate as much. Louris and Olson will be guest editing magnetmagazine.com all week. Read our brand new Q&A with Louris.

Louris: A general category, but let me be slightly more specific. I tend to love music that is unlike the music that comes out of me or what the band I am in makes. I love classical music, I love the Russians, I love Ravel, I love Bach, Beethoven, Schubert, etc. I also love music that tends toward the drone or the non-song, which is funny considering I am known as a singer/songwriter. But I love the music of Can, Neu!, Faust and the modern loops of Steve Reich and John Adams. This is the music I tend to listen to. This and the Zombies, of course. When I play music, it is my ’67 SG that makes me feel whole. And to play with the Jayhawks. That I love.

Video after the jump.

Categories
VIDEOS

Film At 11: We Are Trees

Virginia Beach, Va.-based We Are Trees recently released their debut EP, Boyfriend (Collective Crowd), and singer James Nee garnered instant comparisons to Grizzly Bear’s Daniel Rossen. Anxiety of influence aside, We Are Trees has a gorgeous sound all its own, replete with delicate vocal harmonies and trembling percussion. The video for “Sunrise Sunset” captures the band performing on a Brooklyn rooftop and provides little distraction from the richness of the track. Watch it below.

http://vimeo.com/18799979

Categories
TIVO PARTY TONIGHT

TiVo Party Tonight: Jessica Lea Mayfield, Janelle Monae

Ever wonder what will happen during the last five minutes of late-night TV talk shows? Here are tonight’s notable performers:

The Late Show With David Letterman (CBS): Jessica Lea Mayfield
The singer/songwriter is plugging new album Our Hearts Are Wrong.

Last Call With Carson Daly (NBC): Janelle Monae
R&B singer Janelle Monae is supporting Grammy-nominated debut LP The ArchAndroid.

Categories
GUEST EDITOR

From The Desk Of The Jayhawks’ Mark Olson: Songwriting (The Djembe)

Gary Louris and Mark Olson left Jayhawks fans in a lurch when they parted ways rather abruptly in 1995. Turns out Olson had tired of all the obligations and trappings that came with the Minneapolis-spawned group’s hard-won success. So he escaped to the Mojave Desert to ply a rootsier, salt-of-the-earth trade with the help of wife Victoria Williams. Ah, but time—and perhaps a little fiscal motivation—has a way of smoothing over the rough patches in many productive creative partnerships. (Unless you’re Bob Mould and Grant Hart.) And 15 years later, the Jayhawks have returned to us more-or-less fully intact. For how long, no one really knows, but they just did a string of shows to back the enhanced reissues of 1992’s Hollywood Town Hall and 1995’s Tomorrow The Green Grass (American/Legacy). With their sugary (if unrefined) harmonies, rugged intelligence and casual accessibility, the albums are to the alt-country movement what One Of These Nights and Hotel California were to ’70s SoCal country rock—even if the comparably modest sales figures may not indicate as much. Louris and Olson will be guest editing magnetmagazine.com all week. Read our brand new Q&A with Louris.

Olson: In Oslo, Norway, lives Ingunn Ringvold. I have played with a lot of drummers; obviously, since I am a folk/rock musician, that kind of thing happens. Nobody is as good as Ingunn Ringvold. She plays the djembe. She doesn’t rock the kit; she doesn’t need to. The djembe is her main groove. She is a wonder to behold. Ingunn has been in recording studios off and on her whole life. She has a beautiful voice and was the lead singer in a Norwegian choir that sang at the Nobel Peace Prize ceremony. She has a new album out called Tea Leaves. The Norwegian government is placing it in all the public libraries in Norway. When Ingunn plays the djembe, all the woman play along. You can look out and see that happening—it’s great!

Video after the jump.