Back when we were headliners and clubs regularly sold out. People in the audience actually call out our names at various points between songs. Pretty sure I can hear Kenny Mellman (The Julie Ruin) out there!
Not great sound, but it’s got other attributes.
“Pamela Makes Waves” features me on guitar including my (TM) yarding on the headstock instead of using a whammy bar. I kept the neck loose to enable a wider range of notes in the yarding.
I also play it on my back — in a dress! I broke a neck once in Pomona. Probably during the bashing it on the stage part of the program. I remember KSPC Nathan driving me somewhere to buy another neck.
Playing with my feet worked fairly well. At one point I carved tread into the bottom of otherwise smooth, right Hush Puppy so I could pick the strings. Leaving the left shoe smooth for sliding on the neck.
After the guitar finally cans out, I go in for a few strums on Dave’s guitar.
During that era, I had a buncha spare parts and tools on tour including a soldering iron.
The guy sitting on the side of the stage had his mouth closed for the previous songs.
David Lester (illustrator) saying a few words in acceptance.
1919: A Graphic History of the Winnipeg General Strike (Between the Lines Publishing) has jointly won the CAWLS ACETS (Canadian Association for Work & Labour Studies // Association) Book Prize (best book in work and labour studies). The book is a collaboration between the Graphic History Collective illustrated by David Lester.
1999, David Lester playing the Vancouver Folk Music Festival with poet Bud Osborn and bassist Wendy Atkinson. Published in The Georgia Straight (Vancouver), the caption read: “David Lester underscored the dark, edgy tone of Vancouver poet Bud Osborn’s words by playing his guitar with a knife.” Photo by Kevin Stratham.
The first time I heard Jean Smith’s ‘Family Swan’ I was out of commission for the better part of a day. No poem has ever slammed my family button harder. ‘I wish he’d make up his mind / Either I’m killing her or she’s never gonna die.’
KEXP write-up for Califone’s cover of “Family Swan” for Kill Rock Stars’ 30th anniversary.
Tum Rutili of Califone photo: Federicco Pedrotti
Rutili had this to say about the cover:
“I first saw Mecca Normal with the Go Team and Some Velvet Sidewalk in Chicago many years ago. I had my little mind blown and spent all the money I had on 7inch records at the merch table.
That show was one of those experiences that changed the way I looked at music and everything – It was microscopic, personal and massive all at the same time.
There is truth and heart, existential frustration and self-acceptance in this music that made me feel like I wasn’t so alone in the world.
It made want to move to the Northwest. I still want to move to the Northwest… Maybe someday.
anyway.. This song is a classic movie that is beautiful, sad, funny and bleak all at the same time.
This song is a really good book that breaks your heart with unwanted truth, but you can’t stop reading it and you can’t help but see the good and horrible sides of yourself and everyone you know and love in the world it creates.
This song is undeniable humanness. Thank you Mecca Normal. Happy Birthday KRS.”
Kill Rock Stars founder Slim Moon also shares his thoughts:
“Mecca Normal are important for multiple reasons. One is where they fit in the struggle for change. Another is that they show us the way to be committed to art and politics as a lifelong devotion. And especially they should be held as the shining example of how expansive a statement a minimalist approach can yield. Never has a band done so much with so little, artistically. Tim seems to get all of this and he also has emerged as a master of less-is-more, craftily done. He is perfect as a student of MN and this cover is perfect.”
“I’m sad to announce that my brother Ken Lester has died. Ken was nine years older than me but had a profound influence on my life. Through him I discovered the world of progressive politics, artists, musicians and activists that were trying to change the world. Ken was always extremely supportive of my own projects. Mecca Normal did our first Black Wedge tour with Ken’s help, and each night I accompanied him on guitar as he read poetry. He wasn’t a perfect person but he was smart, funny and generous. A man of a million ideas. Here is a photo of Ken, and me and our sister Barb.” — David Lester
“I doubt there would be a Mecca Normal without Ken. We played our first show opening for D.O.A. (at the Smilin’ Buddha) because he was their manager. Inspired and informed by the radicalism of the 60s, rock music and the beat poets, Ken made things happen. He had so much enthusiasm — a better world for more people was at the heart of it all.” — Jean Smith
Ken wrote the text on the poster for our 1986 group tour from Vancouver to LA on the bus he borrowed from D.O.A. We played 2 sold out nights at the Venue in Vancouver before we hit the road relying on Ken’s booking contacts.
“1 step EASIER than punk. 5 political dynamos. Hardcore poems wild vocals shredding guitars. Radical voices crushing MILITARISM smashing SEXISM. We want to set some wild hearts and imaginations free. We want to release a riot of emotion — opening up a new arena for activist resistance culture. Disintegrating CONFORMITY. And hey, it’s going to be fun too.”
Vancouver’s Windermere high school yearbook circa mid-60s
Kenneth Frederick Lester (May 5, 1949 – March 31, 2021)
Ken Lester was a journalist, poet, editor, publisher, punk band manager and a 60s/70s/80s radical. Friends described him as smart, funny, and a super creative person whose passions combined politics and culture. He passed away in his sleep, age 71, in Vancouver’s Downtown Eastside.
Ken was born in East Vancouver, and grew up in a house built by his father, a member of the Union of Canadian Postal Workers. His grandfather was at one time a member of the Industrial Workers of the World. During his teen years Ken amassed a great wall of books in his room, vociferously reading the Beats, Jack Kerouac, poetry by Allen Ginsburg and political and philosophical history while listening to Bob Dylan, Phil Ochs, Janis Joplin, Joan Baez and The Fugs. He adorned the walls of his room with a psychedelic collage and black and white painted shapes. He made drawings, rode a motorcycle and wrote poetry:
and they cried oh god and they cried
and I cried and it didn’t matter and the talking machines on the streets failed to recognize the death of love and beauty
Ken attended Windermere Secondary School, where he was known as The Beast for his long hair. During a campaign for school president, supporters chanted “beast… beast… beast…” as he went on stage to deliver a speech. Much to the relief of school officials he was only elected vice-president. After graduation he hitchhiked to San Francisco with his friend Bill Kelton, just in time for the Summer of Love in 1967.
Ken started classes at Simon FraserUniversity, which at the time was a hotbed of radicalism (referred to as the Berkeley of the North). In 1969, he would travel again to California, becoming involved by supporting the work of the Third World Liberation Front, a coalition of Asian, Latino, African, and Native American student groups in Berkeley. Energized, he wanted to continue activism back in Vancouver.
Ken became a journalist when he joined the collective that put out the Georgia Straight — one of the hundreds of underground newspapers across North America. He wrote a two-page spread called ”Sorting it out from Canada” about the need for youth to participate in direct actions such as campus shutdowns, guerilla theatre and the reclamation of space for use of all people.
Ken was involved in organizing The Clark Park Freedom Rally to bring attention to police brutality in East Vancouver.
1970 proved to be a pivotal year of dynamism for Ken when he organized a benefit concert to free John Sinclair, a Detroit-based poet / political activist who had been given a 10-year sentence for possession of two joints. He joined the Youth International Party (Yippies), a revolutionary, countercultural, anti-authoritarian, anarchist group. The Yippies founded the irreverent radical newspaper, The Yellow Journal, and Ken contributed articles.
“When I became active in 1970, no one in all of Canada was more inspiring than my comrade-in-bohemian-insurrection Ken Lester. He was an outrageously funny Yippie original, a brilliant underground journalist and a loyal, supportive friend.” — Activist writer David Spaner
Ken helped organize the Yippies’ Bay Sip-In, an action protesting the Hudson Bay Department Store’s refusal to serve people with long hair. The riot squad was called in to remove protesters. A Yippie People’s Defense Fund was founded to provide lawyers and other legal help to the city’s counter-culture community.
Then came The Blaine Invasion, where Yippies protested the U.S. invasion of Cambodia. It was meant to be a symbolic trip to the edge of the American border, but when the crowd of 600 saw no one there to stop them, they simply continued over the border. The invasion lasted two hours and it became an international news story.
In 1970, Ken married Peggy Simpson and they had a daughter named Richelle in 1971. Richelle was named after black activist Ruchell Magee. Ken and Peggy had attended his trial in California. Magee is currently the longest incarcerated political prisoner in the U.S., having been locked up since 1963.
Also in 1971, Ken helped plan the All Season’s Park, an occupation of the proposed site of a large Four Seasons hotel at the entrance to Stanley Park. Because of the protest, city officials relented and cancelled the project.
In advance of a Yippie protest called the Grasstown Smoke-In about police harassment of young people in Vancouver’s Gastown, Ken wrote several articles in the Georgia Straight. On the day of the protest a 10-foot joint was paraded around the packed streets with chants of “legalize dope.” Ken gave a speech at the protest in front of a crowd of 2,000. Police moved in on horseback swinging clubs, and a riot ensued. Ken and others were trapped in a doorway at one point as a policeman on his horse thrust his club at them.
Ken and fellow Yippie journalist Eric Sommer were subpoenaed to testify at the inquiry into the riot but they refused to reveal their sources and the judge reluctantly upheld their rights. The final report concluded that “the violence erupted only when the police intervened,” and that the police used “unnecessary, unwarranted and excessive force.” The judge also stated “In my opinion, Messrs Lester and Sommer, who testified at this inquiry, are two intelligent and dangerous, radical young men. Their true motivation is their desire to challenge authority in every way possible.” The inquiry made riveting front page news.
In 1972, Georgia Straight staff members occupied the office in an attempt to restore the Straight’s legal status as a co-operative. They published a strike issue called The Georgia Grape. Ken and staff members went on to start their own newspaper called The Grape.
In the mid seventies, Ken went on to edit a number of publications including the community newspaper The Mount Pleasant Mouthpiece, where he set in motion the building of a children’s community playground; Help Yourself, published by Vancouver Opportunities Program, and the cultural periodical Terminal City Express.
Around 1975, Ken became a vice-president of The Service, Office and Retail Workers Union of Canada (SORWUC), an independent feminist, member-controlled union. One member recalled, Ken worked on the union’s newsletter.
Ken and other activists started a study group, which read the anarchist classics. Out of these gatherings, Ken got the idea to start an international anti-authoritarian publication, later named Open Road. The first issue of Open Road newsjournal was born in 1976. The original collective included top notch writers, Ken, David Spaner, Bob Sarti, and a great graphic designer Bob Mercer. It was an instant success, with print runs reaching 12,000 but even more readers as copies were shared across the world.
Open Road covered a wide range of radical activities around the globe but also included film and book reviews, and reflected Ken’s original interest in the arts as resistance culture, which saw him travel to Jamaica and report on reggae and later witness the last Sex Pistols concert. Ken wrote enthusiastically about punk and reggae in a political and social context, clearly seeing the connection to radical culture. Open Road would publish for fourteen years, with an ever-changing collective, including Norman Nawrocki, Angie Graham, Alan Zisman, David Lester and Marian (brooke) Lydbrooke.
In the late seventies, Ken’s activism included prisoner rights and justice support; the Betsy Wood and Gay Hoon trial; hosting a speaker from the Spanish anarcho-syndicalist union The National Confederation of Labour (CNT); a campaign to Free The Murrays, imprisoned Irish activists; the fight against a city anti-poster bylaw; and an anti-nuclear Rock Against Radiation concert that was a success despite the city denying a permit. Ken and other organizers feigned not knowing the permit was denied. When the concert started in front of thousands of people, city officials just let it go on.
In 1979-80, Ken edited Public Enemy, a punk rock focused newspaper. In 1981, he helped instigate the Open Road international political poster exhibit in Vancouver.
During this period, in 1979, Ken was hired by Vancouver punk band, D.O.A. to be their manager. He booked the band’s first North American tour and designed the cover of their first album, Something Better Change. Over the course of nine years, Ken toured with the band around the world, and instigated many of their political releases, including a Free the Five benefit EP (1982); General Strike, a 7” at the time of mass labour strikes (1983); a benefit EP for striking British miners (1985); and an anti-expo EP called Expo Hurts Everyone (1986). During this time he also worked with other bands and artists such as Jello Biafra and was once asked by The Red Hot Chilli Peppers to be their manager but he did not pursue that opportunity.
Ken, in a 1982 interview talked about the role of art in social change:
“The reason why I think it’s important to be involved with rock music right now is that it’s the only area — not the only area, the arts, culture is the only area — where you can approach people where they have an open mind. They are coming to see you because they have an interest in what you’re doing so they’re open to it — at least listen to what you have to say. If you’re into politics nobody wants to listen to more lying politicians, nobody is interested in listening to the latest manifesto, but they will come and listen to music and will see art and will be affected by that art and that opens their minds so they become more expansive and exploratory in their daily lives and perhaps change the way they view the world.”
Ken booked the first Black Wedge Tour of mostly anarchist poets and musicians (Mecca Normal, Rhythm Activism, Bryan James, Dave Pritchett and Ken) in 1986, travelling down the west coast after two sold out shows in Vancouver. Ken read his poetry accompanied on guitar by his brother David. Ken also wrote the tour poster text:
“1 step EASIER than punk. 5 political dynamos. Hardcore poems, wild vocals, shredding guitars. Radical voices crushing MILITARISM, smashing SEXISM. We want to set some wild hearts and imaginations free. We want to release a riot of emotion — opening up a new arena for activist resistance culture. Disintegrating CONFORMITY. And hey, it’s going to be fun too.”
1987 was another significant year for Ken, when he came up with the idea of a multi-staged non-stop evening featuring film, animation, poets, social justice displays, and ten bands called the Intens-i-thon, a forerunner of the Lollapalooza tours of the 1990s.
When Beat poet Michael McClure, accompanied by The Doors’ keyboardist Ray Manzarek, performed in Vancouver in 1987, Ken opened for them reading poetry with his brother David on guitar.
When the opportunity to be involved in a feature film came along, Ken dived in as a co-screenwriter for the cult classic Terminal City Ricochet (1987), which included performances by Jello Biafra, Peter Breck, D.O.A.’s Joe Keithley and was directed by Zale Dalen.
Ken returned to performing his poetry in 1989 with guitarist Dave Gregg (D.O.A.). During the 1990s and beyond he kept a more low key profile, amassing his collection of books, travelling to India, and attending political and cultural events.
Ken Lester lived during a remarkably fertile time of radicalism in Vancouver, building on the left-wing tradition the city already had. He was lucky to work with gifted writers, organizers, musicians and graphic designers who shared a creative chemistry and a desire for social change.
Ken is passionately remembered by friends for his positive contribution to social justice in Vancouver and beyond and his generosity and support for the work of others, and his ability to bring people together. With friends, Ken was always up for long political and personal conversations about projects and dreams.
As activist-artist Norman Nawrocki put it, “He was the best of Vancouver’s counter culture, a giant, a warrior, a creative, spirited soul who helped make the city a better place to live, helped put it on the anarchist world map, helped make it stimulating, helped raise issues and contribute to debates, and certainly broke ground for the politicization of the punk music scene.”
Mecca Normal’s Jean Smith sums up the feelings of many, “Ken made things happen. He had so much enthusiasm — a better world for more people was at the heart of it all.”
Ken is survived by his daughter Richelle, brother David (Wendy), sister, Barbara (Rick), ex wife Peggy Simpson (Bill). Pre-deceased by his parents Gertrude and Fred Lester. He will be cremated and his ashes scattered at a future date.
The last words go to Ken, from a poem he wrote in 1987:
if change is insecurity and freedom confusion… If rebellion is danger and revolution chaos…
8. Rolling Stone magazine feature on Riot Grrrl with a playlist of 23 songs including Mecca Normal’s “I Walk Alone.”
9. “1919” is used in courses at the University of the Fraser Valley, University of Winnipeg, Mount Royal University (Calgary) and the University of Toronto.
10. The thrill of hearing Jean interviewed on CBC’s q by Tom Power about her painting. Mecca Normal’s “Art Was the Great Leveller” and “I Walk Alone” are broadcast.
11. In the spirit of 1919, me and the Graphic History Collective donate our CAWLS Book Prize money to striking Winnipeg workers (Winnipeg School Division bus drivers and Stella’s restaurant workers) represented by UFCW Local 832.
12. New edition of Celebrate People’s History: The Poster Book of Resistance and Revolution (The Feminist Press), includes my poster of Paul Robeson.
13. “1919” is shortlisted for the George Ryga Prize for Social Awareness in Literature.
14. Completed #600 in our weekly column in MAGNET Magazine (thanks Eric Miller). The column is an online collaboration (text & art) with Jean Smith.
15. Seeing an impressive feature film version of ‘Ridge’ (about a battle during World War One), that my partner Wendy Atkinson programmed as part of the Chan Centre for the Performing Arts‘ dot com series. It was filmed in 3 days in nooks and crannies all over The Chan. The Globe & Mail picked it as a “favourite of the year.”
16. Completing 3/4 of my graphic book on Emma Goldman.
17. Jean’s continued recognition for her painting with interviews by artist / writer Kross D Kross D; The Art Newspaper; The Tyee (by novelist Kevin Chong); and for The New York Times Magazine (to be published Jan. 10, 2021).
18. Pages of “1919” featured in Provins Literary Magazine (Sweden). The pages were selected by Swedish cartoonist/illustrator Mats Jonssons.
19: Mecca Normal’s “Throw Silver” is a K Records song of the Day on Spotify.
20. More positive reviews of “1919: A Graphic History of the Winnipeg Strike”.
21. And… most exciting….bearing witness to the INCREDIBLE response to Jean’s paintings. An overwhelming, stunning achievement on her part, and art.
DISAPOINTMENTS (thanks Covid):
22. Pacific northwest shows with Bikini Kill (cancelled, but they are re-scheduled for 2021). Urgh.
23. Invite to the Frankfurt Book Fair (cancelled).
24. Invite to speak at a symposium on Emma Goldman at the University of Toronto (cancelled).
25. My poster design/art (climate change theme) for the 15th annual Montreal International Anarchist Theatre Festival (cancelled).