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Texas Tea party Republican: Legalize pot, because everything God made is good
03.05.2015
10:21 am

Topics:
Drugs

Tags:
marijuana
cannabis


 
A Tea Party-backed Republican state rep in Texas has introduced a bill that would remove marijuana from Texas drug laws, and instead see the cannabis plant “regulated like tomatoes, jalapeños or coffee.” The bill was introduced on Monday by Rep. David Simpson (R) who has stated that “[c]urrent marijuana policies are not based on science or sound evidence, but rather misinformation and fear.”

His argument is a simple one, an elegant line of reasoning that I myself once used on my extremely Christian parents when I was expelled from high school after a track coach caught me and two of my friends hitting on bowl of hash:

“[E]verything God made is good.”

Right? Even an atheist might let that one slide, although my parents didn’t buy it for one single solitary second.

In a statement, Rep. Simpson wrote:

“All that God created is good, including marijuana. God did not make a mistake when he made marijuana that the government needs to fix. Let’s allow the plant to be utilized for good — helping people with seizures, treating warriors with PTSD, producing fiber and other products — or simply for beauty and enjoyment. Government prohibition should be for violent actions that harm your neighbor — not of the possession, cultivation, and responsible use of plants.”

Legalize nature, Texas!


David Simpson
 
Simpson told radio host Chad Hasty that he did not believe that there needed to be “a big government solution” to legalizing cannabis. He’s right and his plan is a remarkably straightforward way to end marijuana prohibition on a state level:

“We don’t’ need a registry or more bureaucracies. We just need to hold accountable for their actions,” he explained. “Under the new covenant, if you look at Romans 13 [in the Bible], the role of the civil magistrate is to control or to punish when you have harmed your neighbor. And I don’t want the civil magistrate telling me how to worship and when to worship and dealing with my relationship with God or even coming into my home and telling how to do this or that.”

He lost me a little bit with some of that Bible stuff, but he’s still, at root, offering his constituents—be they liberal, conservative or libertarian—something reasonable. Something they can all agree on even if they’re coming at it from different places. No one should be arrested for possessing or growing something found in nature. Why go to the expense to enforce totally unenforceable pot laws? Even people who don’t smoke pot stopped giving a shit about it a long time ago. It’s time for the state and federal laws to reflect the fact that times have changed—just a teensy tiny bit—since the days of Harry Anslinger and J. Edgar Hoover.

“I think this would allow parents to be involved more with their children, and teach them — like with coffee or tea or with water. Respect it, and know that it can harm us if we don’t treat it right.”

I kinda like this guy. For a Christian Tea partier from Texas, he seems pretty okay to me. Rep. Simpson, next time you’re in Los Angeles, look me up. I’ll totally smoke you out, dude…

Listen to the interview below from KFYO radio:

 
H/T Raw Story

Posted by Richard Metzger | Discussion
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Sweet dreams: Rest your baked head on a giant baggie of dank weed
03.05.2015
05:22 am

Topics:
Drugs

Tags:
home decor

Sweet dreams with the Giant Stash pillowcase
 
Just kidding, only an idiot would use a lumpy bag of dank weed as a pillow. This is a pillowcase called the Giant Stash, created by Steelplant, that looks like an oversized baggie stuffed with Sour Diesel cannabis. And, it really is big, measuring in at 17” wide by 19” tall.

Sour Diesel pillowcase
 
Sour Diesel pillowcase
 
If you do want to sleep on your marijuana for some reason, fret not, its creator thought of that too. They’ve included an “aromatherapy” pouch inside the pillowcase for your aromatic stash.

Giant Stash pillow
 
p.s. You’ll need to order a “pillow form insert” for your new cannabis pillowcase. Otherwise, it’s just a flat sack of nothing.

You’re welcome.

via ThisisWhyImBroke

Posted by Rusty Blazenhoff | Discussion
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Get high on the down-low: Hoodies with secret vaporizers
03.04.2015
05:51 am

Topics:
Drugs
Fashion

Tags:

vapRwear
 
Smoke’m if you got’em, but do it discreetly.

At least that’s the idea behind vapRwear, a newly launched apparel brand that makes “Smokable Hoodies.” The collar of each one of these sweatshirts for stoners is outfitted with a cord-like vape system, where the hoodies’ drawstrings usually are. You know, you put your weed in there.

vapRwear hoodie tip
 
vapRwear
 
vaprwear
 
I might be high but shouldn’t the vapRwear logo itself be more discreet?

 
via Incredible Things

Posted by Rusty Blazenhoff | Discussion
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Brutal, intimate photos depict the 1980s ‘heroin epidemic’ of the East Village
03.03.2015
03:21 pm

Topics:
Art
Drugs
History

Tags:
New York
photography
heroin


Boy on East 5th Street (4th of July), 1984
 
Anyone who’s hung out on Rivington Street the last few years might be surprised to learn that the East Village was one of the scariest parts of New York just a few decades ago. Not for nothing did one police officer in the 1980s label Avenue D “the world’s largest retail drug market.”

Photographer Ken Schles, who lived in the East Village in the 1980s, once said that it was “like a war zone.” Schles witnessed firsthand the heroin epidemic and the AIDS crisis happening all around him. His photographs, many taken from his bedroom window, depict the urgency and hopelessness of a neighborhood in crisis. 

Schles’ building, where he also had his darkroom, was in disrepair from the moment he moved in in 1978; just a few years later, the landlord abandoned the building, leaving tenants to their own devices. Schles led a rent strike and worked to improve the living conditions, as drug gangs moved in on the space.

Unlike the romanticized imagery produced by some, Schles’ frank pictures offer no illusion as to what is being depicted. Schles himslf is disgusted by such idealized portraits and offers a refreshingly honest and pragmatic take on the era—as he says, “I don’t pine for the days when I’d drive down the Bowery and have to lock the doors, or having to step over the junkies or finding the door bashed in because heroin dealers decided they wanted to set up a shooting gallery. ... A lot of dysfunction has been romanticized.”

Schles’ shots, many taken from his bedroom window, provide blurred and grainy fragments, stories to which we do not know the beginning, even if we can guess at the grim ending. Eventually Schles’ fellow artists and gallery owners banded together to rebuild the neighborhood.

In 1988 Schles published Invisible City, which has recently been reissued, and late last year he came out with a follow-up, Night Walk. Together they add up to an intimate study of a neighborhood that is no longer recognizable.

Invisible City and Night Walk are on view at Howard Greenberg Gallery on 57th Street until March 14, 2015.
 

Couple Fucking, 1985
 

Embrace, 1984
 

Landscape with Garbage Bag, 1984
 

Drowned in Sorrow, 1984
 

Scene at a Stag Party, May 1985
 

Claudia Lights Cigarette, 1985
 
More after the jump…..
 

Posted by Martin Schneider | Discussion
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A Dangerous Minds exclusive: Previously unpublished interview with Allen Ginsberg
03.02.2015
08:17 am

Topics:
Books
Drugs
Literature

Tags:
Allen Ginsberg


 
In 1977, Michael Rectenwald was a disenchanted pre-med student with a secret passion for poetry—Allen Ginsberg and his influences in particular. After a couple of years of covertly consuming, studying and writing poems, he found his interest in medical school had entirely evaporated, so he left school and dove further into writing, eventually sending a letter and some of his poems to Ginsberg himself. Not only did Ginsberg write back, he invited Rectenwald to apprentice him at the Jack Kerouac School of Disembodied Poetics at Naropa Institute in Boulder, Colorado.

Describing his fellow classmates as “a hodgepodge of Buddhists, failed and former beatniks, wannabe poets, acid trippers, mushroom poppers, Carlos Castaneda aficionados who thought they could fly, and many stripes of New Ager,” Rectenwald was thrown into an erratic world of “creatives” head first. He thrived, developing both a meaningful relationship with his mentor and practicing his craft, despite the frequently turbulent environment.
 

 
For example, one of Rectenwald’s “tasks” was watching over Billy Burroughs, Jr., son of William S. Burroughs. Traumatized by an unstable childhood and the death of his mother at the hands of his father, Billy’s mental and physical health had deteriorated exacerbated by alcoholism and a speed addiction his father had encouraged him to cultivate—the senior Burroughs saw drugs as a creative muse. Eventually Billy fled to Florida and died of cirrhosis shortly thereafter, though not before leaving a suicide note, which Rectenwald still possesses.

Eventually Rectenwald went back home and returned to school, this time for a B.A. in English from the University of Pittsburgh. His experience with Ginsberg, while formative, had been disorienting. In 1994, Rectenwald and Ginsberg met again for an interview, which you can read below. This is the first time it has run in print, and the warmth and the familiarity of their interaction is apparent as they meander from politics to the drug war to Buddhism to William S Burroughs.

Michael Rectenwald has since gone on to publish his own poetry and fiction. He has also taught, and produced scholarly work on academic writing, and the history of science and secularism (guess pre-med really did end up coming in handy). He hopes to complete his next book—on his experience with Ginsberg—soon.

M: Hello Allen.

A: Hi, Hello.

M: How are you doing?

A: Well, I just came back from a Chinese restaurant with an old painter friend whom I haven’t seen in New York in thirty years. Robert Levin who was a court painter for all the Beat generation and San Francisco renaissance poets like Kerouac and Gary Snyder and John Wieners. So he just arrived in New York for the big Beat generation festival at NYU and him and I went out to summer tonight.

M: and you hadn’t seen him in how long?

A: Well we’d seen each other in Seattle where he was, but I hadn’t seen him in New York, I guess for I guess thirty years or so, since the 60s.

M: Wow, and the Beat generation and legacy and celebration is taking place, actually as this interview is airing. I’ve got the schedule here in front of me and it looks like it’s quite of an array… everything from academic presentations to…

A: Art shows, particularly. There will be a reading at town hall with Gregory Corso and Ann Waldman and myself, Dave [inaudible], Michael McClure…

M: Ferlinghetti with paintings?

A: Ferlinghetti is both poetry and paintings. Almost everybody. It’s a show of… it began in the school of education and art. It began as an art show to show paintings by Ferlinghetti and Burroughs and water colors by Gregory Corso and photographs by me and Albert Franken and others.

M: Yeah, you’re quite photographer too. I don’t think everybody knows that.

A: There is a new big book out by Chronicle Books that is [inaudible]. It is back on the stands now.

M: I myself have been an admirer of your musical works. You putting Blake to music and you have several musical scores that you have done.

A: We have a lot of albums out now. It’s basically a libretto that I did with Philip Glass, Hydrogen Jukebox that came out on [inaudible] Records a couple months ago. A couple years ago, I had on Island Records what was called The Lion For Real with spoken poems with jazz backgrounds by a lot of very interesting musicians, the same guys that play with Tom Waits and sometimes with Leonard Cohen, [inaudible],  Mark Greenbo, Bill Frisell and others. So now I’m working on a fourth CD set of highlights of all my recorded stuff that has been put out over a thirty-year period.

M: That’s excellent

A: We have a lot of Blake, that you like, plus some things you haven’t heard.

M: Great.

A: That I recorded with Dylan.

M: Oh really?

A: It’s about a half hour of work with Dylan, my own songs with Blake or compositions we did together, improvisations. Then there is a live cut with The Clash. A piece of an opera I did with Philip Glass, a duet between me and Glass. There is a duet with…oh, let’s see, who is the drummer for “A Love Supreme”?

M: Oh, you mean from the Santana album?

A: Elvin Jones, the drummer.

M: Is the cut from Combat Rock is that The Clash or is that another?

A; Oh that is a live thing we did, it’s one of my songs. We had Combat Rock, actually with the album I sing on with their words, but this was my own. Someone did it at a club in New York, improvised, years ago when I first met him.
 

 
More after the jump…

Posted by Amber Frost | Discussion
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In 1976, pot-head pranksters made ‘Hollyweed’ out of the iconic Hollywood sign
02.27.2015
05:59 am

Topics:
Drugs
History

Tags:
Hollywood

Hollyweed
 

On January 1, 1976, Tinseltown’s iconic sign read “Hollyweed” after art student Danny Finegood and 3 of his college pals used $50 worth of dark fabric to transform the famous Hollywood landmark temporarily. They had practiced it first on a scale model Finegood had crafted.

It was more than a simple practical joke, Finegood considered it a statement on the relaxed California marijuana law that went into effect that day.

He also turned it in as a school assignment which earned him an “A.”

Hollywood sign up close
 

If you’re thinking of attempting a stunt like this, think again. On top of being illegal, it’s also quite difficult to get near the sign these days.

Two years after the intial alteration, in 1978, the Hollywood Sign Trust was established as a way of protecting the sign and the fragile hillside surrounding it. They’re serious about it too. In addition to a razor-wired fence, there’s 24-hour surveillance, infrared cameras, motion sensors, regular helicopter patrol visits by the authorities, and other high-security measures.

Back of the Hollywood sign
 
A folk song was written in 1976 about the sign-changing incident, by a man named David Batterson, with such lyrics as follows:

Hollyweed, USA
Now it’s finally safe
to take a little toke

Give it a listen:

 
via The World’s Best Ever

Posted by Rusty Blazenhoff | Discussion
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Dr. Timothy Leary, MTV VJ
02.27.2015
05:55 am

Topics:
Drugs
Music
Television
Thinkers

Tags:
Timothy Leary
MTV


 
In 1987, Dr. Timothy Leary paid a visit to MTV to be a guest VJ. He had a few more IQ points than some of their regular contributors. It’s a treat to hear him set up the video for Bowie’s “Let’s Dance”:

Now this is a real heavy one—I don’t know what this means. It has something to do with the third world and the exploitation by the first world and our hopes that the third world will get behind the camera and start becoming part of the cybernetic age. I don’t know. Watch it and make up your own mind. It’s a good tune.

Leary also talks about playing percussion on “Give Peace A Chance,” shows off some early CGI in the video for “Hard Woman” from Mick Jagger’s unloved She’s the Boss, and shares his thoughts on Nancy Reagan’s drug policy. It ends with a spectacular Ike and Tina Turner rendition of “Proud Mary” that’s worth sticking around for.
 

Posted by Oliver Hall | Discussion
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‘Smokey Sue Smokes for Two’ is the weirdest, creepiest, dumbest anti-smoking deterrent, ever
02.24.2015
07:50 am

Topics:
Drugs

Tags:
cigarettes
smoking


 
Keeping pace with our laughably inefficient abstinence-only sex “education” program, the drug education at my school was incredibly patronizing, to say the least. For chastity, we ripped pieces of Scotch tape off of one another; the metaphor became clear as the adhesive wore off—the more you sleep around, the less likely you will ever be able to romantically bond with another human being. For the drugs though, we had a more old-fashioned scare tactics—photos of black lungs, testimonials from former addicts and alcoholics (on video of course, can’t have the kids around anyone who has ever done drugs of any kind), statistics that were obviously skewed to make a joint appear as dangerous as black tar heroin and, etc.

Obviously it was disingenuous propaganda, but it wasn’t nearly as insulting to our intelligence as Smokey Sue Smokes for Two, the fetus in a jar with a doll head that smokes. It’s apparently supposed to teach you something about fetal distress? From a health teaching tools site that sells this abomination (for $163!):

Sue’s motherly instincts are questionable at best. There she sits passively smoking cigarette after cigarette, ignorant of how her vile habit is affecting her baby. Tragically Sue personifies many real-life mothers who don’t see that their choices influence the health of their babies. As Sue smokes each cigarette tar builds up around the gaunt fetal model and gradually tints the clear fetal environment a sickly shade of amber. Sue may not be able to think for herself but she prompts others to do plenty of thinking.

Seeing as even the youngest child understands the body is more complex—and pregnancy more involved—than a plastic fetus in a jar, I can safely say I don’t see this creepy fear-doll working. (And isn’t it kind of insulting to portray a woman as a literal baby-jar?)
 

Posted by Amber Frost | Discussion
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Street artist plants a coke-snorting Oscar statue in Hollywood
02.20.2015
11:02 am

Topics:
Art
Drugs

Tags:
street art

by Plastic Jesus
 
A life-size statue of Hollywood’s real golden boy Oscar, bent down on his hands and knees huffing lines of cocaine, was installed Thursday morning. The guerrilla art piece, dubbed “Hollywood’s Best Party,” is the velvet-roped handiwork of Los Angeles street artist Plastic Jesus. It was installed at the intersection of Hollywood Blvd and La Brea Avenue in Los Angeles (next to Elvis Presley’s Hollywood Walk of Fame star, no less) and was timed to appear just prior to the big Academy Awards ceremony on Sunday.

The Tumblr for Plastic Jesus states he is “inspired by world news events, society, the urban environment, culture and politics,” and that his “work combines humour, irony, criticism and unique opinion to create art that engages on many levels.”

This particular piece is a statement on drug abuse and addiction in Hollywood. On Twitter, the artist points to a Los Angeles Times article about the (apparent) fatal drug overdose of Parks and Recreation producer Harris Wittels:

 

Looking closely at the piece, it appears that the artist gave Oscar use of his custom black “American Excess” credit card to cut his lines of blow.
 
American Excess
 
Of course, the real blow here is that the piece has already been removed. Huffington Post reports that the art was up for just a few short hours before it was ordered out by the Hollywood Chamber of Commerce. The Plastic Jesus team quickly disassembled the golden partier and got him out of there before authorities could. If you’re hoping to catch a glimpse of the art in real life, according to an interview with the artist in Huffington Post, he’s planning to be place it outside of Urban Outfitters (at Melrose and Stanley) on Saturday.

via Nerdcore and Huffington Post

Posted by Rusty Blazenhoff | Discussion
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She got straight LSDs on her report card: Mountain Girl’s ‘Acid Test’ diploma

Mountain Girl
 
A graduation is something to be proud of, a milestone, and the sometimes very expensive piece of paper you get in return for graduating, while clearly not the one-way ticket to paid employment that everyone told you it would be, is at least a tangible reminder of all that effort you put in and the money you spent. Rarely, however, does the signifying document itself hold any actual monetary value, unless of course your diploma stands as testament to your Acid Test graduation. Something to be proud of, indeed!

In 2012, a rare diploma granted to “Mountain Girl” went up for auction in San Francisco and ultimately took in $24,255. The diploma was of interest to collectors for two reasons. For one thing Mountain Girl, born Carolyn Adams, was a one-time Merry Prankster and significant other to One Flew Over the Cuckoo’s Nest author Ken Kesey. She had a daughter with Kesey and later married Jerry Garcia with whom she had two more girls. The diplomas, illustrated by fellow Merry Prankster and cartoonist Paul Foster were also a rarity, having been given out to only a handful of people by beat hero Neal Cassady himself at what turned out to be an unintentionally small gathering of heads. According to the auction house that sold the artifact, they have almost never shown up for sale for obvious reasons.
 
Mountain Girl and Jerry Garcia
Mountain Girl and Jerry Garcia
 
Anybody familiar with Tom Wolfe’s book The Electric Kool-Aid Acid Test (or basically anybody who knows anything at all about the history of United States counterculture) knows that the Acid Tests were wild LSD-fueled parties thrown at Ken Kesey’s LaHonda ranch in the mid 60’s and I’m not going to get into any more description here. If you don’t already know about the whole trippy phenomena, use whatever device you’re currently on and look it up

The graduation ceremony was originally scheduled to be held on Halloween night, 1966 at Bill Graham’s Winterland in San Francisco with the Grateful Dead headlining, but the event was canceled when Graham caught wind of Kesey’s supposed plan to covertly dose every single person who showed up, either through the water supply or by coating all the surfaces in the building with LSD. The Dead took another gig at California Hall, which trumped the actual Acid Test Graduation that ended up taking place in a San Francisco warehouse with no running water. Mountain Girl was at the California Hall gig with the Dead and crew when the diplomas were handed out and she unceremoniously received hers after the fact. 

Here it is in all its glory. Click on the image to see it close up.
 
Mountain Girl Diploma
Mountain Girl’s Acid Test Diploma
 
Below, you’ll find footage of the Acid Test Graduation Ceremony from 1966. You can see the diplomas being handed out by Neal Cassady towards the beginning.
 

 
via Collector’s Weekly

Posted by Jason Schafer | Discussion
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