Showing posts with label The War on Drugs. Show all posts
Showing posts with label The War on Drugs. Show all posts

Wednesday, February 7, 2018

Grass Roots: the Rise and Fall and Rise of Marijuana in America - Emily Dufton (2017)


Full Disclosure: Emily Dufton is my friend and personal confidante, and she has been a contributor to Flying Houses over the past 5 years.  The things I have to say in this review may be different from the things other people have to say.  However, I am planning to do a podcast for this blog, for all of the things that are probably not prudent to print, or might be more entertaining in an audible format, and Emily is slated to be my first guest.  So due to that, I will try to avoid too many personal tangents.

I would not have read a book about the history of marijuana activism, truthfully, if Emily had not written it.  However, I would read absolutely anything she wrote, because she brings an intensity to the written word that I find lacking in others.  What Emily says matters, or what Emily says matters, matters.  I never read High Times.  I won't go into personal tangents here, as I said, but in carrying around this book, with its inescapable giant cannabis leaf on the cover, you sort of brand yourself.  This is precisely what makes Grass Roots so special, because it's about that.  It is about the nether region between pro-marijuana and anti-marijuana activists.  It is so rare in this day and age to read something and not feel like it is beholden to its ideologues.  

I enjoy reading history books, but they are often daunting in their length and predisposed towards excessive tangents.  Emily sticks close to the facts here, starting in the late 1960's and ending in present day, with crucial developments to the story and her theory occurring constantly.  Apparently Jeff Sessions has done something regressive lately.

At the heart of it, this book is really about NORML, and the Parent Movement.  Emily's portraits of Keith Stroup and Keith Schuchard, the respective leaders of each, are lovingly rendered.  Side note: it is too perfect that Marsha Mannatt Schuhard happens to go by Keith--how do you get Keith from that?

Take for example this brief description of Stroup after he went to work for Ralph Nader:

"Consumer advocacy was only one part of the equation, however.  The most important shift that occurred during Stroup's tenture with the National Commission on Product Safety was his transformation into a regular marijuana smoker.  There Stroup befriended Larry Schott, a fellow Midwesterner and heavy smoker who was serving as the commission's chief investigator.  As two of only a handful of staff members who weren't from the moneyed eastern elite, Schott and Stroup bonded immediately and began visiting each other regularly, getting high and going to see the Beatles' Yellow Submarine.  The rest of Nader's staff was experimenting with the drug as well.  While Nader was a straight arrow, Stroup, Schott, and the other commission members were not, and smoking together on the weekends 'created a bond among us,' Stroup remembered.  'We were fellow stoners daring to travel to new places in our minds.  We felt as if we were pushing the levels of our consciousness, and experiencing new realities.'" (35)

Grass Roots is also a story of Presidents, from Nixon through Obama.  It tells of how a congressional study (the Shafer Commission) found that it had less harmful effects than presupposed ("the drug's 'relative potential for harm to the vast majority of individual users and its actual impact on society does not justify a social policy designed to seek out and firmly punish those who use it.'" (54)), and was shunned by Nixon, who effectively ended Vietnam and started the War on Drugs.  Most of the book, however, centers around President Carter and President Reagan. 

Under Carter, marijuana was effectively decriminalized, until the so-called downfall of Peter Bourne.  This chapter is probably the highlight of the book for me.  There were three images that were indelible to me in this book.  One of them is the scene of the NORML Christmas party where Peter Bourne, a senior-level member (Special Assistant to the President for Drug Abuse) of the Carter administration, allegedly used drugs.  However, it was this turn of phrase that I remembered best:

"Bourne tried to defend himself, to no avail.  In an interview with the Washington Post the day after the accusations aired, Bourne denied that he had ever used cocaine.  'I won't say that I've never used marijuana,' he said, 'but not since I've been on this job.  It's just not my style.  I use alcohol.'  In another interview, with the Associated Press, Bourne said that pot and coke were 'everywhere' at the NORML Christmas party, but 'No, no, I was not snorting cocaine.'  He tried to cool the mounting pressure by agreeing to take a leave of absence and abandon his role as drug adviser, while staying on as a White House staff member.  But as articles kept criticizing Bourne for everything from his alleged drug use to putting on European airs, Bourne recognized that he couldn't remove himself from the scandal he had created.  Hoping to spare the president some heat, Bourne officially resigned from the White House on July 20, 1978, eight months after the fateful Christmas party with Keith Stroup." (116)

Earlier in the book, however, this was the first ridiculous image that struck me, of an infamous smoke-in:

"According to Norman Mailer, who attended the rally and wrote his Pulitzer Prize-winning 'nonfiction novel' The Armies of the Night about the event, Hoffman, Rubin, and Sanders planned to smoke marijuana and then 'encircle the Pentagon with twelve hundred men in order to form a ring of exorcism sufficiently powerful to raise the Pentagon three hundred feet.  In the air the Pentagon would then, went the presumption, turn orange and vibrate until all evil emissions had fled.'  As people sang and grasped hands, Sanders would call upon Zeus and Anubis, the god of the dead, to 'raise the Pentagon from its destiny and preserve it,' forcing its inhabitants to end the war and bring peace to America and Vietnam." (23)

From this early focus on the rising use of marijuana in the hippie-era, the book shifts to the backlash against it from parents in the late 1970's.  As noted, Emily's ability to write sympathetically from the perspective of the Parent Movement should be lauded.  However, one does not really feel too badly for them.  They do seem to be more "careerist" than any of the pro-marijuana activists.  And it feels cheapened because their whole career is based on being against something.  Still, their concerns are valid, with respect to head shops and the shameless marketing of pot-smoking toys to children and teens.  And most people seem to be in agreement that they should just be restricted to over 18, but instead it became the sort of linchpin on which the national attitude towards marijuana shifted.  It hits its apotheosis in the Reagan era, and Emily's account of how Nancy Reagan hijacked the Just Say No campaign is part of the sequence of events that make up the third indelible image:

"On April 2, 1982, Reagan traveled to Atlanta, where she addressed over 600 cheering fans at the fourth annual PRIDE Southeast Drug Conference.  Bolstered by grants from ACTION, it was the group's largest and most spectacular meeting yet.  Three days of adolescent drug abuse prevention activities were interspersed with student groups performing musical acts, movies, and grand buffets.  There were also celebrity guests.  Standing alongside actress Melissa Gilbert (star of television's Little House on the Prairie) and Dr. Gabriel Nahas, Reagan commended the movement's work.  'I'm very happy to be here among all you concerned parents,' she said, 'because, while drugs have cast a dark shadow in recent years, the parent movement has been a light in the window--it shines with hope and progress.'  Even as she stood next to actors and scientists, however, the first lady was the meeting's true star.  After her speech, the journalist Michael Massing reported, 'members of the audience hoisted her on their shoulders and carried her around the hall as if she had just scored the winning touchdown of a football game." (153-154)

These moments epitomize the book for me.  I've said pretty much all I am going to say, without spoiling anything further (though the book is history and effectively cannot be "spoiled," the depth of Emily's research often yields a surprise).  Soon after this, we will be publishing the second entry in The Vonnegut Project, and I hope to speak to her further about Grass Roots in an interview of sorts.  I would point out the one tiny small criticism I have--which is that, in perhaps three or four instances, certain events are referred to as if previously unmentioned--but I doubt this will bother or faze anyone else.  I only noticed what I thought was one typo--in a transcription from a judicial opinion--and even that may be an incorrect observation.  In short, Grass Roots establishes Emily as one of the premiere writers and thinkers of our generation.  I have always considered her that, and now perhaps the greater public will too.    
           

   

Wednesday, December 27, 2017

Top 10 Albums of 2017











I haven't done this in a long time but there are a lot of albums I really liked this year so I will to have name them:

(10) Big Thief - Capacity
(9) Prince - Purple Rain (deluxe edition)
(8) Charlotte Gainsbourg - Rest
(7) Japandroids - Near to the Wild Heart of Life
(6) Run the Jewels - 3
(5) Cloud Nothings - Life Without Sound
(4) Mt. Eerie - A Crow Looked at Me
(3) St. Vincent - Masseduction
(2) LCD Soundsystem - American Dream
(1) The War on Drugs - A Deeper Understanding

I have not done this since 2009 and haven't written about any albums since 2010.  The final posts included Wolf Parade and LCD Soundsystem, and their follow-up albums were both considerations for this list (Cry Cry Cry is a strong return, better than At Mount Zoomer, but weaker than Expo '86 and ultimately not in the top 10).  The new LCD is better than This is Happening, I think, but maybe just because of the vague promise of more to come from a great group.  Broken Social Scene also had their long-awaited follow-up to Forgiveness Rock Record, which I also think is an improvement.  Liars put out a new album that would also be in my top 20.  I would also put the Destroyer album ken on that list.  It would be an interesting top 20, but it would showcase my inferior musical tastes.

Note that these are my top 10.  They do not represent any critical consensus, and showcase the predictability of my tastes.  That is, if Stephen Malkmus had an album this year, it would likely be here.  Few would put the Japandroids or Cloud Nothings on this list, but they are literally my two favorite bands to arise in the 2010's.  When I was able to see them as part of a double bill at the Vic Theater in November (in a week that also included seeing the Breeders, Arcade Fire, and LCD Soundsystem--surely one of my best efforts, though I could have seen Slowdive, too), my dreamz came true.  Both of their albums were underrated by Pitchfork, which obviously is influential to my listening habits.  Truth be told Near to the Wild Heart of Life is a so-so album with two amazing songs, the title track and "No Known Drink or Drug," which I would put at #3 and #4 in top 10 songs.  I do think the new Cloud Nothings, Life Without Sound, is much better overall, but certainly their weakest effort yet.  I hope that doesn't make them lose confidence because they are one of the premiere bands working today and it's a great album, their last two albums were just slightly more amazing.  And actually, if you take "Wasted Days" off Attack on Memory and "Now Hear In" off Here and Nowhere Else, this album is equally good as those.

Capacity by Big Thief is my last addition to this list and it's a no-brainer.  They're a great new band.  It's a fantastic album.  The type of album that I'm glad Pitchfork champions as Best New Music.  I probably wouldn't be drawn to check it out otherwise.

I put Run the Jewels on here because I feel like I need to have a token hip-hop album (I would have put Danny Brown on it last year for Atrocity Exhibition, and his brief cameo on 3 places it here).  I listened to a few of the top albums Pitchfork named, and they were all fine.  I liked Tyler the Creator and SZA and Vince Staples.  In case you haven't heard them, I think half of the reason they are so critically-acclaimed is because they possess the Kendrick Lamar seal of approval.  At this point, Kendrick Lamar has to be the most critically-acclaimed musical artist in history.  I think he's fine, but he's not like, Prince.  (Though Bowie famously loved Kendrick's previous LP, also the #1 album of the year in 2015).

Many may complain that Purple Rain is on this list because it actually came out in 1984, but I listened to it a lot and it's one of the few albums that I think is a perfect 10.  The bonus tracks and remastered audio elevate it beyond the original product--specifically, the transitions between "Computer Blue" and "Darling Nikki," and "I Would Die 4 U" and "Baby I'm a Star."

Mt. Eerie's A Crow Looked at Me is probably the most depressing album of all time.  It's so beautiful and heartbreaking, instantly cementing itself as the most powerful thing that Phil Elverum has ever released, his most inspired work since the Microphones The Glow, Pt. 2.  Not an easy listen.  It bears more than a passing resemblance to Skeleton Tree, Nick Cave's emotionally devastating meditation on grief from last year.

It is quite different, however, from Charlotte Gainsbourg's Rest, another album framed by grief and the loss of a family member.  Rest certainly has a moment or two of soul-searing sadness, but it is infused with this weird catchy electro-pop sheen that turns the album into more of a celebration than an elegy.  Okay it's not exactly celebratory, but it is suitable listening for more situations than just burying your head in your pillow and sobbing.

I put the St. Vincent album on here because I love Annie Clark and pretty much anything she does.  We are close to the same age.  I love watching the covers she played of "Bad Penny" and "Kerosene" from that show in 2011 at Bowery Ballroom celebrating all the bands from Our Band Could Be Your Life.  She's such a badass, and she puts on a great show.  I thought it was really weird when she went out with Cara Delevigne and then Kristen Stewart and was often in the "Entertainment" section of the Google News headlines I would see: "Look at the crazy thing they did!  Are they engaged?" This album seems to be about her experiences as a pseudo-mega-celebrity and the emptiness and vapidity of modern culture.  It continues her streak of peerless work, though it lacks some of the vulnerability and emotional highs of her last two albums.

LCD Soundsystem is a little high, maybe, but it was the most anticipated album of the year for me (and akin to The Last Jedi, which I saw last night, it was amazing).  Really this is a very long album with many dark and moody stretches, but "Call the Police" is my 2nd favorite song of the year, and just as much of an instant classic as "All My Friends" was 10 or 11 years ago.  Mostly, I was upset that I missed the end of LCD Soundsystem back in 2011, and I do not begrudge them for changing their mind on the band as a going-concern.  Plus any album that basically exists because David Bowie said it should exist should get a pass.  Terrible album cover though.

But for me, it's no-contest: A Deeper Understanding is the album of the year.  I had never really listened to the War on Drugs, and I have since realized that their previous album is also a stunning achievement.  But this album is basically perfect.  "Holding On" is my #1 song of the year.  The production on this album is just so pristine that it even sounds magical coming from the flimsy speakers of my old Moto G android.  "In Chains" is arguably an even better song.  It should definitely win the Grammy for Best Rock Album, and it doesn't deserve to be boxed into that genre.