forbidden fruit

“There is a war between the ones who think there is a war and the ones who think there isn’t.”   –Leonard Cohen as remembered by the author

***Context: the writer lives in Oregon while their brother lives in a state that continues to prohibit the recreational use of marijuana. The author’s brother has thereby requested a vape pen to be mailed to him. Interestingly, the author just finished _Chronic City_ by Jonathan Lethem which his brother mailed to him, as though a parallel piece of contraband, a conveyor of truth not allowed to leave Manhattan, and the connection between weed’s seductions: riding manic paranoid energy v. being at peace. In the book, Perkus Tooth conveys some truth about riding that paranoid mania into a place of letting it go, with lots of fun avant-pop conspiracies lacing the journey.***

So P___ wants a vape pen sent to him and we bought two cartridges and a pen for him. The one he wants we’ll send, and the other we’ll keep. The consideration of which has a lot to do with the fictional character of Perkus Tooth. To what extent is the flower of the brain that is paranoia an intrusive weed* or a delightful bloom. “Nothing crazy heady for someone who might experience anxiety.”

________________*PUN NOT INTENDED! Very euphoric, feeling personable but not equipped to socialize viz-a-vis normal expectations, very distractable.

Gentleman at weed store: “This has got the anchor for the eyes that will keep you going down crazy thought trains you can’t get out of,” or something like that.

Maybe it has something to do with whether you want one of two conceptualizations of reality validated–

EVERYTHING IS CONNECTED VS. EVERYTHING IS DISJOINTED

Weaving the conspiracy v. walking the dog

“This pot’s making me feel like bugs are crawling on me,” P__ says, “Or maybe a bug is crawling on me.” She considers her leg. “What’s this?” I’m too deep into this writing project to request clarification.

Another indication that Forbidden Fruit is made to destroy your attention span, flow with the disjunction that is America and not fall down the rabbit hole of why. Forbidden Fruit is the joyful outcropping, the apple of the garden. Everything is ok–but what happens when stimuli is not readily and beautifully at hand. What will discomfort amount to? And what of when you remember the greater context of this shithole society?

“Why bother? The world cannot be disenchanted, this was his new motto. Reside in whatever small cave of the real you can gather around yourself and a few friends. Walk the dog religiously, the dog has things to impart. Only watch the weather–when it stopped snowing, disbelieve his theories.”

Anyway I was having big thoughts while reading _Chronic City_–mailed to me by the same brother I am theoretically mailing this weed pen to–and listening to Car Seat Headrest after ***smoking*** Jack Herrer in a spliff.

“A ball on fire at the center of things” among other grandiose lyrics has a very Perkus Toothiness–there is an essentialness that it all may be boiled down to; it has to do with feeling connected, at peace, whole, full of meaning, feeling comfortable with where you are, in life and in the world–do you get there through next-level theorizing and dot connecting, or through thoroughly realizing who you are as an individual living in this world? It struck me how easily we may let this reality turn us schizophrenic–the academic and intellectual power shows us how we’ve inherited a racist system that still carries the weight of a legacy and purpose of destroying black bodies and the physical and structural power around us kills and imprisons black people. A cop accidentally enters a neighbor’s apartment at night and murders that neighbor in the confusion–this is all random and insane but the exact product of how this was all prescribed. The idea that putting the pieces together solves anything is the truly insidious idea. Letting that go is the real salvation.

“reside in whatever small cave of the real you can gather around yourself and a few friends. Walk the dog religiously, the dog has things to impart.”

P__ has a dog–will he get stoned and walk her?

These thoughts came to me as a fantasy of what I would say on a local slow-living bicycle podcast: “I could have continued to try to connect the pieces and find the ultimate means of sharing the accumulation of truth I had uncovered, a means uncorrupted by the power under the scrutiny of my lens, but the point is the society has developed precisely so its most prodigious critics become schizophrenic by the process of deciphering and revealing their truth; you perpetuate violence, you’re its victim, or you go crazy in trying to extricate yourself from that binary. All there’s to do instead is to find presence and flow and connection with the world and people around you. The bicycle serves as a symbol of that process–you know that apathy in the face of climate change is appalling / carnage in the streets from a car-centric urban reality is horrifying / experience of public space disjointed by class is unfair–the bicycle allows you to live and express that truth while having fun, getting exercise, and interacting peacefully and dynamically with your community.

The bicycle is like this weed–not a manic condemnation of a fucked up world but a beautiful acceptance that what is a war with those who think there is no war doesn’t have to kill us who think there is one.

We’re doing our best and deserve to be happy.

Coffee Cinex, pt2

I also wanted to describe the feeling of starting old habits. I have a very tame experience of addiction, involving the slippery combination of weed and tobacco. It was very surreal to visit with my English cousin in Bristol and see him chainsmoke spliffs, and do the same when he visited me in Portland. When I asked him about his weed smoking he said, “buy a bag of grass and smoke it til it’s gone.” I love getting stoned and writing or playing music, or really doing anything with creativity involved. I’ve always wanted to structure my life around it. However, when I bag of weed and am smoking tobacco, I’ll first have a productive euphoric series of getting stoned and then making something, and then building a tolerance and suddenly smoking a spliff every 90 minutes and becoming too hazy to accomplish anything, get depressed and see production level off entirely.

Perhaps, after quitting smoking for the better part of a year, I can recognize when I want a cigarette for cigarette’s sake, ignore it, and make this sustainable. Essential perhaps now I can be a grown up about it.

When I was coming back from the WinCo I was thinking about when I played music. It became clear to me that I was never good at writing and performing songs that would move people. I wrote songs for and performed a persona that I thought would move people. It sounds ludicrous to pretend, in hindsight, like I was doing a Stanislov embodiment of a character, and that I thought people would get it. At best, I had faith that what I was doing mattered, and that who I was in that moment was creating something that mattered, something that everybody would eventually get. On someone level I knew it was for my benefit, for me to eventually get who I was, and that I needed myself to fulfill these absurd pursuits, so I could know how it felt to be me doing that.

I am at that point of optimism–I just starting smoking cigarettes again, I just bought an 1/8 of weed, and I’m again posting to my wordpress about how it feels to be me smoking different strands of weed. This time I will make a habit of this. I will trick myself into a project that allows me to explore the vast world that is myself, using the delusion that doing so allows me convey something worth sharing that might describe what it feels like to be someone else.

The problem occurs to me that, as I have set it up, all of these supposed essays will be about Coffee Cinex. I would love to get this project supported through the donations of weed geocached in Southeast Portland but I have no idea how to initiate the actualization of such a fantasy.

I’ve described the ambition to journal full-time through the off season of my current profession. Retrieving weed in hidden locations in the city, smoking and writing about it sounds like a pretty ideal method, but, til summer’s over, I gotta go to work in the morning.

Coffee Cinex, pt 1

The moon hangs like the blade of an ax tonight.

I saw it as I got to Powell on my walk to WinCo and a clear line of sight to the East (by NE) made it appear, a perfect half with its open wedge ready to chop into reality at a 20 degree angle. It also occurred to me in that form because I had just smoked a mostly tobacco, partly herbal smoking blend with some broken up Coffee Cinex sprinkled in while listening to Saves the Day’s second album, and my senses yearned for a refreshing wave of synchronicity with which to make the difficulty late-night crossing of the four lane urban highway.

Of course, a moment of reckoning makes me realize that the song from which this line comes is on the song “All I’m Losing is Me” third full-length album, which I would not hear on my walk to WinCo. Of course, now I am listening to it because I am in my bed in the minutes after finishing the previous Saves the Day album my 32-year-old self was listening to.

If I were writing this on my phone it would be full of the laugh cry emoji.

But of course now I can’t confirm that the moon indeed still does hang like the blade of an ax tonight as I am inside, and in truth it has probably already risen further above the horizon so as to no longer seem to be on the verge of *SWOOP* then *CHOP* a grave canyon into which I could disappear or what have you.

A lot of splendid phrasings came to me on my walk, about where I live, how it feels to live here, and what myself and others do to occupy their time here. If only I could remember them all! The most clearly recalled one is only thanks to it being the opening line to a song a listened to a bunch at age 15 as it was the only song released on the website of my favorite band in anticipation of their big new album, after they got signed to Vagrant and showed their sonic versatile with an acoustic EP of tender almost folky ballads. I liked the song but hated and resented the album as a whole, as when it came out I couldn’t find a copy of it in the city of Santa Fe, New Mexico where I was on that much anticipated Tuesday, and so quickly it became popular in that there were other people that knew and liked the band.

I have employed a variety of writing strategy to wrangle the thoughts of a stoned walk, one being that I relisten to whatever I listened to while walking and getting stoned. However, the point of the walk was to buy some beer to drink while listening to the Tiki Cha Cha club at midnight, which is what I’m doing now (midnight:09), and I don’t want to listen to Saves the Day’s second album a second time in the span of one hour. I propose instead an alternative writing project: I continue to write about going to get beer from WinCo while listening to the Tiki Cha Cha club, and then, when it’s over, go smoke another spliff while listening to Saves the Day’s second album, investigate to what extent the moon appears tonight to hang as might the blade of an ax readied for swift and lethal descent, and if there was anything I left out.

As the host of the Tiki Cha Cha club presently narrates, “there’s more beautiful music for beautiful people just like you.” That’s a lie: he said it minutes ago and I transcribed it below the previous paragraph as it was very much in progress.

I’ve been drinking a lot, which is something I notice at the end of summer, as I celebrate the anniversary of my solar return in the moment of the year when the sun both culminates in intensity and noticeably seems to go away hours earlier, just at the moment we realize the summer, if it continued unabated, would overthrow reason and the day-to-day expectations we have of our society and each other. This late August we began to tear down confederate monuments by the dozen which is really great but instigated its own kind of horror and madness through what instigation resulted. Someone who likes to drink a lot doesn’t really need an excuse though.

Anyway: I ain’t making excuses. I drink a lot all of the time, and one of the times I like to get a little tipsy, if you will, is during the Tiki Cha Cha club, that Monday midnight KBOO phenomenon that takes schmaltz to John Waters levels, but without any explicit pinning down of what or for why. In “taking elevator to new heights” and making souflee of cheese, is this punning DJ simply the connossieur of an era when mainstream music was well-produced and symphonic, sincere and committed, and classic in a distinctly dated way at a time when every recording was both the participation in a distinct and passing cultural moment, but also the revolutionary attempt to heave culture forward.

These are questions I ask when I’m not simply wrapped up in the bossa nova instrumental covers of rebellious rock songs, dancing slowly by myself with images of Lawrence Welk melting behind a smoky haze with sunglasses on. My life is a real-time montage of someone following the script’s suggestions for being me. The arranging for Lawrence Welk’s piece “Drifting and Dreaming” finishes up as I fade through the history of the 20th century through the lens of this 100-year-old room. How many others sat up late, stared and typed in turn, paced, and thought about why here why now why this

My preference instead of leaning into this idea that I drink a lot and falling into the self-involved Bukowski fatalism of it, that it’s my personality and not my, is to see it as an element of what I do. One who fights who they are finds themself doubling done on the things that they were trying to avoid getting wrapped up in, as opposed to letting them run their course, and learning their important lesson.

I should note that I might normally having written this in my journal but I think I left it at someone else’s house. As you can see in past posts, journal entries have served as source material. Indeed, I would have loved to have sketched the moon as it hung like the blade of an ax tonight, but in truth the whole nature of this weed-review site is very much in flux. For tonight it is Philip K. Dick-style time machine in which I may use the Tiki Cha Cha club and this 21st-century laptop word processor to post-World War II noir myself into my own pulp existentialist hero in a time loop of his own making, in which I describe each narrative in the simplest terms in order to find the pattern and maybe there decode a reason why. Spanish guitar and vibes make the searching worth it, and as the woodwinds build with the strings lightly behind it’s almost as though the clarity is, if perhaps not inevitable, entirely beside the point. The strings surge and its 2/3s through an Almodovar film in which you realize the movie star was the supposedly dead mother all along and she raised him in the only way she knew she could: through film.

Well I almost hypnotized myself, but I didn’t, I just listened to the music!

I call bullshit if the host claims not to intentionally be playing with the sounds and tropes of colonialism, the problematics of reproducing an America where a white middle-class man can pick up the Hollywood recording of a movie symphony playing a harp-heavy arrangement of a stereotyped composition meant to sound “exotic,” and present himself as the international connosieur of culture. He knows what he’s doing and it’s at once a thrilling sonic voyage and the most outwardly boring part of my week. I usually put it on and immediately fall asleep. Sometime I buy Coffee Sinex on my way home and get stoned and write a blog entry in my weed review blog….

Where every night is 😀 Friday night and every morning is 😦 Monday morning. So we make the most of what we’ve got left as the world spins off its axis, where sometimes you just gotta step off…

I woke up at noon today after working too many days in a row. I had several engaging and lucid dreams. I am already wide awake and excited about the world, but the weed definitely helps. I believe it’s also clarifying something that is slowly becoming clear to me: the thoughts I have when I’m stoned are not thoughts that are important and need to be conveyed–they are thoughts that I have when stoned that feel important and like I need to convey them.

When I got to WinCo someone got my attention. They’ve been cracking down on people who live outside, and it seemed like the man among others there had just been kicked out. He held out 2 dollar bills and asked if I could buy some dog food. “There’s a can of Pedigree for 70 cents. Here’s two dollars, keep one dollar and thirty cents.” I gave him a dollar back and said I didn’t it and where the food was. He thought for a second and said, inside and then to the left. I realized it was a silly question, because through the main entrance (that forces an immediate right), everything is to the left, and I would find it anyway. I was just kind of anxious that I would get lost but really I was just stoned and everything was going to be fine.

The can was 73 cents but you’d have to be an asshole to dwell on that, and even more so to insist on giving him the 27-cent change. Most people wouldn’t acknowledge him, but of those who would I’m sure there’s a sizeable contingent that would ring up his food separate and give him a receipt. It’s cute when people consider themselves to be in a community, but to think our society at large is anything other than poorly repressed fascism blows my mind on the daily.

Blue Dream

There’s something about the shortening of days, persistence of cold, and wetness of earth and everything else that forces me to retreat this time of year. This which once struck out and made an imprint on the world transfers to nervous energy, toxic if ignored and let to fester. I am effectively unemployed at the moment as well, which does not help matters. In desperate need of money I could fetch a stranger’s snacks on my bicycle. But it is so cold and wet and the pay is abysmal, not worth it on so many levels.

And besides, I’ve convinced myself I’m completing a book, a work over two years in the making, about unemployment, individuality, capitalism, and the parks in the city I live. I’m making a delusional investment in myself and my work by not paying off my credit cards for a month or so. These difficult choices give our actions import and to our voice gravitas. Can you feel it? I’m going bankrupt communicating this to you.

I walked to the public discussion about the parks budget this past Tuesday, 50 blocks away, and smoked a spliff while listening to the State of the Union address, got sucked up into discussion of the city’s budget, and then walked home smoking another spliff. Oh budgets, the dread weighing on me, why must your opinion on things cease to dominate?

The Blue Dream in the spliff attacked the fear building in me. The city will figure it out. The parks will remain. It continued now slower, and you, you will find the money, and you will complete your book about the parks of this city.

Of course. It’s 2016. I could just ask the internet to give me money so I could focus on this. What glorious happy times you, Blue Dream, and I live in. What times indeed.

The next day I awoke and this Blue Dream-induced crowd-funding mania no longer captivated my imagination. How am I not just back to sincerely asking friends and family to buy my book on facebook, except that the internet takes 5-10% of their money? Yet I still earnestly did some research, but found it increasingly depressing.

I encountered one, later in the day, I believe with the return of this post’s protagonist, Blue Dream, that seemed interesting, and seemed to believing it was returning artistic creation to the pre-capitalist days of patronage. I read their about page and learned that crowdfunding is great for yuppie DC bureaucrats that decide they want to write internet-age self help drivel, or for well-established mainstream musicians with painted on eyebrows. This exciting news was accompanied by prose that did not successfully induce me to vomit:

Alright — it’s called Funemployment because it’s fun, but without a steady paycheck every two weeks, you’re going to need to find some way to make enough money to cover the expense of living.

I immediately copy and pasted this nonsense that was essentially selling its ability to sell an unsellable lifestyle into the working document for the master narrative of the book about the parks in the city I live in. Blue Dream was apparently taking me on a heady journey through the black hole where truth meets untruth. It involved watching a ted talk on the internet, an immediate red flag for my emotional health, but a sign that I obviously had no ability to look away.

You’ve dreamed of this day your entire life and have worked so hard to get to this point. Your 9-5 colleagues have wished you good luck and your boss has promised you an opportunity “if things don’t work out.” You have a small cushion in your bank account to hold you over for a little while, but not long enough to get too comfortable.

No one is less qualified than me to assess the relationship between money and the valuation of a piece of media. Money upsets me and I try to avoid it as best I can, which both means that I don’t spend any money on media (that isn’t second hand or the weekly hobo rag), and am shocked at the idea that anyone would want to spend money on something I’ve made. I get the argument of these things, that breaking past that credulity (you wanna buy my book?!) is the only thing stopping me, but I really don’t think that anyone wants to pay to read, for example, this absurdist review of a sativa-dominant weed strain, and that’s fine. If I wanted to do something that I knew I would get paid for I would be doing something else right now. And I’m not. Instead I’m still going with the theory that spending and making no money and following my own sensibilities is better than a double compromise with capitalism.

Thanks, Blue Dream, for showing me the way.

IMG_0602

Writing about Blue Dream in the basement from which the book shall emerge, against all odds and all good sense.

Strawberry Banana, III

A little bit ago I got stoned and watched Monday Night Football, which I forgot had existed, and I took some notes.    

All of the questions I had did not pertain to the world of the football game itself, and I felt like I was annoying my uncle asking, “What’s going to happen to Candlestick Park now that the 49ers aren’t going to play there?” “How long have there been black quarterbacks in the NFL, are there more now that it’s no longer just Warren Moon!?” “Are they really selling Navy identity to civilians by telling them to join Navy Credit Union? The navy man is obviously an actor pretending to be in the Navy—now so can you!”  

 
I didn’t realize how much my uncle was now not just a football fan by a Seahawks fan—he is the 12th man. I realized this when I asked if the whole idea of the 12th man—that the fans are so intense that it’s like they’re literally on the field in the form of an extra player—was either arrogant or delusional. He looked hurt. “It’s just an expression,” he said. I internalized my questions, took notes, and tried to compose a working essay:

 
The football with the commercials with the weed was too much stimulation. It made me think of Elizabeth Gilbert speaking of her new non-fiction work on creativity, and that there comes a time when you have to shoo away new ideas or else drown in possibilities.  I went to the room I was staying in that had TV and I decided I would pretend it was the early ’90s and that I was in my grandma’s house flipping through channels and settling on Full House. However, it was too excruciating to attempt to watch the show. I gave up and went to bed, watching a netflix as I went to sleep. 

  

 

Razz Jack

People were like, ‘Well, she’s got some good people twisting the knobs to help her break out.’ Now it’s been long enough where they’re like, ‘No one’s telling her what to do.’

I’ve been meaning to write an essay about the new Miley Cyrus album since the first day I heard it over two months ago. A lot of other things got in the way I guess, a 70+ day series of decisions of that pitted, say, wash the dishes against writing an essay about the new Miley Cyrus album with the dishes chosen. Doing a job that pays me. Watching the Aziz Ansari show on netflix. Singing “Bang Me Box” at my friend’s karaoke party.

Even today, I had wholly intended on writing an essay about the new Miley Cyrus album and instead did a deep clean of the kitchen, including a scrub and boil of the beer growlers, started a fire in the fire place, and swept and mopped the living room floor. It just became 5:10 and the second song from Miley Cyrus and Her Dead Petz is already playing, just finishing really, an impassioned plea she made on Saturday Night Live last month:

Don’t let them win

Don’t let them win

Don’t let them win

Don’t let them win

Don’t let them win

Oh, Don’t let them win

Oh, Don’t let them win

Don’t Let them win

Don’t get me wrong: the fire building, growler boil, floor mopping is not separate from the writing, inasmuch as one can separate the coffee preparation from the typing sit down that immediately follows. On that note I’m going to go get a refill—fully knitting the coffee into the tapestry of this work, which the razz jack’s got me all kinds of excited to get underway.

COFFEE!

Because of a faulty button this pill rip-off was only 20 bucks from grocery outlet when I got it this summer so I could listen to music while riding my bicycle. It is amazing—usb charged, blue tooth capable, radio playing—and I have been blasting Miley while riding my bicycle since September. Fun fact: I turned 30 the day before this album came out and I have done nothing as consistently as a 30 year old—other than smoke weed and drink coffee—than listen to this album.

So the third song is finishing up—I just went to google it to make sure it was “The Floyd Song (Sunrise),” before realizing that I am listening to the album on soundcloud on my phone and can just refer to the track list a foot from my hand—and since writing that I have restarted it from the beginning and taken a screenshot of soundcloud playing on safari for illustration purposes.

There are many places we could go right now with more or less coherence—the fact that the album was released for free on soundcloud, the miracle of a portable speaker I bought from grocery outlet for 20 bucks—but let’s go with Floyd, Ms. Cyrus’ deceased dog.

In the days following the surprise release of Miley Cyrus and Her Dead Petz I became obsessed with its mythology. Ms. Cyrus gave an interview with The New York Times to be released in conjunction with her hosting of the Video Music Awards, performance of “Dooo it!” with past and present cast members of RuPaul’s Drag Race, and, of course, the creation of the soundcloud supported mileycyrusandherdeatpetz.com. The interviewer describes Ms. Cyrus chain-smoking blunts and talking about how coyotes ate her dog when she was on tour and then being in the hospital in Oklahoma City and Wayne Coyne being there for her, then suggesting an eastern healer that allowed her to pull Floyd out of her lungs, place him on her shoulder, pet him for what felt like hours, and then let him float away INTO WAYNE COYNE! She actually said about Floyd’s transition into non-existence, “What he was to me, Wayne has become.”

  

Now that she was at peace with the death of her dog, Ms. Cyrus was able to move on, yet with the energy of Floyd her dear companion in the presence of Wayne Coyne. Additionally, the collaboration and newfound cosmic realization allowed her to further explore the artistic movement forward she’s been seeking since becoming an adult/enthusiastic weed smoker. The idea of a dead pet becomes a perfect expression of existential conundrums that are both childish and infinitely profound. There then develops a kind of trinity on the album between the abyss, which comes in many forms, sexual liberation, and getting hella fucked up, which all loosely tie back into wherever in the stoner imagination love, nothingness, and weed fuse where perception cannot fully voyage.

The sunrise insists on gladness
But how can I be glad now my flower is dead
Oh, sun, I see you happy
You made the morning dew
Now you’re showing me the truth
I don’t want to believe you

Ms. Cyrus chokes up delivering “I don’t want to believe you” in a way that invokes Coyne delivering a classic Flaming Lips almost-out-of-tune cracked croon, and classic early ’60s performative teeny bop pining. The refusal of the grieving to accept the simple lesson of the sunrise, the idea of new beginning made aesthetic, is the natural right and a beautiful expression of confusion and rage at the idea of death and loss. This song is an essential feeling in the fabric of the work, but stuck after the affirmative anthem that starts off the album

Yeah, I smoke pot

Yeah, I love peace

But I don’t give a fuck

I ain’t no hippie

and the song imploring Karen not to be sad, (the aforementioned “Don’t let them win”), setting up an abstract space-themed transition into what I have come to consider the album’s Sex Triad after a heavily tweaked sample of her saying “ok this is really fucking fucked up.” Her ’90s-style talking verse treatise against PDA—”the fucking goo”—implores to addressee of the song to “fuck her so [he’ll] stop baby talking.” Bookended by the anthemic beginning and end to the Sex Triad is “Fweaky,” which like many songs seems to point as much to the themes and songs of the rest of the album as much as it exists as a singular piece, with the simplistic slow jam breathy

Shit’s ’bout to get real freaky I can feel it
I hope you’re ready, I’m into whatever
Shit’s ’bout to get real freaky I can feel it
Don’t you worry, you won’t regret it

refers to an impending love session as much as it does to the next song, the standout track, in this author’s opinion, of the whole album, “Bang Me Box.”

There are a shit ton of ways to think about this album, including the obvious one that it falls into the tradition of the lush and epic Flaming Lips concept album, like The Soft Bulletin‘s loose and subtle feeling that it is the soundtrack to a movie that doesn’t exist, but whose plot can be divined by those either imaginative or stoned—or both—enough to meet the songs part way. Or like Zaireeka, which required the listener to acquire 4 stereos and three friends to play four CDs at the same time as an expression of awe toward the accidental, the magic both intended and not by combining certain forces—like psychedelic indie rock and images of a japanese woman battling robots, like Christmas and Mars, like Miley Cyrus making an album with Wayne Coyne which is actually amazing.

About “Bang Me Box,” I can only say, if you want to approach it openly, wanting it to delight, listening to it as loud as comfortable with room to move yourself, this will be the best song you’ve heard all year. Of you will also be required a sense of humor, which will also needed to be allotted to Ms. Cyrus, which I understand many will not. This author acknowledges that women, not to mention celebrities, not to mention outlandish performers, not to mention admitted partakers of a variety of drugs, not to mention former child stars, are generally not even given subjectivity, much less the benefit of the doubt that they know that something ludicrous they are doing, saying, or singing is indeed ludicrous, and that they are doing anyway even if it is, if not because it is, ludicrous.

Ms. Cyrus represents a great power to rework pop culture to those who want her to. She is escaping the slut-shaming heteronormative Christian world of American myth-making—she’s done with celebrity culture, polish, rules, and hypocrisies—and the most Christian, heterosexual American awfulness—Disney—gave her the power to do so, becoming fully self-aware and liberated at the age of 22, not just rejecting infantilization as she did 2 years ago, but mainstream consumerist expectations of what she is supposed to do with her time. She is making bedroom-sounding ’90s-style lo-fi tracks in between bong rips just for the sake of doing it. Giving it away on soundcloud as what she wants to do, before she gets around to what she has to do in her contract. Ms. Cyrus represents a glitzy and marketable fuck you to everything wrong with pop culture—but even though I personally have listened to the full 23 tracks on soundcloud—if not only the nearly perfect dozen-song run—it has not remade contemporary pop music into an anti-marketing beast, ironically enough just because it was not sold to people, packaged for Wal Mart, because its fluidity between existence and non-existence, the very themes it expounds for over an hour, was not bottled and shut down. It runs like the potable water from the tap that those in this country have been trained to distrust, even when they’ll pay dollars cash for it once its tinted blue with Dasani written on it.

I’ve been smoking Razz Jack, a descendant of the great Jack Herer, an often sativa-leaning 50/50 hybrid and Rasberry Kush, named for the weed-enthusiast Jack Herer. I sure have been enjoying sitting here listening to the new Miley Cyrus for the 50th goddamn time as the fire dies down, and I think of how much power Ms. Cyrus has really released to us in the last months, sonically or otherwise. Are we all really free to be ourselves, following rules we make ourselves as long as no one else is harmed, as J. Stu Mill advised—is Ms. Cyrus, in the words of Mills in On Liberty, “sovereign,” “over herself, over her body and mind”? Or is she right, in her own words, to believe “The only laws I obey, the ones I’m makin’ for myself”? Whether she’s right or not, the fact remains “self-control is not something I’m working on right now.”

Mill wrote of the essential uniqueness of every individual, that anything that hinders the outlying perspective deprives human consciousness of expansion. “Human nature is not a machine to be built after a model, and set to do exactly the work prescribed for it,” he writes, “but a tree, which requires to grow and develop itself on all sides, according to the tendency of the inward forces which make it a living thing.” Is this album the most contradictory yet liberating sound to be produced in this century, a beautiful expression of the ability of individual humans to confront and overcome the faceless, mass-production of factory-cut identities sold to us—or is this weed just really good?

I’ll leave you with album’s final meditations on a dream in which David Bowie, dressed as Gumby, shows Ms. Cyrus how to skateboard:

What does it mean?
What does it mean? What does it mean?
I had a dream
What does it mean? What does it mean?
I had a dream
But what does it mean? What does it mean?
What does it all mean?

Cinex

My friend and I smoked pot and then rode bikes down to the state school student union to see the poet Eileen Myles. After inquiring later what kind of weed it was I was told it was called Cinex.

I first learned of Eileen Myles from another friend who read to me from her novel Inferno at two stages of our friendship, the first occurring mostly on the floor of her apartment and the second being in a rental car driving over the Sierra Nevada out of Granada. She lives in Oregon now as well, but couldn’t come that night and asked me to take notes so I did. 

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Ms. Myles prefaced her talk as “a wandering” in that she was not simply going to just talk, read, or take questions—she would say whatever needed to be said, it turned out, whenever it needed to be in said, with sentences constantly needing to be said before the previous one was finished. Every word as a consequence wielded an urgency generally absent from most discourse apart from quiz shows. 

She began by taking our her notebook, which fumbled for in her bag. There were other moments of silence: when Ms. Myles went to the back of the room to retrieve her water bottle, or when she threw a book against the wall after accidentally dropping it, again fumbling in her bag. I guess throwing a book against the wall doesn’t quite count as a moment of silence as much as a moment of not saying things into the microphone. A paperback book being thrown has a combination of a flapping swoosh sound turning into a not-quite-solid thwack, more fluttery as all pages don’t really hit at once, ending of course with a thump and similarly fluttery settle. A moment of not talking in a room full of people is fairly indescribable and quite beautiful when one detaches it from the feelings of discomfort we’ve been trained to associate with it in these United States. 

The throw of the book signifies much and deserves some more attention. By choosing to follow the potentially awkward “accident” of mishandling an object in front of a large group of people with an exaggerated repetition of that same supposed mistake, Ms. Myles recapitulates the theme of her talk of overcoming the fear of inferiority in art and the American identity.

 

By treating a notebook of fragments at the same level as a big-house-published book of poems and reading from it during a tour for the big-house-published book reduces the commodification of the writing: the book of poems or the reissue from Harper Collins are not the end, the inevitable proof of status, integrity, success, they are just another form of presenting a poet’s words to an audience. As it turns out, such a form becomes the means to reading to more people and the freedom to create better circumstances for the creation of more poetry, or a means to the more accurate end of writing words into notebooks. Any writer who prides themself on how many words they have bound in Costcos across the world instead of how many notebooks they fill with experiments, failures and honesty is more of a failure than all of the unpublished poets poisoned by their unrequited relationship with commodification of truth.  

The fact of the very reading became a theme as well, that Ms. Myles was no longer an outsider artist but now a mainstream commodity. She was reading at the iconic local bookstore. Her out-of-print 1994 Black Sparrow novel Chelsea Girls was being reissued by Harper Collins. She was speaking to a packed room at the student union of the state school. She treats her success, however, as entirely arbitrary. There is suddenly a market for lesbian poetry. She has been canonized by commerce. The supposed literary world has dubbed her intentional artlessness to be art. The literary world has welcomed her decades into the death of the literary. She’s a punk singer who gets signed to a major label at the age of 65. Ms. Myles is not at risk of selling out because it’s been long established that nothing can stop her from doing exactly what she wants to do. She taught herself to write a novel, she said, by writing the only kind of novel she could write, and then knew how to write a novel, that novel being Chelsea Girls. Reissued this year by Harper Collins. 

  

Leafly.com writes of Cinex it has “clear-headed and uplifting” effects. Not only that, but it’s “perfect for building a positive mindset and stimulating creative energy.” Also: It alleves pain AND DEPRESSION!  

This could explain why Ms. Myles’ run-on aphorisms sounded like gospel truth, perfectly at play with my own intellectual preoccupations. Inferno was important for me in capturing my fears and discouragements at the time, the feelings of worthlessness and insanity that accompany writing in obscurity, essentially identifying as something you are failing at—in other words the subject matter of the great struggling writer myth we’re stuck with until we cross an imaginary line that Ms. Myles admits both to have crossed and to believe does not really exist. 

What I’m getting at is that Ms. Myles purposefully rambled truth at us for an hour—there’s no doubt about that—but the 60/40 sativa-dominant grass followed by a bike ride accompanied by the new Miley Cyrus album just made that truth hit that much more saliently. Like waves rippling over the rows of the audience, inundating us with assurance that in a country dedicated to the “deliberate construction of stupidity,” anybody who resists will be made to feel crazy, convinced that the imaginary lines that separate all the halves, the haves from the haven’ts, are real and inevitable. 

As allbud.com describes, “after just a few tokes of this abstract strain, you will be uplifted into a euphoric high that takes you into a cognitive wonderland.” For whatever reason, that description is paired with a 3.5 star rating. Out of 5! Whoever didn’t give this grass 5 stars didnt go see Eileen Myles read after they smoked it. 

  

The problem with my field notes is that they’re not full of accurate quotes, and they’re not fully comprehensible on their own without some context. So I shall leave you with a paraphrase of the train analogy Ms. Myles employed to confront the idea that a reader cannot be confused in the reading experience. Incompleteness and ambiguity causes anxiety, a reader cannot go along with worda if their meaning is not perfectly clear. Writing combines things that the reader knows with what they dont, and you cant expect them to keep going if they dont get all the particulars. Yet someone on a train looks out the window and sees things that they know and things they dont and people dont freak out. “It’s travel,” she concluded. Being comfortable in the not knowing and flowing with it. “Open all the senses—that’s literature, or something better.”

 

In response to someone asking if there’s profit in poetry, Ms. Myles found herself completing a thought that ultimately she was able to make a living at it. Smirking as she realized time was up as she said it she swung her arm around to gesture at the audience as though suddenly starring in an infomercial letting the lost know there’s a way out: “I make my living off of poetry—so can you!”

  

Two nights after the reading, I smoked more cinex at the house and transcribed these notes. Because my computer sucks I ended up writing most of this on the phone while listening to NPR. One more time for good meaure:

  

       I                        the                  you

Strawberry Banana Revisited

As though lifted into the garden with a rake handed to me upon landing, I put on my shoes and sweatshirt and stepped out to resume the work I had begun earlier that afternoon. The newly planted border had been swept and all that remained was to rake out bits of plant matter and roots from recently displaced weeds. Then I remembered that the irises I pulled from the ground this afternoon needed to be kept in moist soil, as per my grandma’s instructions. As it was late in the day with light waning outside, the unfinished room adjacent to the garage was quite dim when I entered it. Opening the sliding glass door precipitated a scurrying noise which I could not tell if came from inside of or on top of the building. I hurriedly chopped off the ends of the rhizomes and buried them in the soil with the rest of the prehistoric crustacean looking creatures.

Then I went back outside and watered the new plantings from today and rewatered a few from yesterday and watched the light turn pink and dim as the sun descended behind the silhouette of trees that enshrouded the property.

That verb took some decision making. “Enshrouded.” Seriously, just me for a minute staring blankly and making funny faces.

I then came back inside and looked at my phone while a college football game played. It was halftime before I went out to garden, but now UCLA was losing by even more to the Arizona State Wildcats. Is that even right? Isn’t it ASU? Or is that the Sun Devils?

There was a KFC commercial in which Norm McDonald plays Colonel Sanders selling Kentucky Fried Chicken, but being really broad about the fact that he was in fact Norm McDonald playing Colonel Sanders and not in fact the Colonel himself, because as the audience slyly knows—the man is long dead.

I texted my friend who follows college football if he had seen this commercial and he texted back that indeed he had—and on top of that he maintained an admiration of Norm McDonald to this day!IMG_9466

I assumed he had a good Maron episode (which I misspelled first Marin, and then Maren), since his show manages to endear the listener to celebrity personas who you may have written off as, for example, creepy uncle types—and indeed you can listen to it on youtube. I then told him as I had just then learned, while the Bruins were losing at football and I was texting about Norm McDonald, that I had sent 600 people an email that beganIMG_9467

We then talked about other things that were happening, for example that I was also in Washington, though far away from Seattle where he was. Relatively. It took only 3 hours on a train, then on a bike to the ferry, then on the ferry, then on the bike for a little bit, then on a bus, then on a bike. Going back’s the problem because all the buses leave at the crack of dawn because everybody’s going to Seattle to get to work. Nobody’s commuting at noon to Seattle. It would be seven hours riding a bike. I guess I could just wake up early and go with the commuters with fancy island homes and Seattle jobs.

After discovering that I had made such a bonehead move, with the arrogance to not show it to any one else before sending off the email, I became really fixated on it and starting texting other people regarding it. You ask why?, but it’s obvious—I needed people to forgive me, to tell me it was OK. I needed people to absolve me of a tiny mistake, of being human and assuming that everyone else would be human about it, too. I decided instead to take this vulnerability upstairs to the pages document open on the computer—is that how it worked: no I was fact-checking how many unsubscribes had happened since I sent the email, since I mentioned it in another text conversation.

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Whatever happened, at some point I decided to get these thoughts down upstairs—name of book, right there: Thoughts Down Upstairs: High Thoughts from Deep Within. I’m getting ahead of myself on the second blog post. I also haven’t hiked the PCT, much less sat on the experience 10 years and then written a brilliant account of it.

Anyway, while the Strawberry Banana pretty much provided more of the same—inspired me to do something for myself that I knew would make me happy, getting caught up in words and strains of logic as I go through those motions (before reading in the bath, now gardening and laying on the sofa while the football played), and then incorporating connections made into a piece of writing—it encapsulated a method to continue the narrative using the content of the narrative, in the screen shots of the text messages. I think the forgiveness thing has to do with the pope being in the country recently and being among relatives.

Does any of this make any sense?

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Strawberry Banana

I am writing to challenge the thesis that smoking marijuana interferes with productivity.

[several minutes pass]

By writing I am thus proving it because I smoked pot and am now—how about it!?—producing text—interrobang! though that was over an hour ago and I have since done nothing else but take a bath and read a book. Some of a book, to parse words. Reading in the bath alone, however, is a step up for my more typical attention span at late. In another situation, dogsitting for example, I might put on a podcast and cut the whole experience to 30 minutes not bothering with the antiquated technology of a book which requires constant handling, often proving difficult in the bath.

[Now I am looking at myself in the window thinking of how best to fill these block parentheses, now I am looking at myself write this with shifty eyes as a joke only to myself, but also as a function of this writing exercise which I presently shall explain]

I am writing about a pot strain called Strawberry Banana as an experiment in the application of design thinking to improved functioning of the organization that I call myself and you may call Andrew. Essentially I will take advantage of several factors—or really, better stated, I will live in the coming totality of my life’s circumstances—not limited to the sale of marijuana legally through pot shops in Oregon, beginning October 1st.

But to those of you who may be saying, “Andrew, it is only September 29th—so how can you begin this project?” I would inquire how you know it is September 29th when I do not have access to the internet and therefore cannot connect these words with eyeballs before tomorrow, but then I would say that I am in Washington where this eventuality has already come to pass.

[At this juncture I decide to put some more clothes on, now that I am more literally dry and at the moment not possessing of a head filled with the words that come next, more metaphorically “dry,” as in ideas]

Looking back on my thesis I suppose I should clarify that I am not debunking a negative statement—Smoking pot doesn’t make productivity not happen—but saying that smoking pot incites productivity and it has become apparent to me that not only do I need to write this, and the thing that’s two years deep that it’s a part of, which is part of another thing that I’m a decade into, which is part of something that I’m three decades into which is my life, not only do I find a distinct satisfaction in seeing an interesting idea made flesh and then dead again in words on a page, but I need to do this over and over again until I die and I need to figure out how I can do that before I do.

[The office chair I am sitting in swivels which is really satisfying when I retreat into another block parenthesis]

The rest of the story I suppose will come along in the end, but I should get to the point before I shuffle off this Tuesday coil: I am going to review legal weed and write about it in regard to how much writing I do, the quality and character of it, the device on which I create it, as well as general reflections on experience.

[1st wave of revision begun and finished]

You’ll note that this weed made me so excited to get my idea down that I did not even put clothes on besides a pair of underwear before hitting the keys on the laptop. Furthermore, it gave me such a burst of confidence in the idea I was writing about that I had to put it down on the computer so that I could start a blog about reviewing weed—and that this would be the way I promoted the book I would be finishing in the next few months. Delusional thinking ensued that I would be on the front lines of a DIY marijuana review scene and that this would be the way that I finally make writing work. Like many fine sativa-heavy blends this new idea I had blended perfectly with more established ones and made me really excited about not only starting this project, but that it would tie into and even facilitate the completion of older projects. While sometimes if I get really stoned and I imagine a new halo on a set of ideas I’ve been working on I will express more physical movements—big grins, arm movements, air pumps, limb shaking—this experience was more restrained and internal reflecting a slight disassociative quality.

Pretty quickly, however, through the process of writing about the idea—what was at first a principally fun-loving premise—the tenor quickly turned to death, which is perhaps a natural tendency to evoke the gravity that I felt in this idea, but more likely is because I am experiencing the death of a close friend for the first time. I don’t mean I have a friend currently dying in my arms as I type this—though, fiction writers, that opening to your next novel is free—I mean Ernie died almost two months ago and I still utterly lack words.

But this is just the first—and boy are there ever more kinds of weed out there: what will I write next!