Category Archives: Drug Culture

Green Christmas

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 23, 2023)

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Dreadlocks can’t smoke him pipe in peace Too much informers and too much beast Too much watchie watchie watchie, too much su-su su-su su Too much watchie watchie watchie, too much su-su su-su su

-from “Tenement Yard”, by Jacob Miller

Happy Holidays! How about some good news? Via USA Today:

President Joe Biden announced Friday he’s issuing a federal pardon to every American who has used marijuana in the past, including those who were never arrested or prosecuted.

The sweeping pardon applies to all U.S. citizens and lawful permanent residents in possession of marijuana for their personal use and those convicted of similar federal crimes. It also forgives pot users in the District of Columbia. It does not apply to individuals who have been jailed for selling the drug, which is illegal under federal law, or other marijuana offenses such as driving under the influence of an illegal substance.

The implication of Biden’s pardon promises to have significant implications, as criminal records for marijuana use and possession have imposed barriers to employment, housing, and educational opportunities. However, the pardons do not apply to people who violated state law, and anyone who wants to receive proof of a pardon will have to apply through the Department of Justice.

Biden issued a similar pardon last year and promised future reforms. This year’s proclamation went further in that it forgave all instances of simple marijuana use or possession under federal law, including for individuals who have never been charged. It also expands Biden’s previous directive to include minor marijuana offenses committed on federal property. […]

The Biden administration recommended that the DEA reschedule marijuana use to a lower offense earlier this year.

A record 70% of Americans said in an October survey conducted by Gallup that marijuana use should be legalized. It is favored by a majority of Republicans. And it is highly popular among the liberals, Democrats and young Americans whom Biden hopes to inspire to vote for his reelection.

Recreational marijuana use is legal in 24 states and the District of Columbia. Medical marijuana is now widely allowed in the U.S. It is legal in 38 states.

Nice to see more and more forward-thinking states joining the “over-the-counter”-culture, with a new shopping list: Milk, bread, eggs, and ganja. In Washington state, we’ve been smoking our pipes in peace since 2014. So I thought I would welcome the newbies to our cannabis club by sharing my picks for the top five Rasta movies, in alphabetical order…seen?

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Countryman Writer-director Dickie Jobson’s 1982 low-budget wonder has it all. Adventure. Mysticism. Political intrigue. Martial Arts. And weed. Lots of weed. A pot-smuggling American couple crash land their small plane near a beach and are rescued by our eponymous hero (Edwin Lothan, billed in the credits as “himself”), a fisherman/medicine man/Rasta mystic/philosopher/martial arts expert who lives off the land (Lothan, who passed away in 2016, was a fascinating figure in real life).

Unfortunately, the incident has not gone unnoticed by a corrupt, politically ambitious military colonel, who wants to frame the couple as “CIA operatives” who are trying to disrupt the upcoming elections. But first he has to outwit Countryman, which is no easy task (“No one will find you,” Countryman assures the couple, “You are protected here.” “Protected by who?” the pilot asks warily. “Elements brother, elements,” says Countryman, with an enigmatic chuckle). I love this movie. It’s wholly unique, with a fabulous reggae soundtrack.

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The Harder They Come– While the Jamaican film industry didn’t experience an identifiable “new wave” until the early 80s, Perry Henzel’s 1973 rebel cinema classic laid the foundation. From its opening scene, when wide-eyed country boy Ivan (reggae’s original superstar, Jimmy Cliff) hops off a Jolly Bus in the heart of Kingston to the strains of Cliff’s “You Can Get It If You Really Want”, to a blaze of glory finale, it maintains an ever-forward momentum, pulsating all the while to the heartbeat riddim of an iconic soundtrack. Required viewing!

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Rockers– Admittedly, this island-flavored take on the Robin Hood legend is short on plot, but what it may lack in complexity is more than compensated for by its sheer exuberance (and I have to watch it at least once a year). Grecian writer-director Theodoros Bafaloukos appears to have cast every reggae luminary who was alive at the time in his 1978 film. It’s the tale of a Rasta drummer (Leroy “Horsemouth” Wallace) who has had his beloved motorcycle stolen (customized Lion of Judah emblem and all!) by a crime ring run by a local fat cat.

Needless to say, the mon is vexed. So he rounds up a posse of fellow musicians (Richard “Dirty Harry” Hall, Jacob Miller, Gregory Isaacs, Robbie Shakespeare, Big Youth, Winston Rodney, et. al.) and they set off to relieve this uptown robber baron of his ill-gotten gains and re-appropriate them accordingly. Musical highlights include Miller performing “Tenement Yard”, and Rodney warbling his haunting and hypnotic  Rasta spiritual “Jah No Dead” a cappella.

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Stepping Razor: Red X– Legalize it! Nicholas Campbell’s unflinching portrait of musician Peter Tosh (who co-founded the Wailers with Bob Marley and Bunny Wailer) is not your typical rockumentary. While there is plenty of music, the  focus is on Tosh’s political and spiritual worldview, rendered via archival footage, dramatic reenactments, and excerpts from a personal audio diary in which Tosh expounds on his philosophies and rages against the “Shitstem. “

One interesting avenue Campbell pursues suggests that Tosh was the guiding force behind the  Wailers, and that Marley looked up to Tosh as a mentor in early days (I suspect that it was more of a Lennon/McCartney dynamic). A definite ‘must-see’ for reggae fans.

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Word, Sound, and Power – Jeremiah Stein’s 1980 documentary clocks in at just over an hour but is the best film I’ve seen about roots reggae music and Rastafarian culture. Barely screened upon its original theatrical run and long coveted by music geeks as a Holy Grail until its belated DVD release in 2008 (when I was finally able to loosen my death grip on the sacred, fuzzy VHS copy that I had taped off of USA’s Night Flight back in the early 80s), it’s a wonderful time capsule of a particularly fertile period for the Kingston music scene.

Stein interviews key members of The Soul Syndicate Band, a group of studio players who were the Jamaican version of The Wrecking Crew; they backed Jimmy Cliff, Bob Marley, Burning Spear, and Toots Hibbert (to name but a few). Beautifully photographed and edited, with outstanding live performances by the Syndicate. Musical highlights include “Mariwana”, “None Shall Escape the Judgment”, and a spirited acoustic version of “Harvest Uptown”.

Bonus tracks!

OK …if you’d rather chill, here’s a mixtape. Headphones and munchies on standby:      

Tribeca 2023: One Night With Adela (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 17, 2023)

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Volatile, coked to the gills and seething with resentment, Adela (Laura Galán) is wrapping up another dreary late-night shift tooling around Madrid in her street sweeper. However, the young woman’s after-work plans for this evening are anything but typical. She has decided that it’s time to get even…for every wrong (real or perceived) that she’s suffered in her entire life. Galán delivers a fearless and mesmerizing performance. Shot in one take (no editor is credited), writer-director Hugo Ruiz’s debut is the most unsettling portrayal of alienation, rage, and madness I have seen since Gaspar Noe’s I Stand Alone. Definitely not for the squeamish.

Tribeca 2023: Cinnamon (**)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 17, 2023)

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Coffy? Meet Cinnamon. Written, directed and executive produced by Bryian Keith Montgomery Jr., this crime thriller marks the first offering under the banner of Village Roadshow Pictures’ Black Noir Cinema, which according to Variety, “…aims to adapt and redefine the Blaxploitation genre and translate its spirit of empowerment to a new generation of Black audiences.” With all due respect, isn’t that an avenue that filmmakers like Quentin Tarantino (e.g. Jackie Brown, Django Unchained) and the Hughes Brothers (e.g. Dead Presidents) have already been traversing for a couple of decades? I’m just asking questions.

Hailey Kilgore plays a young woman who works at a gas station and aspires to make it big in the music biz. David Iacono plays the petty thief who sweeps her off her feet and vows to make her a star by any means necessary (he’s handsome, but roguish). The pair brainstorm a scheme to score some cash. Complications ensue. Kilgore and Iancono are appealing, and having players like Damon Wayans and genre stalwart Pam Grier (still a formidable presence) on board lends cachet, but the film falls curiously flat.

SIFF 2023: Adolfo (***1/2)

By Dennis Hartley

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Strangers in the night, exchanging…cactus? Long story. Short story, actually, as writer-director Sofia Auza’s dramedy breezes by at 70 minutes. It’s a “night in the life of” tale concerning two twenty-somethings who meet at a bus stop. He: reserved and dressed for a funeral. She: effervescent and dressed for a party (the Something Wild scenario). With its tight screenplay, snappy repartee, and marvelous performances, it’s hard not to fall in love with this film.

SIFF 2023: Even Hell Has its Heroes (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 13th, 2023)

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(Engaging sheepish mode). I’ve lived in Seattle 30 years…yet the “ambient metal” band Earth (led in numerous iterations by guitarist Dylan Carlson) somehow slipped under my radar. I felt a bit redeemed when I learned in Clyde Petersen’s documentary that they’re more well-known outside of the Northwest. Moody, experimental, and hypnotic (not unlike Earth’s epic drone pieces), Petersen’s film is, at its heart, an elegiac paean to that ephemeral moment Seattle ruled the music world.

Blu-ray reissue: Touch of Evil (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 20, 2022)

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Touch of Evil (Kino)

Yes, this is Orson Welles’ classic 1958 sleaze-noir with that celebrated and oft-imitated tracking shot, Charlton Heston as a Mexican police detective, and Janet Leigh in various stages of undress. Welles casts himself as Hank Quinlan, a morally bankrupt police captain who lords over a corrupt border town. Quinlan is the most singularly grotesque character Welles ever created as an actor and one of the most offbeat heavies in film noir.

This is also one of the last great roles for Marlene Dietrich (“You should lay off those candy bars.”). The creepy and disturbing scene where Leigh is terrorized in an abandoned motel by a group of thugs led by a leather-jacketed Mercedes McCambridge presages David Lynch; there are numerous flourishes throughout that are light-years ahead of anything else going on in American cinema at the time. Welles famously despised the studio’s original 96-minute theatrical cut; there have been nearly half a dozen re-edited versions released since 1975.

I think I’ve quadruple-dipped by now on “definitive” editions of this film, but Kino’s 2022 reissue features the most crystalline transfer I’ve seen to date. The package includes new 4K restorations of the theatrical, preview, and ­­“reconstructed” cuts (the latter re-edited as close as possible to Welles’ original vision, based on his notes and studio memorandums). Each version includes audio commentary by film historians (two are new; others are ported over from previous editions).

SIFF 2022: Sweetheart Deal (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 23, 2022)

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Dopesick and finding temporary solace from an RV-dwelling man of means by no means dubbed “The Mayor of Aurora Avenue”, four sex workers (Kristine, Sara, Amy, and Tammy) strive to keep life and soul together as they walk an infamous Seattle strip. With surprising twists and turns, Elisa Levine and Gabriel Miller’s astonishingly intimate portrait is the most intense, heart-wrenching, and compassionate documentary I have seen about Seattle street life since Streetwise.

Tribeca 2021: Creation Stories (**)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 19, 2021)

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Nick Moran’s manic, hyper-kinetic biopic about Creation Records founder Alan McGee (who spearheaded the Britpop explosion of the 1990s) plays like a mashup of 24-Hour Party People and Trainspotting. This is not surprising considering the screenplay is co-written by Trainspotting author Irvine Welsh (with Dean Cavanagh). The narrative is framed by McGee (Ewen Bremner) telling his life story to a journalist. Cue the flashbacks, starting with McGee’s modest early successes in the 80s with acts like The Jesus and Mary Chain and My Bloody Valentine and culminating with his mentorship of Oasis in the mid-90s.

The film moves too quickly for its own good, giving you no real sense of who McGee is (apart from establishing that he is an “outsider”). Another major hurdle is Bremner, who remains the most unintelligible actor in the English-speaking world (even for a Scotsman). Subtitles really would have helped. As much as I dug Moran’s 2009 Joe Meek biopic Telstar, I am afraid this one is a letdown.

 

Tribeca 2021: Brian Wilson: Long Promised Road (***½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 19, 2021)

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It’s been a long, strange trip for Beach Boys founder/primary songwriter Brian Wilson. After a 2-year streak of hit singles about sun, surf, cars and girls (beginning with the 1963 release of “Surfin’ U.S.A.”), Wilson hit a wall. The pressures of touring, coupled with his experimentation with LSD and his increasing difficulty reconciling the heavenly voices in his head led to a full scale nervous breakdown (first in a series).

Still, he managed to hold the creeping madness at bay long enough to produce the most innovative work of his career (Pet Sounds, in 1966). Wilson’s roller coaster ride was only beginning, with a number of well-documented ups and downs (personal and professional); but his unique creative faculties remained intact. Considering what he has been through, it is amazing Wilson is even alive to tell the tale.

Brent Wilson’s documentary borrows the “Comedians in Cars Getting Coffee” concept, following Rolling Stone editor Jason Fine and Brian Wilson as they cruise around L.A., listening to Beach Boys tunes. Fine gently prompts Wilson to reminisce about the personal significance of various stops along the way. Most locales prompt fond memories; others clearly bring Wilson’s psyche back to dark places he’d sooner forget. What keeps the film from feeling exploitative is the fact that Wilson demonstratively trusts Fine (they are longtime friends). A sometimes sad, but ultimately moving portrait.

Tribeca 2021: Bitchin’-The Sound and Fury of Rick James (***½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 19, 2021)

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They broke the mold when James Ambrose Johnson Jr. (aka Rick James) came into the world. In his documentary (headed for Showtime later this year), Sacha Jenkins wisely debunks the caricature popularized by Dave Chappelle (“I’m Rick JAMES, bitch!”) right off the bat, clearing the way for an honest, down-and-dirty portrait of the gifted (if maddeningly self-destructive) singer-songwriter-musician-producer (he died in 2004).

Viewers only familiar with his personae from the late 70s onward that yielded hits like “You & I”, “Mary Jane”, “Bustin’ Out”, and “Super-Freak” may be surprised to learn about his formative mid-60s Canadian period, when he hung with the likes of Joni Mitchell and Neil Young and explored folk, psychedelia and hard rock (all of which he later incorporated into his unique brand of “punk-funk”). Slickly produced, fast-paced and thoroughly engrossing.