Search Results for: drugs

An excerpt from Howe’s new book on how internal arguments, drugs, failed feminism, and the exploitation of minority characters in comic books and the freelance writers and artists who drew them, changed Marvel Comics during the late ’60s and early ’70s:

‘I was just as crazy as everybody else post-Watergate, post-Vietnam,’ said Starlin, whose hobbies included motorcycles, chess, and lysergic acid diethylamide–25. ‘Each one of those stories was me taking that stuff that had gone before and trying to put my personal slant on it. Mar-Vell was a warrior who decided he was going to become a god, and that’s where his trip was.’ In the pages of Captain Marvel, existence itself might be altered several times in the course of an issue. ‘There is a moment of change, then reality becomes a thing of the past!’ howls the evil ruler Thanos, before everything morphs into funhouse-mirror images. His sworn enemy Drax responds: ‘My mind and my soul are one — my soul — an immortal intangible, nothing and everything! That which cannot die cannot be enslaved, for only with fear is servitude rendered!’ On the following page, Drax’s shifting realities are represented by thirty-five panels of warped faces, skulls, eyes, stars, and lizards. Captain Marvel had practically become a black-light poster with dialogue. Its sales kept increasing. Soon Starlin was opening his fan mail and finding complimentary joints sent by grateful, mind-blown readers.

“First Serial: Marvel Comics, The Untold Story.” — Sean Howe, Grantland

More by Grantland

First Serial: Marvel Comics, The Untold Story

Longreads Pick

An excerpt from Howe’s new book on how internal arguments, drugs, failed feminism, and the exploitation of minority characters in comic books and the freelance writers and artists who drew them, changed Marvel Comics during the late ’60s and early ’70s:

“‘I was just as crazy as everybody else post-Watergate, post-Vietnam,’ said Starlin, whose hobbies included motorcycles, chess, and lysergic acid diethylamide–25. ‘Each one of those stories was me taking that stuff that had gone before and trying to put my personal slant on it. Mar-Vell was a warrior who decided he was going to become a god, and that’s where his trip was.’ In the pages of Captain Marvel, existence itself might be altered several times in the course of an issue. ‘There is a moment of change, then reality becomes a thing of the past!’ howls the evil ruler Thanos, before everything morphs into funhouse-mirror images. His sworn enemy Drax responds: ‘My mind and my soul are one — my soul — an immortal intangible, nothing and everything! That which cannot die cannot be enslaved, for only with fear is servitude rendered!’ On the following page, Drax’s shifting realities are represented by thirty-five panels of warped faces, skulls, eyes, stars, and lizards. Captain Marvel had practically become a black-light poster with dialogue. Its sales kept increasing. Soon Starlin was opening his fan mail and finding complimentary joints sent by grateful, mind-blown readers.”

Author: Sean Howe
Source: Grantland
Published: Oct 3, 2012
Length: 34 minutes (8,747 words)

Factory Girls

Longreads Pick

The making of the boy and girl groups that are leading the international K-pop explosion:

“Lee founded S.M. in 1989. His first success was a Korean singer and hip-hop dancer named Hyun Jin-young, whose album came out in 1990. But, just as Jin-young was on the verge of stardom, he was arrested for drugs. Russell writes that Lee was ‘devastated’ by this misfortune, and that the experience taught him the value of complete control over his artists: ‘He could not go through the endless promoting and developing a new artist only to have it crash and burn around him.’

“In effect, Lee combined his ambitions as a music impresario with his training as an engineer to create the blueprint for what became the K-pop idol assembly line. His stars would be made, not born, according to a sophisticated system of artistic development that would make the star factory that Berry Gordy created at Motown look like a mom-and-pop operation. Lee called his system ‘cultural technology.’ In a 2011 address at Stanford Business School, he explained, ‘I coined this term about fourteen years ago, when S.M. decided to launch its artists and cultural content throughout Asia. The age of information technology had dominated most of the nineties, and I predicted that the age of cultural technology would come next.’ He went on, ‘S.M. Entertainment and I see culture as a type of technology. But cultural technology is much more exquisite and complex than information technology.'”

Source: New Yorker
Published: Oct 3, 2012
Length: 29 minutes (7,351 words)

Rethinking schizophrenia as a brain disorder that requires medication, and recognizing that part of the cure is looking at the social factors that cause mental breakdowns:

By the time I met her, Susan was a success story. She was a student at the local community college. She had her own apartment, and she kept it in reasonable shape. She did not drink, at least not much, and she did not use drugs, if you did not count marijuana. She was a big, imposing black woman who defended herself aggressively on the street, but she had not been jailed for years. All this was striking because Susan clearly met criteria for a diagnosis of schizophrenia, the most severe and debilitating of psychiatric disorders. She thought that people listened to her through the heating pipes in her apartment. She heard them muttering mean remarks. Sometimes she thought she was part of a government experiment that was beaming rays on black people, a kind of technological Tuskegee. She felt those rays pressing down so hard on her head that it hurt. Yet she had not been hospitalized since she got her own apartment, even though she took no medication and saw no psychiatrists. That apartment was the most effective antipsychotic she had ever taken.

“Beyond the Brain.” — Tanya Marie Luhrmann, The Wilson Quarterly

Beyond the Brain

Longreads Pick

Rethinking schizophrenia as a brain disorder that requires medication, and recognizing that part of the cure is looking at the social factors that cause mental breakdowns:

“By the time I met her, Susan was a success story. She was a student at the local community college. She had her own apartment, and she kept it in reasonable shape. She did not drink, at least not much, and she did not use drugs, if you did not count marijuana. She was a big, imposing black woman who defended herself aggressively on the street, but she had not been jailed for years. All this was striking because Susan clearly met criteria for a diagnosis of schizophrenia, the most severe and debilitating of psychiatric disorders. She thought that people listened to her through the heating pipes in her apartment. She heard them muttering mean remarks. Sometimes she thought she was part of a government experiment that was beaming rays on black people, a kind of technological Tuskegee. She felt those rays pressing down so hard on her head that it hurt. Yet she had not been hospitalized since she got her own apartment, even though she took no medication and saw no psychiatrists. That apartment was the most effective antipsychotic she had ever taken.”

Published: Sep 6, 2012
Length: 16 minutes (4,055 words)

[Not singe-page] The rap superstar discusses his career and how he’s remained relevant:

In the years since his masterpiece ‘Reasonable Doubt,’ the rapper has often been accused of running on empty, too distant now from what once made him real. In ‘Decoded,’ he answers existentially: ‘How distant is the story of your own life ever going to be?’ In the lyrics, practically:

Life stories told through rap/Niggas actin’ like I sold you crack/Like I told you sell drugs, no, Hov’ did that/So hopefully you won’t have to go through that. But can’t a rapper insist, like other artists, on a fictional reality, in which he is somehow still on the corner, despite occupying the penthouse suite? Out hustlin’, same clothes for days/I’ll never change, I’m too stuck in my ways. Can’t he still rep his block? For Jay-Z, pride in the block has been essential and he recognized rap’s role in taking ‘that embarrassment off of you. The first time people were saying: I come from here — and it’s O.K.’ He quotes Mobb Deep: ‘No matter how much money I get, I’m staying in the projects!’ But here, too, he sees change: ‘Before, if you didn’t have that authenticity, your career could be over. Vanilla Ice said he got stabbed or something, they found out he was lying, he was finished.’ I suggested to him that many readers of this newspaper would find it bizarre that the reputation of the rapper Rick Ross was damaged when it was revealed a few years ago that he was, at one time, a prison guard. ‘But again,’ Jay says, ‘I think hip-hop has moved away from that place of everything has to be authentic. Kids are growing up very differently now.’

“The House that Hova Built.” — Zadie Smith, New York Times

The House that Hova Built

Longreads Pick

[Not singe-page] The rap superstar discusses his career and how he’s remained relevant:

“In the years since his masterpiece ‘Reasonable Doubt,’ the rapper has often been accused of running on empty, too distant now from what once made him real. In ‘Decoded,’ he answers existentially: ‘How distant is the story of your own life ever going to be?’ In the lyrics, practically:

Life stories told through rap/Niggas actin’ like I sold you crack/Like I told you sell drugs, no, Hov’ did that/So hopefully you won’t have to go through that. But can’t a rapper insist, like other artists, on a fictional reality, in which he is somehow still on the corner, despite occupying the penthouse suite? Out hustlin’, same clothes for days/I’ll never change, I’m too stuck in my ways. Can’t he still rep his block? For Jay-Z, pride in the block has been essential and he recognized rap’s role in taking ‘that embarrassment off of you. The first time people were saying: I come from here — and it’s O.K.’ He quotes Mobb Deep: ‘No matter how much money I get, I’m staying in the projects!’ But here, too, he sees change: ‘Before, if you didn’t have that authenticity, your career could be over. Vanilla Ice said he got stabbed or something, they found out he was lying, he was finished.’ I suggested to him that many readers of this newspaper would find it bizarre that the reputation of the rapper Rick Ross was damaged when it was revealed a few years ago that he was, at one time, a prison guard. ‘But again,’ Jay says, ‘I think hip-hop has moved away from that place of everything has to be authentic. Kids are growing up very differently now.'”

Published: Sep 6, 2012
Length: 12 minutes (3,228 words)

Police are recruiting young drug offenders to become confidential informants on drug cases—with little training and tragic consequences: 

According to a confidential deposition from a friend of Hoffman’s, the police made it clear that run-of-the-mill pot busts wouldn’t be sufficient to work off her charges. Instead, the friend said, the cops were looking for large quantities of ‘heroin, cocaine, crack, Ecstasy, guns.’ The Florida State student told her about a young man he’d seen dealing drugs at a car-detailing shop near campus—the man, whom he knew only as Dre, might have access to Ecstasy and cocaine, and possibly more. Hoffman, it turned out, had just had her Volvo worked on by Dre at the same shop, and he had joked about the car’s pungent marijuana smell. Soon, she was wired up and dispatched to the shop, where, using her friend’s connection, she put in a request to Dre’s brother-in-law, Deneilo Bradshaw, to buy a stash of cocaine, fifteen hundred Ecstasy pills, and, as she described it, a ‘small and pretty’ handgun. The order was large, by any standard. She wanted the drugs for friends who would be visiting from Miami, she explained. And the gun? ‘I’m a little Jewish girl,’ she told Bradshaw, as police listened via a surveillance device. ‘I need to be safe.’

By early May, the deal had been arranged. She was to show up with thirteen thousand dollars, and they’d make the swap—at Bradshaw’s parents’ house, in a quiet green neighborhood on the outskirts of Tallahassee. Behind the scenes, the police worked up an Operational and Raid Plan, which involved more than a dozen local and federal agents.

“The Throwaways.” — Sarah Stillman, The New Yorker

More from The New Yorker

An oral history of Burning Man, which started as an effigy burning in 1986 on San Francisco’s Baker Beach, and moved to the Black Rock Desert in 1990 to become one of the largest annual gatherings of inventors, artists and free spirits:

ALAN “REVEREND AL” RIDENOUR (head of Los Angeles Cacophony): In ’96, Burning Man was at its peak. We did the Damnation of Tinseltown and the flaming Helco tower. Burn Night felt like a scary, transformative ritual. Flash played Satan, and he came through with a gas can and doused Doris Day and John Wayne. I was on acid when I heard Flash’s booming laugh. He was Satan.

ELIZABETH GILBERT (author of Eat, Pray, Love who wrote about Burning Man ’96 for Spin): Honestly, I was scared of it. I remember the way the camp turned from this playful thing by day—beautiful and fanciful and Narnia-like—to this menacing thing at night. Being around all that fire, people with guns, and a lot of people on drugs, I was like, “They’ll be eating each other soon!” And in some ways they were—more sexually than anything else. I understood that Burning Man was waking something up. That awakening might lead to transcendent creativity—or it might be savage and ungovernable once it’s released.

“Hot Mess.” — Brad Wieners, Outside magazine

More from Outside Magazine

Hot Mess

Longreads Pick

An oral history of Burning Man, which started as an effigy burning in 1986 on San Francisco’s Baker Beach, and moved to the Black Rock Desert in 1990 to become one of the largest annual gatherings of inventors, artists and free spirits:

ALAN “REVEREND AL” RIDENOUR (head of Los Angeles Cacophony): In ’96, Burning Man was at its peak. We did the Damnation of Tinseltown and the flaming Helco tower. Burn Night felt like a scary, transformative ritual. Flash played Satan, and he came through with a gas can and doused Doris Day and John Wayne. I was on acid when I heard Flash’s booming laugh. He was Satan.

ELIZABETH GILBERT (author of Eat, Pray, Love who wrote about Burning Man ’96 for Spin): Honestly, I was scared of it. I remember the way the camp turned from this playful thing by day—beautiful and fanciful and Narnia-like—to this menacing thing at night. Being around all that fire, people with guns, and a lot of people on drugs, I was like, “They’ll be eating each other soon!” And in some ways they were—more sexually than anything else. I understood that Burning Man was waking something up. That awakening might lead to transcendent creativity—or it might be savage and ungovernable once it’s released.”

Source: Outside
Published: Aug 24, 2012
Length: 24 minutes (6,209 words)