Baffling, cunning and confusing addictive thinking ruins lives.

Friday, November 23, 2018

  Link: https://youtu.be/eF3l06cxJbo


Multiple vials of naloxone now required to resuscitate Metro Vancouver opioid users

On the worst days, ambulances have been dispatched to as many as 135 overdoses across B.C. in a 24-hour period.

Public health experts are expecting between 1,400 and 1,500 deaths in 2018, similar to 2017.

Wednesday, June 27, 2018

William S. Burroughs - Counter Culture Hero

Image result for William S. Burroughs WITH GUN 

Image result for William S. Burroughs WITH GUN

Magical beliefs

Burroughs had a longstanding preoccupation with magic and the occult, dating from his earliest childhood, and was insistent throughout his life that we live in a "magical universe".[87] As he himself explained:
In the magical universe there are no coincidences and there are no accidents. Nothing happens unless someone wills it to happen. The dogma of science is that the will cannot possibly affect external forces, and I think that's just ridiculous. It's as bad as the church. My viewpoint is the exact contrary of the scientific viewpoint. I believe that if you run into somebody in the street it's for a reason. Among primitive people they say that if someone was bitten by a snake he was murdered. I believe that.[88]
Or, speaking in the 1970s:
Since the word "magic" tends to cause confused thinking, I would like to say exactly what I mean by "magic" and the magical interpretation of so-called reality. The underlying assumption of magic is the assertion of "will" as the primary moving force in this universe - the deep conviction that nothing happens unless somebody or some being wills it to happen. To me this has always seemed self evident... From the viewpoint of magic, no death, no illness, no misfortune, accident, war or riot is accidental. There are no accidents in the world of magic.[89]
This was no idle passing interest – Burroughs also actively practiced magic in his everyday life: seeking out mystical visions through practices like scrying,[90][91][92] taking measures to protect himself from possession,[93][94][95][96] and attempting to lay curses on those who had crossed him.[60][97][98] Burroughs spoke openly about his magical practices, and his engagement with the occult is attested from a multitude of interviews,[99][100] as well as personal accounts from those who knew him.[60][101][102]
Biographer Ted Morgan has argued that: "As the single most important thing about Graham Greene was his viewpoint as a lapsed Catholic, the single most important thing about Burroughs was his belief in the magical universe. The same impulse that led him to put out curses was, as he saw it, the source of his writing... To Burroughs behind everyday reality there was the reality of the spirit world, of psychic visitations, of curses, of possession and phantom beings."[103]
Burroughs was unwavering in his insistence that his writing itself had a magical purpose.[104][105][106][107][108] This was particularly true when it came to his use of the cut-up technique. Burroughs was adamant that the technique had a magical function, stating "the cut ups are not for artistic purposes".[109] Burroughs used his cut-ups for "political warfare, scientific research, personal therapy, magical divination, and conjuration"[109] – the essential idea being that the cut-ups allowed the user to "break down the barriers that surround consciousness".[110] As Burroughs himself stated:
I would say that my most interesting experience with the earlier techniques was the realization that when you make cut-ups you do not get simply random juxtapositions of words, that they do mean something, and often that these meanings refer to some future event. I've made many cut-ups and then later recognized that the cut-up referred to something that I read later in a newspaper or a book, or something that happened... Perhaps events are pre-written and pre-recorded and when you cut word lines the future leaks out.[110]
In the final decade of his life, Burroughs became heavily involved in the chaos magic movement. Burrough's magical techniques – the cut-up, playback, etc. – had been incorporated into chaos magic by such practitioners as Phil Hine,[111][112][113] Dave Lee[114] and Genesis P-Orridge.[115][60] P-Orridge in particular had known and studied under Burroughs and Brion Gysin for over a decade.[60] This led to Burroughs contributing material to the book Between Spaces: Selected Rituals & Essays From The Archives Of Templum Nigri Solis, published by Templum Nigri Solis, an "Australasian Chaos Sorcery" group.[116] Through this connection, Burroughs came to personally know many of the leading lights of the chaos magic movement, including Hine, Lee, Peter J. Carroll, Ian Read and Ingrid Fischer, as well as Douglas Grant, head of the North American section of chaos magic group The Illuminates of Thanateros (IOT).[117][118] Burroughs' involvement with the movement further deepened, as he contributed artwork and other material to chaos magic books,[119] addressed an IOT gathering in Austria,[120] and was eventually fully initiated into The Illuminates of Thanateros.[121][122] As Burrough's close friend James Grauerholz states: "William was very serious about his studies in, and initiation into the IOT... Our longtime friend, Douglas Grant, was a prime mover."[123]


William S. Burroughs A Man Within (You know you are badass when Iggy Pop and your gun dealer are in a documentary about you)

March 12, 2011

You might write good books, but if you were an interesting cat in the twentieth century with an intriguing personality to match that prose…then you will not only be just the dead guy on the on the book shelf, you will be catapulted to a new echelon of literary hero, the guy people want to know more about.  Charles Bukowski is one of these men for sure. People loved his disdain for modern society and how the nine-to-five Joes were nothing more than the living dead to him.  He drank, smoked, screwed, and listened to classical records in between and during the production of some of the most essential anti-hero literature. This lifestyle that takes place outside the pen and paper piques the interests of so many literary geeks, and that is why Bukowski has bars named after him (the coaster is taped on my wall), why Ralph Steadman’s portrayal of Hunter S. Thompson speeding down Nevada’s desolate interstate  hangs on so many college co-ed walls (the steering wheel is on the wrong side by the way), and that is why  I was so excited to so see “A Man Within”, the William S. Burroughs documentary.


“A Man Within” was the outsider looking in, a film that grazed the surface and seemingly covered all the bases and facets of this one man’s life. Rife with commentary from acquaintances, artists, lovers, poets, actors who had known, loved, screwed, drank, read, and just hung out with the man.  It was not too much of chronological account, less document and more sentiment, which is good because all the cold facts can be left to biographers and fact-checkers, we want to hear and see all the good stuff.
On the subject of Mr. Burroughs, uncle Bill, the king of the Beats, etc. two things are most heavily associated with him: queer and junkie-not his books, his life. Much of beginning of the film is dedicated to these aspects of  Burroughs.  At the time of his literary breakout “Naked Lunch”, heroin and homosexuality where not vogue, nor were they taboo, they were Gestapo-in-the-room kept in the closet deals.  The film makes it clear, Burroughs was a maverick in that sense, not only with his habits and sexuality, but his sense of rebellion in general. Burroughs might have been gay, but he did not even align himself with queer culture, because that lifestyle, just like the mainstream American lifestyle , would have restricted him with a mere label, he was the renegade of the renegades.
“A Man Wthin” covered other points that contrived the Burroughs persona, such as his affinity for guns, as well as  Joan Vollmer, his wife whom he accidentally killed when he tried to shoot a bottle

 off her head.  His influence on not only early punk rock but on many musicians and films was mentioned in length. Priceless photographs were shown, with the aging author with his three-piece-suit and spectacles  alongside Lou Reed, David Bowie, Richard Lloyd, Tom Waits, Frank Zappa, Sonic Youth and many others. Iggy Pop  talked about how one of his songs Gimme Some Skin contained a couple references from one of good ol’ William’s books.
For each aspect or event of Burroughs’s life, somebody or some friend would do his or her best to comprehend his complex psyche and figure out what he was feeling or why he did what he did. They would do their best to speculate things such as why he was so closed off in relationships and unwilling or unable to show great affection, or how his wife’s death weighed on him, and even why he was compelled to carry around a loaded firearm at all times.
Burroughs’s life in no way can be wrapped up in a single documentary that can be withstood in only one sitting. This film focuses more on the man himself, rather than chronicle where and when he did what he did, it puts more thought and energy into what he did and why he did it. To truly understand the man, I would suggest a Burroughs biography as a supplememnt to help get the whole story-external wandering Burroughs, and internal wandering Burroughs.

Drug Culture Pioneers

Simple answer: Maybe.

Or was it:


Alexander Theodore "Sasha" Shulgin (June 17, 1925 – June 2, 2014) was an American medicinal chemist, biochemist, organic chemist, pharmacologist, psychopharmacologist, and author.

He is credited with introducing MDMA ("ecstasy" or "molly") to psychologists in the late 1970s
Pioneering designer of psychedelic drugs, he became a hero of the counterculture, known as the 'godfather of ecstasy' 
Shulgin invented hundreds of new psychedelic drugs, which he tested on himself, his wife, Ann, and friends, documenting their preparation and effects. 

But he wasn't satisfied with mere discovery – he argued passionately for the rights of the individual to explore and map the limits of human consciousness without government interference.

He was most famously responsible for the emergence of one of the world's most enduringly popular recreational designer drugs,  known as MDMA, or ecstasy.  Shulgin was responsible for creating a new and easier synthesis of it.

He introduced the material to a psychiatrist friend, Leo Zeff, who was so astounded by the drug's powers that he delayed his retirement and travelled the US administering the drug to thousands of patients. 

Due in part to Shulgin's extensive work in the field of psychedelic research and the rational drug design of psychedelic drugs, he has since been dubbed the "godfather of psychedelics".
The drug found its way into Dallas nightclubs, including the Starck Club, and on to the Balearic island of Ibiza, fuelling the 1980s acid house dance-drug craze.

It was not Shulgin's intention to launch a global drug culture, nor to have that compound consumed with such abandon by millions of people. 
But it was his connection with this drug that made him a folk hero for the counterculture, known as the "godfather of ecstasy", and a folk devil for many outside it.

I remember people talking about Art being a chemist but about the same time, there was speculation that Sasha leaked the drugs he created to ortganized criminals.  Maybe they worked together?  Conspiracy

And who was Owlsy?

Owsley Stanley. Augustus Owsley Stanley III (January 19, 1935 – March 12, 2011) was an American audio engineer and clandestine chemist.

He was a key figure in the San Francisco Bay Area hippie movement during the 1960s and played a pivotal role in the decade's counterculture.

Robert Greenfield interviewed Berkeley-dropout-turned-acid-cooker Owsley Stanley III – whose pure, potent LSD was favored by Ken Kesey's Merry Pranksters and the Grateful Dead – for Rolling Stone. "

The chaotic and bizarre life of Owsley, who provided a generation of West-Coast hippies with mind-altering acid, using the profits of his illegitimate business to finance the Grateful Dead into the spotlight.

Also a shameless audiophile, Owsley was the band's original sound man, credited with inventing the famous Wall Of Sound PA system
("It was Owsley's brain, in material form," drummer Bill Kreutzmann told Greenfield. "Impossible to tame.")
He also had the bright idea to plug a recorder directly into the soundboard during concerts and rehearsals, thus providing the world with tapes of the Dead during their heyday, which would otherwise never have existed.

But beyond his interaction with the band, exploring Stanley's life also brought Greenfield deep within the counter-culture of the 1960s and 1970s, from the Monterey Pop Festival to Altamont to the streets of the Haight.


Junkie: Confessions of an Unredeemed Drug Addict (originally titled Junk, later released as Junky) is a novel by American beat generation writer William S. Burroughs, published initially under the pseudonym William Lee in 1953. His first published work, it is semi-autobiographical and focuses on Burroughs' life as a drug user and dealer. It has come to be considered a seminal text on the lifestyle of heroin addicts in the early 1950s.