A photo taken by Clay Geerdes of author and Cockette Fayette Hauser wearing a homemade grass skirt ensemble.

The catastrophic effect of the worldwide COVID-19 pandemic has hit anyone working in the gig economy incredibly hard. Book tours over the years have become big business for authors and independent bookstores hosting author events in support of newly released literature. Many authors, set to embark on Spring/Summer book tours, have had to scrap their plans, with some publishers even holding back on releasing their books. Thankfully, this was not the path chosen by drag trailblazer Fayette Hauser, she of the pioneering gender-bending performance troupe The Cockettes. It is my great privilege to be able to share a bit about her glittery, LSD-drenched book, The Cockettes: Acid Drag & Sexual Anarchy—a magnificent 352-page volume detailing the three-years the Cockettes conquered San Francisco and turned the drag community on its magnificently wigged head.

As Hauser recounts in the book, she was “rendered speechless” by a hit of strong acid at a party and soon found herself sitting on the floor only able to sit upright with help from the wall behind her. During this voyage, Hauser became acutely aware of the individuality of the people surrounding her to the point where she was not able to recognize their gender or her own. The year was 1968, and the Summer of Love had led masses of people to detach themselves from modern conformity, liberating their ability to express themselves freely. Eventually, The Cockettes would pave the way for others, whether gay, straight, bisexual, or pansexual, with their provocative performances and their communal way of life by living by the term “Gender Fuck.” And if you’re wondering what exactly is “Gender Fuck,” it made sense to go directly to the source, Hauser herself, to help define this very direct description of a person not identifying as exclusively male or female:

“The term Gender Fuck emerged as many of our descriptive phrases did, in an Acid flash! This term, gender fuck, became a way of describing our look, which was highly personalized, very conceptual, and without gender boundaries. We wanted to mystify the public so that the onlooker would declare, ‘What Is that? Is that a boy or a girl?’ We wanted to open people’s minds to the terrain between the tired gender binary models, which were much too mentally binding and boring as well. We unleashed that open space in between. We explored the fluid nature of the Self, which led to the term Gender Fluid. I think we succeeded in opening that Pandora’s Box of multi-dimensional, organic self-expression through body decor.”

In 1968, after graduating with a BFA in painting from Boston University, Hauser, a New Jersey native, moved out to San Francisco. Soon she would form a collective with like-minded, free-spirited people, and the Cockettes would officially begin their reign in 1969—specifically on the stage of the Palace Theater in North Beach on New Year’s Eve. The ever-growing troupe would first communally inhabit a grand Victorian-style home on 2788 Bush Street and then, after a fire rendered the home uninhabitable, a building on Haight—one of San Francisco’s most notorious streets. There was also a home known as The Chateau on 1965 Oak Street, where members of The Cockettes spent their time devising their next performance, creating costumes and personas, and tripping on LSD. The Cockettes took so much acid that they would often become non-verbal. This would lead to other forms of communication by way of personal adornment using makeup, clothing, and anything else that would convey the silent message emanating by the troupes’ diverse members, including 22-year-old Los Angeles native Sylvester James Jr., soon to become R&B disco queen Sylvester. Before his short stint with The Cockettes, Sylvester was a part of a group called The Disquotays—a performance collective comprised of black crossdressers and transgender women.
 

Sylvester during his short time with The Cockettes. Photo by Clay Geerdes. Unless otherwise noted, all photos provided to Dangerous Minds are for exclusive use.
 
The Cockettes’ performances were the be-there affair for all the counterculture chicks, dicks, and everyone in between. When director John Waters touched down in San Francisco to show off his 1969 film Mondo Trasho, the screening landed the director in jail for conspiracy to commit indecent exposure. The film made its debut at the Palace Theater where The Cockettes performed their knock-out drag shows on the regular. At the time, Waters was not aware of The Cockettes, but that would quickly change for the director as Divine would end up performing with the Cockettes as “Lady Divine”—one of the first times would be in the first annual Miss de Meanor Beauty Pageant at the Palace, where Divine played the pageant host, Miss de Meanor. In addition to confessing to the Tate/LaBianca murders, Divine would lead the other participants in the show (Miss Conception, Miss Shapen, Miss Used, and Miss Carriage) in a tournament to the death, where the queens had to fight with their fists for the coveted crown.

Divine would go on to win the ‘The Miss de Meanor Beauty Pageant’ in 1971. The following year, during The Cockettes’ last official show (another ‘Miss de Meanor Beauty Pageant’) at the House of Good, John Waters wrote a speech for her to read onstage, described by Cockette Scrumbly as “brilliant”. As the idea of Divine reading a speech written by John Waters is everything, I asked the director if he was willing to share any memory he had of this drag-tastic moment, and he very kindly responded with the following:

“To be honest, I’m not sure a written copy of that speech even exists in my film archive at Wesleyan Archive, and if it did, it would be word-slash-words that only I could understand. I do remember it was punk-ish (before the word) in a hippy venue that was bizarrely the Peoples Temple church, that was rented for the occasion after Jim Jones and gang had moved out. Divine ranted about following hippies home, eating sugar and killing their pets, or some such lunacy. I do still have the poster hanging in my SF apartment. I’m glad Scrumbly remembered it because I always did too. Quite a night in San Francisco.”

 

A flier advertising The Cockettes’ last show featuring Lady Divine.
 
The Cockettes intermingled with, as you might imagine, lots of famous people who were intrigued by the troupes’ anything-goes take on drag and life. Author Truman Capote called the Cockettes shows “the only true theater.” Alice Cooper, who once jumped out of a cake surrounded by The Cockettes for a PR stunt dubbed “The Coming Out Party for Miss Alice Cooper,” was a frequent guest at the Haight-Ashbury house. And then there was Iggy Pop. When Iggy and The Stooges were recording Fun House in 1970, the then 23-year-old Iggy would start each studio session by dropping a tab of acid (as noted in the book Open Up and Bleed). The band decided to take a break and head to San Francisco for a weekend, playing a couple of shows at the Fillmore with Alice Cooper and Flamin’ Groovies. The first show on May 15th was attended by most of The Cockettes, who bore witness to Iggy on stage clad in the tightest jeans possible and long silver lamé gloves. Iggy was already a sweetheart of the gay community, and as Cockette Rumi Missabu recalls, Iggy distinctly gave them the impression he was “playing just for them.” Following the show, Iggy would become a regular guest of The Cockettes.

In the 2002 film, The Cockettes, Cockette Sweet Pam confessed that the collective “almost brushed their teeth with LSD,” to which Fayette would add, “contributed to the emphasis of flashy costumes.” Although the use of acid was the norm for the Cockettes, their art, sexual autonomy, and fierce expressions of individuality all contributed to the creation of High Drag. And, thankfully, the world would never be the same.

 

Cockette Wally in full regalia. Photo by Clay Geerdes.
 

Cockette John Rothermel Photo by Clay Geerdes.
 

Cockettes’ Dusty Dawn and Wally in pearls. Photo by Clay Geerdes.
 
Much more after the jump…

Black Sabbath in 1977.
 
Kind of like when Van Halen toured with Black Sabbath, when AC/DC teamed up with Sabbath to open shows during the twelve-date European leg of their Technical Ecstasy Tour, they were a formidable, almost impossible act to follow. Many accounts would boldly state AC/DC was regularly blowing Black Sabbath off the stage. However, AC/DC also experienced technical difficulties early in the tour. At a show on April of ‘77 in Paris, a bunch of AC/DC’s new gear explicitly purchased for the tour malfunctioned, including equipment exploding on stage mid-set (noted in the book AC/DC: Hell Ain’t a Bad Place to Be). The band lost it and trashed the stage, stopping the gig twenty-minutes in. This would be the catalyst causing tensions between the bands to rise. On many occasions, AC/DC would leave the stage in such a state of disarray, it would take Sabbath longer to get set up. Needless to say, this didn’t go over well with some of the members of Black Sabbath. Especially Geezer Butler. But not everyone in AC/DC was on Sabbath’s last nerve.

Bon Scott took the tour as an opportunity to rekindle his friendship with Ozzy (also noted in AC/DC: Hell Ain’t a Bad Place to Be), as the pair shared common interests like checking out local brothels and the love of booze. Bon was often found hanging out in Sabbath’s dressing room, a bold choice given the strained relations between the bands. But it probably had everything to do with Sabbath having better party favors. On April 21st, 1977, everything would come to a head by the time the tour rolled into Lund, Sweden, and depending on who you chose to believe, Ozzy may have prevented Geezer Butler from going stab-happy on Malcolm Young. Let’s start with an account of the incident from the late Malcolm Young given during an interview with the guitarist in 2003:

“We were staying at the same hotel, and Geezer was in the hotel bar crying into his beer. He was complaining about being in the band for ten years and told me, ‘wait ‘til you guys are around ten years. You’ll feel like us.’ I said, ‘I don’t think so.’ I was giving him no sympathy. He’d had many too many (drinks), and he pulled out this silly flick knife. As luck would have it, Ozzy walked in and says to Geezer, ‘You fuckin’ idiot, Butler—GO TO BED!’ Ozzy saved the day, and we sat up all night with him.”

 

An image of AC/DC on stage in Lund, Sweden prior to getting kicked off the tour later that evening. Image source.
 
Usually, Ozzy the Friendly Drunk was the one causing problems by going missing and presumed dead, or getting arrested, but this time we maybe get to thank Ozzy for making sure things didn’t get out of hand between his pal Geezer and Malcolm Young. Geezer Butler has addressed this story many times over the decades. In an interview in 2016 he again gave his side of the mysterious knife-pulling incident with Malcolm Young in Sweden. When the tour arrived in Oslo, Butler made a bee-line to the nearest store to purchase a “flick-knife” (similar to a switchblade), which were banned for sale in England. Here’s Geezer’s account of his run-in with Malcolm Young:

“No, I didn’t pull a knife. I always had flick-knives when I was growing up because everybody used to go around stabbing each other in Aston (Butler’s birthplace in Birmingham, England). Flick-knives were banned in England, but when we were playing Switzerland, I bought one. I was just flicking it when Malcolm Young came up to me and started slagging Sabbath. I was just playing with the knife. I was really excited to get one again. I was having a drink and flicking my knife—like you do—and he came over and said: ‘You must think you’re big, having a flick-knife.’ I said, ‘What are you talking about?’ And that was it. Nobody got hurt.”

Hmmm. No Ozzy to the rescue? No flick-knives vs. drunken-fists brawling? In the book AC/DC FAQ: All That’s Left to Know About the World’s True Rock ‘n’ Roll Band, it was alleged that Malcolm started throwing punches at Butler. I would not want to cast doubt on Butler’s version of the story. And the fact is, after the stop in Lund, AC/DC exited the tour prior to its conclusion, forcing Sabbath to cancel the last four dates. Still, I can’t help but think of his arrest in Death Valley, California in 2015 for punching a “drunken Nazi bloke” in the mug. Sure, he was drunk just like in 1977, but we all know punching Nazis is a forgivable act of well-deserved violence. It should also be noted the man Geezer attacked has told an entirely different version of the story, but stopped short of denying he was a Nazi. Geezer isn’t allowed to talk about the incident anymore because he had to sign an NDA and pay, in his own words, “the git” off. So what really happened in Lund, Sweden? Most of us probably prefer Malcolm’s “Ozzy saves the day” version, but I’m not as far to say Geezer Butler’s version isn’t the truth. Mostly because it’s pretty clear he does not fuck around when being fucked with.
 

Audio of Black Sabbath performing “Gypsy” from ‘Technical Ecstasy’ in Lund, Sweden, April 21st, 1977.

Debbie Harry by Andy Warhol.
 
On December 8th, 1977, Blondie were set to make their first appearance in Brisbane, Australia. But the show didn’t go on as scheduled, and it would become known as the only show the band would be forced to cancel. In Australia, Blondie’s first record, Blondie was a huge hit, and fans were rabid as they waited at Her Majesty’s Theater, a former opera house, for the band to take the stage. And, as the title of this post indicates pretty clearly, that never happened. Here’s the story about how Debbie Harry’s alleged overindulgence on a fruit close to my heart, cherries, resulted in a good-old-fashioned punk rock riot.

As the story goes, the turnout for the show was about 1200 strong. After waiting around an hour for the show to start, drummer Clem Burke came out on stage to personally apologize to the crowd, letting them Blondie wouldn’t be able to play because Deborah Harry was “ill.” The cause of Harry’s illness was blamed on the singer eating too many cherries, and was apparently so acute a doctor was dispatched to the theater to treat the ailing singer. Ray Maguire, the band’s road manager, would later make a curious statement supporting the cherry-theory:

“In New York, we don’t see very much fruit, but out here, we’ve been going mad on it. I think that Deborah just had a few too many cherries over the last few days.”

I don’t know about you, but I had no idea there was some sort of fresh fruit crisis going on in New York in the 1970s. Anyway, after apologizing to the crowd, Burke was loudly booed and pelted with an object thrown by someone in the audience. As bottles and cans started to fly at the stage, Burke made a hasty exit while local Brisbane punk band The Survivors (known initially as Rat Salad, just like Van Halen) were begging show promoters to let them play. Some attendees started to leave while a group of five tried to get on stage and ended up throwing their fists at members of Blondie’s road crew. The fisticuffs continued backstage as crew members battled to eject the punchy fans, a few who were arrested by the police.

Meanwhile, other angry ex-Blondie fans somehow managed to remove a huge iron gate and iron bar from the premises and using their makeshift weapons to try to bust open the door. They were eventually able to hurl the iron bar over an opening at the top of the door, where it nearly landed on top of fans trying to leave what was pretty much a riot in progress. A riot attributed to an unnamed, unemployed twenty-year-old youth and three minors charged with willful destruction of property. The youngsters were tried in Children’s Court.
 

An article in the Telegraph describing the riot at Her Majesty’s Theater.
 
In a fantastic twist to this story, Australian writer and culture vulture Clinton Walker (author of many books, including the incredible biography on Bon Scott, Highway to Hell: the Life and Death of AC/DC Legend Bon Scott) literally had a front-row seat when the riot began and, according to Walker, his pal Bob Farrell (later of the band Laughing Clowns) was one of the kids who stormed the stage. In Walker’s account of the riot, cherries were perhaps not to blame for Harry’s illness, but instead the ingestion of potent Australian heroin. The acclaimed author admits it was a “scurrilous” thing to say, but confirms it to be very much a part of the mythology behind the cancelation of Blondie’s first gig in Brisbane. Walker was also at the poorly attended make-up show ten days later on December 18th at Her Majesty’s Theater, where the band concluded their set by smashing up their instruments. Nice.
 

Blondie live at CBGB’s in May of 1977.

George Harrison posing on a Triumph motorcycle in 1972.
 
Beatle George Harrison was a profoundly fascinating cat and a mass of contradictions. Despite being known as the “quiet Beatle,” Harrison could prove to be anything but. A deeply spiritual man, Harrison believed he had led a previous life. He brought his Beatle bandmates to Northern India to become better acquainted with transcendental meditation in 1968. Later that same year, gentle George invited members of the Hells Angels to the offices of Apple after meeting a few of them getting high on Haight Street in San Francisco.

Rolling Stone founding editor David Dalton wrote about the entire affair. When Harrison met two Angels, Bill “Sweet Willie Tumbleweed” Fritch, the leader of the SF Hells Angels in the mid-60s, and Frisco Pete (Pete Knell), he extended an invitation for them to visit him in London, and attend a Christmas party at Apple Corps headquarters. Since you can’t ride a chopper all the way to London from San Francisco, the Angels’ spiritual advisor (yep), Peter “Monk” Zimmels (formerly a Buddhist monk on the run after deserting his gig with the U.S. Navy), went to concert promoter Bill Graham for travel cash.

Graham was already in deep with the Hells Angels and had received four death threats (noted in the book The Zapple Diaries: The Rise and Fall of the Last Beatles Label) including bullets fired into his office at the SF Fillmore by the infamous motorcycle gang. So when Peter the Monk arrived at the Fillmore to talk to Graham, his negotiation tactics revolved around the promise to “remove” the bullets in exchange for a $1,000 bucks so the Angels could go party with the Beatles in London. Graham coughed up the cash quickly, and a bunch of Hells Angels and two of their motorcycles would soon be on their way to see their pal, George. In anticipation of their visit, Harrison sent out a memo on December 4th to Apple Corps, letting them know a dozen members of the Hells Angels would be guests at Apple Corps’ Savile Row offices:
 

 

Now the notion Harrison was concerned about the Hells Angels visit is pretty apparent, as he ominously reminds Apple staff to not allow the bikers to “take control” of Savile Row—to say nothing of their plans for Czechoslovakia, which is over 800 miles away from London. Once they arrived, only two of the Angels actually made it through customs, Frisco Pete and Tumbleweed, along with an assorted group of hangers-on. When they arrived at the party, they were expecting to hook up with George, who would later whisk them away to his massive mansion. Once Harrison showed up, he gave the motley group a tour of Apple and then vanished, leaving the staff at Apple to deal with his guests. At the party, John and Yoko were dressed as Ma and Pa Christmas while a giant 43-pound turkey took its time cooking. All the while, Hells Angels, being Hells Angels, along with their jet-lagged entourage, consumed tons of booze and smoked hash. A completely blotto Frisco Pete, blind from drink and suddenly hungry, lurched into the main party room and screamed at John Lennon, “What the FUCK is going on in this place? We wanna eat!”

Pete’s announcement sucked all the air out of the room as everyone waited to see what was going to happen next. This is the part of the story when fists start flying. Because it ain’t the holidays until someone gets punched.

According to The Zapple Diaries, journalist Alan Smith responded to Pete’s demand for grub, politely asking the biker to “have a little consideration.” This got Smith punched in the face by the angry, drunk, high and hungry biker, sending him across the room where he crumbled into a pile on the floor. Now Pete turned to Santa Lennon and screamed the following:

“You got more fucking food in that kitchen than there are people, and it’s all locked up, and those two fucking broads upstairs tell me I’ve gotta wait until 7:00 just like everybody else! There’s a forty-three-pound turkey in that kitchen, and I want some of it now!!!”

 

A photo of John Lennon, Yoko Ono, and Apple artist Mary Hopkin at the Apple Corps Christmas Party in 1968.
 
After Lennon told Pete it wasn’t “cool” to be hungry, Peter Coyote (Frisco Pete’s multi-talented actor/director/friend, who had spent the flight from California to London injecting himself with methamphetamine and B12 to help “cure” his hepatitis), intervened telling Lennon to take a seat. It was now time for Apple’s administrative director Peter Brown to materialize and deliver this soliloquy (via The Zapple Diaries) to Frisco Pete in an effort to chill out the volatile situation:

“Now listen, Pete, we have every intention of feeding you, and I apologize for the delay, but I was hoping you could appreciate the kitchen staff have been working since 9:00 am, and they’ve been under considerable pressure. We’re waiting for the caterers to finish laying the tables, and it shouldn’t take more than another ten minutes, and then we can all go downstairs and gorge ourselves to death, but please, I beg you, be patient.”

Amazingly, Brown’s very English entreaty didn’t get him whomped in the face; it instead, quite surprisingly, sent Frisco Pete back to his clan, who were still imbibing and salivating in the other room. As promised, ten minutes later, the downstairs boardroom opened, and because he was hungry and presumably all out of fucks to give, Frisco Pete grabbed a turkey leg and started eating it caveman-style. The rest of his entourage invaded the room and devoured the entire dinner, including the fancy wine it was served with. Then, since it ain’t really a party until somebody pukes, several of Harrison’s not-so-angelic guests barfed on the carpets due to overindulgence. The bikers would stick around Apple, sleeping wherever they wanted, including George’s office, until, a few days into their invasion, Harrison finally asked if they would be “moving all of their stuff” out tonight. The biker contingency was caught off guard, still thinking Harrison was their buddy, causing someone in the group to ask George if he “dug them or not.” Harrison’s very “Ob-La-Di, Ob-La-Da” response was allegedly as follows:

“Yin and yang, heads and tails, yes and no.”

Apple Corps president Neil Aspinall witnessed the showdown, recalling that Harrison’s quizzical comment left the bikers speechless. To illuminate what George was trying to say, he chimed in with, “You know, BUGGER OFF!” which wasn’t lost on Tumbleweed and Frisco Pete, and the group left without further incident.
 

 
The trailer for the 2017 documentary ‘The Beatles, Hippies and Hells Angels: Inside the Crazy World of Apple.’ Narrated by Peter Coyote.
 
With thanks to the wonderful Martin Schneider.

 
It seems like in every circle of friends there’s at least one person who’s an inveterate weed snob. The one who can always be relied upon to spark up a joint of the good stuff. If you happen to know me, well, I’m that guy, but I have friends who are “that guy” as far as I’m concerned (nearly all of my close friends are heavy, heavy stoners). One of them is David Hershkovits, the former co-founder, co-editor/publisher (with Kim Hastreiter) of New York City’s long-running style bible PAPER magazine. Since selling PAPER David has embarked on a new enterprise, his Light Culture pot-themed podcast which is presented by Burb Cannabis in Vancouver. I asked him about it via email.

How long have you been a pot smoker?

David Hershkovits: I’ve been an off and on (but mostly on) pot smoker for 50 years. More off when my kids were born. Plus, I periodically take month-long breaks. What’s great about pot — among other things — is that you CAN stop if you have to.

So why a weed podcast? Beyond cannabis, what’s the mission of the show?

David Hershkovits: I find the Light Culture podcast a natural continuation of what I’ve been doing for all of my professional life. When I sold PAPER Communications two years ago, divesting myself of PAPER magazine, papermag.com the website with a huge social media presence, and an experiential marketing division, I was looking to stay in the game. I’d been fascinated by podcasts as media and saw Light Culture as a great opportunity to keep on playing in my favorite sandbox of pop and politics. So when I joined the Vancouver-based cannabis company Burb as a consultant, we landed on launching a podcast to connect the brand with a community that bridges cannabis past, present and future. Socially, politically and economically cannabis touches on so many issues right now. It’s an industry still early enough in its evolution to be shaped into something progressive, aware of its social justice implications, counter cultural legacy and responsibility to the disproportionately black and Latino communities who have taken the brunt of the War on Drugs. As a long-time advocate for decriminalization, I want to be part of the conversation.

Who have some of your guests been?

David Hershkovits: My guests have included Fab Five Freddy Brathwaite, a renaissance man of hip hop who paints, directs, acts, produces. We spoke on the occasion of Grass is Greener, a Netflix documentary that goes into the history and culture of the plant, especially as it relates to music and the creative impulse.  With Vanessa Lavorato of Bong Appetit we spoke about food and cannabis and women’s evolving role in the culture.

It’s all too obvious where one finds cannabis culture in California—just walk outside and take a good whiff—but where do you find it in New York?

David Hershkovits: Cannabis culture is alive and well in NYC, not only on the streets where vaping and puffing proliferate and people are willing to spend to get the best shit, legal or otherwise. It spans all demographics from skate to art to foodies on the hunt. Secret clubs catering — and selling — to cannabis connoisseurs are opening as well. In a recent survey New York was named as the largest consumer of Cannabis world-wide. So there!

What is the legal situation there? Is it a state law or a municipal ordinance?

David Hershkovits: The legal situation today is that the police have been asked not to make arrests for small amounts, tickets can be written but no one is going to jail if all you’re carrying is for personal use. Still sucks, though. New York City feels like the (un)stoned age compared to Cali.

What about the dispensaries that are popping up around New York? Are they good?

David Hershkovits: Nah, I don’t use dispensaries. I’m fortunate to know who I know which means that I only smoke the best shit.

Danny Fields: David and Danny talk about the wild days of New York when weed was everywhere and Danny was a confidante of all the young dudes from Lou to Iggy to Joey and Nico.

Joe Murray aka “AJ Sour Diesel” — great story about New York in the 90s when Deadhead kids in high school were hanging out in Wetlands, scoring the best weed in the city and then going to on establish Kind Bud — Sour Diesel.

More ‘Light Culture,’ after the jump…

 
After the Grammy Award-winning success of their exquisite Voyager Golden Record: 40th Anniversary Edition box set Ozma Records, the imprint founded by bOING bOING’s David Pescovitz and his business partner Tim Daly, are back with a gorgeous coffee table art book celebrating the Golden State.

The Family Acid: California takes a trip with Roger Steffens, a name instantly recognizable to reggae fans, as Steffens is known worldwide as one of the foremost historians of Jamaican music and a biographer of Bob Marley, in addition to being an NPR interviewer and DJ. He’s also a traveller who has had a camera in one hand (a joint in the other) as he’s spent the past five decades seeking out the psychedelic, the eccentric, the outlandish and the transcendent:

Roger Steffens is an intrepid explorer of the fringe but he’s also a family man. He met his wife Mary under a lunar eclipse in a pygmy forest in Mendocino, California while on LSD. Soon after, they conjured up a daughter, Kate, and son, Devon. Family vacations took the foursome up and down the West Coast, from the gritty glam of Hollywood’s Sunset Strip to reggae festivals in Humboldt, fiery protests in Berkeley to the ancient redwoods of Big Sur and the wilds of Death Valley. Along the way, they’d rendezvous with like-minded freaks, artists, musicians, and writers, from Bob Marley and Timothy Leary to actor John Ritter and war photographer Tim Page, the inspiration for Dennis Hopper’s character in Apocalypse Now.

They’d take in the wonders of nature—hallucinatory sunsets, expansive mountain vistas, the dreamlike haze engulfing foggy mountain roads. And, of course, the adults would occasionally lose their minds in psychoactive celebrations of creativity, freedom, and hope. Set and setting were everything.

This book is a collection of snapshots taken between 1968 and 2015 during Roger, Mary, Kate, and Devon’s freewheeling adventures across the visionary state they call home. Think of it as a family album belonging to a very unconventional family.

Some of the photographs have appeared on The Family Acid Instagram feed, but the lavishly-published The Family Acid: California contains hundreds of full-color images, most never seen before, with detailed captions and an original essay by Roger Steffens. Pre-orders of the 192-page book come with a limited-edition photo print on perforated LSD blotter paper (undipped, sorry!), 6.25” x 10”, and signed on the verso by Roger Steffens. The blotter print is available with the book at a special package price or separately.
 

 

 

 

 

 

 

 

 

The blotter paper print.

Ozzy Osbourne on the cover of the March 1999 issue of High Times magazine. All photos by Dennis Kleiman.
 

“What other job can you imagine where the more fucked up you turn up, the better people think you’re gonna be? ‘Oh, fuckin’ Tony’s stoned’ or ‘Ozzy’s stoned’ or ‘Bill’s stoned.’ It’s going to be good fun tonight.’

—Ozzy in High Times talking about smoking ganja with Black Sabbath

Black Sabbath’s original members came together twice during the 1990s—the first occasion occurring at the conclusion of Ozzy’s first No More Tours tour when a newly sober Ozzy asked his old band to open two shows in Costa Mesa, California on November 15th and 16th, 1992. Both shows would end with Ozzy joining Tony Iommi, Geezer Butler, and Bill Ward on stage to rip through a few Sabbath classics. The second “reunion” in 1997 at Ozzfest (minus drummer Bill Ward until his return in December of that year), would eventually lead to an album, the band’s first live record (featuring the original lineup), Reunion. In October of 1998, the band arrived in New York City for their first TV appearance in 22 years on the Late Show with David Letterman. While in New York, Ozzy’s people reached out to High Times magazine saying that he wanted the magazine to interview him. When High Times journalist Chris Simunek got the news he was going to interview the Prince of Darkness (or perhaps the Prince of Dankness in this scenario), he thought he was being “pranked” as the thought of possibly doing bong hits with Ozzy was just too much. But the request was legit and Simunek and High Times production director Rob Braswell eventually set out to meet Ozzy and Iommi at their hotel. Once they were whisked away to the room where interviews were being held, they were greeted by Osbourne who asked them if they were “rolling yet.” Priorities, Ozzy has them.

Upon meeting Ozzy, Simunek described shaking the hand of the odds-defying vocalist like “shaking the hand of a man who just came out of a 30-year panic attack.” Even at 50, Ozzy’s hereditary tremors and stammering speech were front and center; however, this didn’t stop Osbourne or Iommi from sharing some stories from their drug-using/abusing past—which was the point of the interview with High Times in the first place. In the words of Simunek—if you want to read about Black Sabbath’s music “go read Guitar Player.” This discussion with Ozzy and Iommi, two of heavy metal’s most valuable players was about weed, and as it turns out, lots of other party favors the band had devoured during their smoke it/snort it/drink it days. The interview was published in the March 1999 issue and would become one of High Times’ biggest sellers. As I am a proud owner of this issue, it feels like high time to share some of the highlights.
 

Ozzy, Tony Iommi and ALL THE WEED in High Times Magazine.
 

Simunek: So I’ve got to ask you about “Sweet Leaf.” Where did that come from?

Ozzy: Well, what do you think? We used to smoke pounds of the shit man. We used to buy it by the fuckin’ sackful. We used to be so fucked up all the time. Wake up in the morning, start the day with a spliff and go to bed with it. Yeah, it started to get…I started to get the heebee-jeebees. I was mixing all kinds of other chemicals. Booze, coke, pills…

Simunek: Do you see a difference between pot and other chemicals?

Ozzy: Absolutely. This, for instance, (waving his cigarette), tobacco. I couldn’t smoke as many joints a day as I can this stuff. Gotta legalize pot. I’m all for the legalization of pot, decriminalize it. I don’t smoke it myself, but if anybody wants to smoke it, fine. I got busted for it. We all did.

Simunek: With coke, wouldn’t you record albums faster?

Ozzy: You’d do it, and then you’d forget what you were doing! We couldn’t turn the fucking tape machine on! We’d turn the ‘pause’ on instead of ‘play/record,’ you know. We’d be playing for fuckin’ twenty-four hours.

Iommi: Those neat little bags (of coke).

Ozzy: Just chop us another line out! Get another can of beer out of the fridge! Roll another joint! We used to smoke big bags of hash. Big fuckin’...we used to buy hash by the pound.

Iommi: And coke. We used to buy these sealed bottles of coke.

Ozzy: Government sealed!

Simunek: Is it rough to be sober now?

Ozzy: It sucks. I don’t like being sober, but say you chopped up some lines (of coke). I’d go, ‘Yeah, I’ll go for it.’ By twelve-o’clock I’d be hanging off of the fucking building screaming with a bottle of vodka in my hand. There was a big period of time when I used to drink cheap wine and do ‘ludes. I’d be like fucking jelly, and the audience would be like a pond, a fucking oil slick. Did you ever try the original Quaaludes?

Simunek: No. That’s a little before my time.

Ozzy: (Now addressing Iommi) They were fucking wonderful, weren’t they? I could still get them. I know somebody who froze ten thousand.

In addition to Ozzy and Iommi’s take on their own personal Fear and Loathing journey in High Times, there was also a photo shoot with Osbourne and Iommi at photographer Dennis Kleiman’s New York studio involving a shit-ton of high-quality New York grown nugs and buds. Ozzy’s publicists kept a tight wrap on the guest list for the shoot (even Simunek was barred from being there), which was probably for the best as according to those who were there, Ozzy was especially “playful” during the session as he clutched a giant bag of weed while running laps around Kleiman’s studio. While all this was going on, some of Ozzy’s crew started pocketing some of the bud used for the shoot. When word got back to High Times editor and publisher Mike Edison (as noted in his 2008 book I Have Fun Everywhere I Go: Savage Tales of Pot, Porn, Punk Rock, Pro Wrestling, Talking Apes, Evil Bosses, Dirty Blues, American Heroes, and the Most Notorious Magazines in the World), he was pissed. Here’s more from Edison on the great Ozzy Osbourne Weed Heist of 1999:

“They were stuffing their pockets with weed when they left. Fuck, why didn’t they just ask! Boosting the stash was pretty square. No class. We would have pretty much given them whatever they wanted out of respect for their boss. There was no way I was not going to exploit this, and I leaked the story to the New York Post which it ran on Page Six titled ‘Drug-Addled Rock Star Pilfers Pot, Chaos Reigns at Stoner Photo Shoot.’”

More after the jump…

 
I’m sure we’ve all considered who we’d take psychedelics with, if given the opportunity. Off the top of my head, my choice would be Pauly Shore, Encino Man era. Bud-dy! For independent filmmaker Caveh Zahedi, that person was folk songwriter, Will Oldham. And he made that dream come true, on camera.
 
Tripping with Caveh is a thirty-minute film documenting one man’s hallucinogenic outing with Bonnie “Prince” Billy. As its introduction illustrates, the two got in contact in 2001, when the Independent Film Channel approached Zahedi to air his 1999 video diary, In the Bathtub of the World. The project contained two of Oldham’s songs without his permission and they needed to clear the rights in order to proceed. Shortly after, Caveh reached out again to inquire whether the Palace Brother would take psilocybin mushrooms with him to pitch a new television series. The product of that interaction is depicted in Tripping with Caveh.
 

 
Somewhat of a psychedelic take on John Lurie’s cult television series Fishing with John, Zahedi’s bizarre docu-reality pilot was filmed at Richard Linklater’s property in Austin, Texas. The youthful Oldham, first introduced while munching on ice cream cone at the airport, happily obliges with Caveh’s direction and retains a cheerful persona throughout the journey. What ensues is an afternoon of speculative and existential discussion, go-kart rides, pool lounges, and a late-night serenade of “I am a Cinematographer.” Oh, and Oldham steps in a hornet’s nest, which pretty much derails the whole thing.
 
To be honest, the short isn’t very good, but take what you make of it. Caveh’s filmmaking style is the product of his own narcissism and self-confession, which kind of interferes with Oldham’s carefree and heartfelt performance. If anything is to be gained, it’s maybe don’t take hallucinogens with your idols - because they may think you suck after the whole thing is said and done.
 
But yeah, I’d tooooooootally take shrooms with Bonnie “Prince” Billy.
 
Watch Will Oldham trip out with a random guy in the short film ‘Tripping with Caveh’ below:
 

 
h/t Spencer
 

 
In 1989 Jean Giraud, or Moebius as he is universally known in the comix world, accepted an assignment from the Paris office of Young & Rubicam. The client was Maxwell House coffee, and the job called for a series of advertisements that would appear in French magazines. The images correlated roughly to what we would today call “a New Yorker cartoon” but they also overflowed with the exacting, unmistakable, visionary touch of Moebius, collaborator of Alejandro Jodorowsky, Ridley Scott, James Cameron, and Luc Besson.

Moebius completed six images for Young & Rubicam but only four were actually used in magazines. The theme of the advertisements was “Grain de Folie,” which translates to something like “a touch of madness.” The purpose of the campaign appears to have been to convince French womankind that a coffee during the daytime might be seen as a proper activity or even a reward for completed tasks, as we shall see.

The heroine of the series was “Tatiana,” a self-possessed and fashionable young woman who happens to find herself alone on a deserted jungle island or the like. Rather than display a shred of panic, unflappable Tatiana instead demurely sips her cup of Maxwell House coffee, a cup that invariably is defined as a tiny expanse of white in an otherwise completely yellow image. Tatiana is so utterly capable that even the considerable threats of the jungle are reduced (in the caption, we find) to the everyday trials of suburban domesticity. Or something.

Here are two rather grainy images of the ads more or less in action. Note that you can see a small amount of white space to indicate where the center of the image would be, in the two-page spread of a magazine. (Better images—and translations—are supplied further down, never fear.)
 

 

 
Moebius fans have been aware of these images for quite a while. In 1991, just two years after the campaign, French artist Numa Sadoul included them in a book called Mœbius: Entretiens avec Numa Sadoul. A few years later they were printed in a limited run as Coffee Dreams, the 5th issue of Ashcan Comics, a series dedicated to Moebius rarities.
 

 
That issue, which was limited to just 100 copies, fetches $500 in online auction sites today—which is true of all of the Ashcan Comics that I was able to find.

Here are better-quality pics with proper captions so that you can enjoy the full effect of these indelible Moebius images:
 

Ce petit break fut un soulangement pour Tatiana qui se lassait tant de ces blablas intellos. (The little break was a relief for Tatiana, who was sick and tired of all the intellectual blah-blah.)

 
More Moebius after the jump…

 
Matt Groening made his comedic name in the 1980s with the brutally nihilistic alternative comic Life In Hell (a favorite of mine in high school) and went on to far greater fame as the creator of the animated Simpson family as well as the TV series Futurama and Disenchanted.

One of Groening’s early forays into comedy occurred in 1972 when, as a student at Evergreen State College in Olympia, Washington, he co-directed, co-wrote, and appeared in “Drugs: Killers or Dillers?,” a parody of the many inauthentically “authoritative” anti-drug propaganda film strips of that era. National Lampoon and the Firesign Theatre were a very big deal when Groening, Tim Smith, and Jim Angell teamed up to create the nine-and-a-half-minute movie—and you can see that influence pretty strongly here. The movie is amateurish but pretty good, considering.
 

 
Groening appears in the opening bit as a hippie degenerate who drinks way too much LSD. My favorite gag involves the eventual demise of a pair of cavemen who pop up to illustrate the origins of drug consumption. The montage of the various types of drugs is quite amusing as well.

The first title card of the movie reads “A TEENS FOR DECENCY PRESENTATION.” When Groening appeared on Late Night with David Letterman in 1989—there’s no way I didn’t watch this episode when it first aired—he mentioned that when he was in high school, he started a group by that name because a teacher had referred to Groening and his friends as “teens for filth.” The group’s motto was “If you’re against decency, what are you for?” and all the members secured election to the student body offices, yay.

Oddly, Fox, the network that hired Groening to make The Simpsons—the same network that series would eventually save from oblivion—was run by a man named Diller.
 
Watch the movie after the jump…......