The zine had a strong libertarian-populist bent, and was given to attacking the fda, dea, and ama with gusto whenever those institutions stood between the American people and their pills—pills that Hogshire regarded with a reverence born of their astounding powers to heal as well. Hogshires reports on his drug experiments made for amusing reading. I particularly remember his description, reprinted in this magazine, of the effects of a deliberate overdose of Dextromethorphan Hydrobromide, or dm, a common ingredient in over-the-counter cough syrups and nighttime cold remedies. After drinking eight ounces of Robitussin dm, hogshire reported waking up at 4:00. And determining that he should now shave and go to kinkos to get some copies made. That may seem normal, but the fact was that I had a reptilian brain.
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But in these days of invention the American drug war, as it turns out, the border between the sunny country of the law-abiding—my country!—and a shadowy realm of swat teams, mandatory minimum sentences, asset forfeitures, and ruined lives is not necessarily where one thinks. One may even cross it unawares. As I delved into the horticulture and jurisprudence of the opium poppy last summer, i made the acquaintance of one man, a contemporary and a fellow journalist, who had had his life pretty well wrecked after stepping across that very border. In his case, though, there is reason to believe it was the border that did the moving; he was arrested on charges of possessing the same flowers that countless thousands of Americans are right now growing in their gardens and keeping in vases in their. What appears to have set him apart was the fact that he had published a book about this flower in which he described a simple method for converting its seedpod into a narcotic—knowledge that the government has shown it will go to great lengths. Just where this leaves me, and this article, is, well, the subject of this article. Before recounting my own adventures among the poppies, and encounters with the poppy police, i need to tell you a little about this acquaintance, since he was the inspiration for my own experiments in poppy cultivation as well as the direct cause of the first. His name is Jim Hogshire. He first came to my attention a few years ago, when this magazine published an excerpt from Pills-a-go-go, one of the wittier and more informative of the countless zines that sprang up in the early nineties, when desktop publishing first made it possible for individuals. Hogshires own special interest—his passion, really—was the world of pharmaceuticals: the chemistry, regulation, and effects of licit and illicit drugs. Published on multicolored stock more or less whenever Hogshire got around to it, pills-a-go-go printed inside news about the pharmaceutical industry alongside firsthand accounts of Hogshires own self-administered drug experiments—pill-hacking, he called.
It seemed to me that this would indeed slave represent a particularly impressive sort of alchemy. I wasnt at all sure, however, whether I was prepared to go quite that far. Im not eighteen anymore, or in any position to undertake such a serious risk. I am in fact forty two, a family man (as they say) and homeowner whose drug-taking days are behind him. Not that they arent sometimes fondly recalled, the prevailing cant about drug abuse notwithstanding. But now I have a kid and a mortgage and a keogh. There is simply no place in my grownup, middle-class lifestyle for an arrest on federal narcotics charges, much less for the forfeiture of my familys house and land, which often accompanies such an arrest. It was one thing, i reasoned, to grow poppies; quite another to manufacture narcotics from them. I figured i knew where the line between these two deeds fell, and felt confident that I could safely toe.
So it seemed to me that I could remain safely on the sunny side of the law just as long as I didnt attempt to extract any opium from my poppies. Yet I have to confess that this was a temptation I grappled with all last summer. You see, id become curious as to whether it was in fact possible, as Id recently read, for a gardener of average skills to obtain a narcotic from a plant grown in this country from legally available seeds. To another gardener this will not seem odd, for we gardeners statement are like that: eager to try the improbable, to see if we cant successfully grow an artichoke in Zone 5 or make echinacea tea from the roots of our purple coneflowers. Deep down I suspect that many gardeners regard themselves as minor-league alchemists, resume transforming the dross of compost (and water and sunlight) into substances of rare value and beauty and power. Also, one of the greatest satisfactions of gardening is the independence it can confer—from the greengrocer, the florist, the pharmacist, and, for some, the drug dealer. One does not have to go all the way back to the land to experience the satisfaction of providing for yourself off the grid of the national economy. So, yes, i was curious to know if I could make opium at home, especially if I could do so without making a single illicit purchase.
Somniferum as well. Rhoeas) to my annual order of flowers and vegetables from the seed catalogues. But the state of popular (and even expert) knowledge about poppies is confused, to say the least; mis- and even disinformation is rife. Id read in Martha Stewart living that contrary to general belief, there is no federal law against growing. Before planting, i consulted my taylors guide to Annuals, a generally reliable reference that did allude to the fact that the juice of the unripe pod yields opium, the production of which is illegal in the United States. But taylors said nothing worrisome about the plants themselves. I figured that if the seeds could be sold legally (and I found somniferum on offer in a half-dozen well-known catalogues, though it was not always sold under that name how could the obvious next step—i. E., planting the seeds according to the directions on the packet—possibly be a federal offense? Were this the case, you would think thered at least be a disclaimer in the catalogues.
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By michael Pollan, harper's Magazine, april 1, 1997, last season was a strange one in my garden, notable not only for the resume unseasonably cool and wet weather—the talk of gardeners all over New England—but also for its climate of paranoia. One flower was the cause: a tall, breathtaking poppy, with silky scarlet petals and a black heart, the growing of which, i discovered rather too late, is a felony under state and federal law. Actually, its not quite as simple as that. My poppies were, or became, felonious; another gardeners might or might not. The legality of growing opium poppies (whose seeds are sold under many names, including the breadseed poppy, papaver paeoniflorum, and, most significantly, papaver somniferum) is a tangled issue, turning on questions of nomenclature and epistemology that it took me the better part of the summer. But before i try to explain, let me offer a friendly warning to any gardeners who might wish to continue growing this spectacular annual: the less you hello know about it, the better off you are, in legal if not horticultural terms. Because whether or not the opium poppies in your garden are illicit depends not on what you do, or even intend to do, with them but very simply on what you know about them.
Hence my warning: if you have any desire to grow opium poppies, you would be wise to stop reading right now. As for me, im afraid that, at least in the eyes of the law, Im already lost, having now tasted of the forbidden fruit of poppy knowledge. Indeed, the more i learned about poppies, the guiltier my poppies became—and the more fearful grew my days and to some extent also my nights. Until the day last fall, that is, when I finally pulled out my poppies withered stalks and, with a tremendous feeling of relief, threw them on the compost, thereby (I hope) rejoining the ranks of gardeners who dont worry about visits from the police. It started out if not quite innocently, then legally enough. Or at least thats what I thought back in February, when i added a couple of poppy varieties (P.
The other three he said, " seem to be influenced by what you have seen". He told her to go home and paint another painting and he would come by and see. After seeing the new painting rivera told Frida: "you have talent " and encouraged her to continue painting. If rivera had not responded to her paintings with a positive attitude, it may well have been the end of Frida's career as a painter. In 1928, Frida painted a portrait of her younger sister, "Portrait of Christina, my sister".
The style and motif of this painting is in sharp contrast with the dark gloomy renaissance portraits of the previous year. In this portrait, the background colors are light and airy and the dark heavy renaissance gowns have given way to white sleeveless attire. The elongated features of the previous portraits are now true to form. Subtle signs of influence by diego rivera are evident in her choice of color and background and the stylized tree and larger branches in the foreground. Frida and diego were married on August 21, 1929. After their marriage, diego encouraged Frida to paint in the style of the mexican popular art, a "folkloric" style of painting. He suggested that she paint the indigenous and working class people of Mexico as he did in his own murals. From that encouragement came the painting "Two women". This painting very closely resembles the characteristics of a rivera mural the bright colors, the style and the figures.
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Frida would often go there to watch him paint and admire his work. After recovering from the bus accident, Frida learned that diego was painting another mural at the ministry of Education in Mexico city. Although she did not know him personally, she admired him and his work enormously so much that she wanted his opinion of her own work. She bundled up four of her paintings, boarded a bus and set out for the ministry building. When Frida arrived she recalls: ". I was bold enough to call him so that he would come down from the scaffolding to see my paintings and to tell me sincerely whether or not they favorite were worth anything ". One of the paintings she brought to show was her first self-portrait "Self-Portrait in a velvet Dress". After viewing the paintings, rivera remarked that he was most interested in the self-portrait ". Because it is the most original" he said.
One example where this element was used is "Portrait of eva frederick" (1931) where she identifies the portrait sitter and then herself as the artist. In another 1931 double portrait, "Frieda and diego rivera", she uses the banderole to proclaim that the portrait was painted " for our friend. In the unfinished painting "Portrait of a woman in essay White" (1930 the banderole was included but not inscribed. Leaving the sitter or inspiration for this portrait unknown to this day. Also borrowed from the 19th Century mexican Portrait painters was the use of a background of tied back drapes. Frida used this motif in several of her paintings, first in "Self-Portrait - time files" (1929 and later in "Portrait of a woman in White" (1930 "Self-Portrait Dedicated to leon Trotsky" (1937) and others as well. Diego rivera: diego rivera was a well known muralist in Mexico. While Frida was attending classes at the Escuela nacional Preparatoria school, diego was painting his mural ". Creation " at the school's Amphitheatre.
found artistic career, Frida had no style of her own and her early paintings reflected the motifs and styles of other artists that she admired. Frida's first self-portrait was "Self-Portrait in a velvet Dress" in 1926. It was painted in the style of the 19th Century mexican portrait painters who were greatly influenced by the european Renaissance masters. This self-portrait was Frida's interpretation of Botticelli's "Venus". Frida used this style in other portraits that followed: "Portrait of Alicia galant" (1927) and a portrait of her older sister; "Portrait of Adriana" (1927). Another characteristic that Frida borrowed from the 19th Century mexican Portraits is the inscribed banderole across the top or bottom of a painting. These inscriptions served to identify the sitter for the portrait or to describe the purpose or meaning of the painting.
She experimented with different styles and motifs and shocked the art world with her "surrealist" style works and paintings with sexual references. Wilhelm (Guillermo) Kahlo, her Father: Frida's father, a professional photographer by trade, was also an amateur painter. It was he who first sparked Frida's interest in marketing art. Frida would often accompany her father on his painting excursions into the nearby country side. He also taught her how to use the camera and how to retouch and color photographs. While Frida was recovering from the bus accident, guillermo gave frida his box of paints and brushes and encouraged her to paint. Fernando fernández: Fernando fernandez, a friend of Frida's father, was a well known and respected commercial printmaker.
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As a young woman, becoming a painter was not a part of Frida's career goals. Her goal in life was to become a doctor but a tragic accident at age 18 left her mentally and physically scared for life. It changed the course of her life forever. It was during her months of convalescence that Frida began to take painting seriously "to combat the boredom and pain" she said. i felt I still write had enough energy to do something other than studying to become a doctor. Without giving it any particular thought, i started painting. " It was the beginning of a life-long career for Frida. Aside from a few art classes in high school and browsing through art books from her father's collection, Frida had no formal training in the arts. As Frida developed her artistic skills, her paintings evolved into her own unique style, heavily influenced by other people, artists, cultures and life itself.