Taming the Epidemic

51DfIYszbDL._SX326_BO1,204,203,200_I have tried writing this several times, but I need 8,000 words instead of 800. I didn’t want to write about a politically charged topic at a time when politics are tearing the country apart. There is so much here you should read, need to read, that I cannot emphasize how important these books are, on such a difficult topic. And yes, if you’re living in this very town, they are relevant to YOU.

I read Chasing the Scream by Johann Hari in January – that’s how long it’s taken me to write this. I was skeptical – yeah, yeah, failed war on drugs. We know. But the information she presents is hard-core, well-documented, and agonizing. You can check it yourself. It blew my mind and changed my outlook not only on drug addiction, but my outlook on life. Hari shows – starting with Billie Holiday – that the war on drugs began early in the 1900’s as a method to exert control on “undesirables” – Mexicans, Blacks, Irish, Chinese. It blew up into a witch hunt, reinforced by Nixon to control war protestors. In the early 1900’s, drugs were legal. People could buy a small amount, get their controlled fix, and carry on. When the drugs were banned, junkies were forced to go underground, for huge amounts of money and unknown quality. People died. Crime exploded. Gangs took over. We knew this would happen, because we saw the exact pattern in Prohibition. The U.S. put a gag on every other country in the world – you want our aid, you make these drugs illegal. Now we control all the cartels.

And most of our addicts are addicts because…. they have psychological issues. Soldiers with PTSD. Rape and abuse victims. Homeless. Mentally ill. People with trauma. People without hope. And we have spent billions jailing them, punishing them, and sometimes killing them, because after all, they’re junkies, who cares.

But what happens when junkies (who make up only 10% of people who have used illegal drugs: 90% walk away fine) are not jailed, but treated as mentally ill, counseled, given a purpose? People tend to get clean and stay clean. What happens when illegal drugs are decriminalized – or even legalized, as in parts of British Columbia, or Portugal? Even heroin? Crime drops. Gangs fail. People become productive. And eventually, people get off the drugs themselves because it’s not who they are anymore. It’s a frightening concept, and against everything we have ever been brainwashed with.

Move on to Dreamland: The True Tale of America’s Opiate Epidemic, by Sam Quinones. 51pEBowSD9L._SX327_BO1,204,203,200_Quinones traces the perfect storm of the modern heroin epidemic: a false assumption, a powerful painkiller, a drug marketing lie, and a whole new method of peddling Mexican heroin. Oxycontin was touted as an addictionless drug because it was time-released, at a time when pain management was the rage in medicine. In reality, Oxycontin was very chemically similar to heroin, just as addictive, and pain “clinics” sprang up that did nothing but pump millions of addiction pills into the country. As people fought to get oxycontin, enter the Mexicans, who broke the rules by delivering drugs to your door. No guns. No violence. All under the radar. And their heroin was uncut Black Tar. Competition brought the price down to $6 a fix – cheaper than the $1/milligram Oxy. Washington State finally made the connection when their drug overdose fatalities were higher than their auto accident fatalities. Purdue Pharma paid more than $630 million dollars in fines for faking their addiction data. Pfizer paid more than $3 Billion for misrepresenting their drugs – less than 3 weeks take of their sales from them. Oxycontin was changed to help prevent abuse, but no one has yet put a dent in Mexican heroin sales.

51h74NFYq2L._SX331_BO1,204,203,200_A slightly older book to read is Methland, which shows the damage done to the Midwest with the rise of Meth, which is so easy to produce you can manufacture it while riding a bicycle around town. Why does everything seem to start in the Midwest? These are the areas hardest hit economically by the collapse of American industry. When people are hopeless, with no jobs, or if you are injured on the job, the doc will write you a pain prescription. You stretch it out to a disability claim, get on payments, and you no longer worry about money, or how to pay for prescriptions. You sell those pain pills for three times what you were charged. For students, it’s often sports. Children are pushed to excel, to work through the pain, given pain pills to take the field and win this one, and they get hooked. Most teens start with sports injuries.

If you think drug users are minorities in deepest urban ghettos, you’re wrong. They’re here. At least two students in this very town died this school year from overdoses. We don’t talk about them. They don’t make the paper. But the students know. It’s bad enough that there is now a clinic in this town. Let’s stop pretending. It’s the kid on the sports team. It’s the kid behind the register. Your hairdresser. The PTA mom.

These books are thought provoking in their information and ideas. Though I’m – thankfully – not directly affected by the drug epidemic, I feel I dodged a bullet when my daughter was only 13 (2006). A heavy jar fell on her foot and I took her to the ER. It wasn’t broken, but badly bruised. They offered her Oxycontin or Percocet for the pain. I said no, something less strong. They gave me scripts for both, and I could fill which I wanted (dead truth). A thirteen year old. I tore up both of them. She did fine with Motrin.index

If you can read one book this year, read Chasing the Scream. If you can read two, read Dreamland as well. Even if you don’t agree with them, let’s get a national dialogue going. And if you want something a little more technical but utterly fascinating about the chemical aspects of addiction, track down How Drugs Influence Behavior: a Neurobehavioral Approach by Jaime Diaz. I was – still am – amazed at the information, and it’s not so technical a layman can’t understand it. Never have I seen a medical book with opinions like this.

Dum-Diddly-DUMB

220px-TiK_ToK_-_Kesha_(official_single_cover)I came across an article from May of 2015 (there are many on the subject) that mourned the dumbing down of American music based on the reading grade-level of the lyrics. The average ability one needs to read modern lyrics is a whopping  second grade reading level. Hip hop scored worst, with short little repetitive words that needed only a first-grader’s ability to read. Country music was the Big Brain, with a reading level of third grade and a few months. I found that a bit shocking.

You can find one of those informative studies here http://seatsmart.com/blog/lyric-intelligence/
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There are many criticisms of such a study. One is that they only covered music in the last ten years. Was music really all that smarter 20, 30, 50 years ago? Another is that repetition dumbs down the word level:

(Ke$ha, TiK ToK, Billboard #1 January 2010) (NUMBER 1 SONG IN AMERICA)
I’m talkin’ bout – everybody getting crunk, crunk
Boys tryna touch my junk, junk
Gonna smack him if he getting too drunk, drunk
Now, now – we goin’ ’til they kick us out, out
Or the police shut us down, down
Police shut us down, down
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I’m not sure it’s the repetition that’s dumbing that down.
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The other major complaint is how reading scores are measured: most have a mathematical formula that juggles word length, sentence length, or syllable length, and messes them around until an average is found. This is not always accurate, especially with poetry or lyrics, which may have 100 words before coming to the actual end of a sentence.

I had to find this out for myself. After all, we survived songs like “Doo Wah Diddy” and “Kookie, Kookie, Lend Me Your Comb.” I took a variety of older songs and plugged them through https://readability-score.com/, which uses fivChild in school distracted_0e different reading assessment tools to come to an average score. The Flesch-Kincaid Reading Ease was developed by the Navy, so that technical manuals wouldn’t get too difficult to understand. A score of 90 or better is good for a 6th-grade student, 60 or higher is good for high school students, and 30 or less is best left to college students (i.e., higher score is easier to read). Because the formula isn’t perfect it is possible, on the grade-level equivalent, to score well above a “grade” (as in, grade level 62).  That’s the number of years of schooling you may need to understand it. Ideally, if it’s for the average Joe or Jane on the street, you want a grade level of 8.  Don’t take it literally; just understand that the higher above 8 you go, the more complex it is to read.

Here was what I found when I ran nine popular songs through the analyzer:

Francis Scott Key, The Star Spangled Banner (1814) Everyone knows this one! Reading Ease: 87.6 (grade 7 or so). Average reading level – grade 7.3
Woody Guthrie, This Land is Your Land (1940) Come on! Okey folky here. Woody Guthrie was by far not an educated man. Reading ease: 33.8 (that’s in the college range). Average grade level: 37  (Blame no punctuation.)
Elvis Presley, Jailhouse Rock (1957) We’re talking Elvis. Hound dogs. Blue suede shoes. Reading ease: 77. 2 (high school). Average reading level: Grade 6.2
Frank Sinatra, A Very Good Year (1961) Thoughtful, but not Shakespeare, right? Average grade level: 11.6
The Supremes, Baby Love (1964)  Oooh, Baby Love, the reading ease is 54, with a grade level of 14, which, again, is almost guaranteed to be a result of no punctuation.
Bob Dylan, The Hurricane (1975) Ok, folk music by nature is going to score higher, because it tells a whole story. I only did the first four stanzas. Reading ease? 16.3. Grade level? 24.7  Big long sentences with grammar!
Queen, Bohemian Rhapsody (1975) Let’s face it. Scaramouche isn’t in a Ginn Reader, or even a Lippincott or Scott Foresman. Reading ease? 43. Grade level: 16.3. That’s a senior in college.  Thunderbolt and lightning.
The Police, De Do Do Do (1980) (Talk about repetition!) reading ease: 63. Grade level: 47.
REM, Drive (1992) Reading ease: 101.9 (that’s grade 5ish). Average reading level: 2.2  Ah! So music DID die off at the end of the 80’s!

knobAnd just for kicks (because it came up on my iTunes): Disney’s Bedknobs and Broomsticks, Substitutiary Locomotion (1971) (remember, this is a Disney kid’s movie): Reading Ease: 4.1 (that’s PhD level), and a grade level of 18.  A catchy kid’s tune.

#What it means:
Okay, even I was surprised. I expected lyrics to have come down, but I didn’t realize it was by that much. Don’t bother with “scores,” just read the lyrics. I did The Police as a joke, because that much repetition was certain to skew things down, but no: the rest of the lyrics have words like jamming transmissions, not baby words. I thought for sure Woody Guthrie would prove a point, but his lyrics, too, are full of long words and long sentences and imagery. Elvis? Really? Spider Murphy played the tenor saxophone,  Little Joe was blowin’ on the slide trombone. It’s not junk, junk. The Hurricane I knew would score high – it’s about as close to an entire novel as you can sing without going back into Child Ballads.
#elvis-presley-collectors-by-jeff-schrembs-2010-all-rights-reserved-21290390
While the measuring tool isn’t precise – measuring sentence length in a lyric that doesn’t use punctuation gives false positives as to complexity – the word lengths counter some of it (we know it obviously does not take a PhD to understand Police lyrics). All in all, I have to agree: many modern music lyrics are about as intelligent as dirty dishwater, and the content is worthless. All you need to succeed is some gibberish, a loud driving beat, a fast groove of the hips, and a really good publicity team to get you air time. The music industry is about money; artists are about the art and the message. Hence we’re here  discussing Sinatra and Elvis and Queen, who haven’t been around in decades, and no one remembers who had the number one hit four years ago.

Front Row Seating

“The play’s the thing wherein I’ll catch the conscience of the king.”     – Hamlet, Act 2, scene 2

Back in the 80’s, when we still had a Shakespeare Theater down in Stratford, CT, there was a performance of Shakespeare’s Macbeth that was put on for all the high schools to come and see. Of all the plays, Macbeth seemed like it would be the most interesting, with witches and murder and blood, and big velvety Elizabethan costumes. I was excited – anything for a field trip and a day out of class. Until we got there. Some idiot had decided the best way for 1,500 rowdy high school kids to understand Shakespeare was to imagine it, with a play that had no scenery and no costumes – the entire set was draped in billowing soft blue nylon fabric, like the green-screens of modern movie-making, and the actors all wore tight-fitting outfits of the same blue, as if they’d just escaped from some monochromatic ballet. That was it. It was a total disaster. The audience was so bored and riled you couldn’t hear the dialogue for the catcalls. That is NOT the way to introduce children to Shakespeare.

The good thing is, you don’t have to be a Shakespeare scholar to enjoy a good play. Whether you’ve had to suffer through drudging high school productions of Thornton Wilder’s Our Town or been dazzled on Broadway by Patrick Stewart and Ian McKellan performing Waiting for Godot, a play is not a bad thing. Perhaps your only exposure to waiting-for-godot-ian-mckellen-patrick-stewarttheater has been dragging yourself through Oedipus or Antigone in school, not caring a flying duck about the role of the Chorus in Greek tragedy, just glad you scraped by and passed the test. The real tragedy of teaching plays as literature is that they are meant to be performed, not just read in a monotone like a stumbling seventh-grader who has no idea how to pronounce 15th century British comedies, let alone understand them. When performed, they come alive, like listening to a good movie on the television from the next room over. Even my five year old, with occasional explanations, could follow the movie version of Romeo and Juliet.

drama-collection_FRONT_349x349-300x300So if you’re a theater lover, or just a student struggling to understand Ibsen, Cheshire Library is ready to help! Our newest precious addition is a 25-volume audiobook collection of 250 plays and dramatic adaptions by L.A. Theaterworks. You won’t just hear the play, you’ll feel it, as you were meant to. The plays aren’t just read to you, but fully performed by an all-star cast of more than 1,000 actors you are probably familiar with – George Clooney, Calista Flockhart, Dan Castellaneta, Mark Ruffalo, Richard Dreyfus, Jean Stapleton, John de Lancie (who also wrote one of the Doyle adaptions), and so many, many more. Leonard Nimoy performing War of the Worlds with fellow Star Trek actors? Yeah, that’s in there too. Neil Simon, Chekhov, O’Neill, Miller, Shakespeare, Sophocles – they’re all here, ready to keep you entertained for a solid year of performances. Listen to one or listen to them all – you’ll be glad you did.

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Rocking Rock Opera

fuddEven in High Society, there aren’t many faster ways to clear a room politely than bring up the subject of Opera. Everyone gives a nod, a panicked smile, and then slowly backs out, unable to name a single one. If we took a poll, most people would probably say their exposure to opera consists of what they learned from Bugs Bunny http://www.dailymotion.com/video/x2mjbrz, or perhaps Animaniacs. Don’t worry, I’m not going to change your mind. You won’t get me to sit through an entire one, either, except maybe Aida. Any play with live elephants and camels is awesome.

So, what IS opera? Opera is a play, usually in acts, where all the dialogue is sung in an operatic style (and you know what that sounds like). The music is big, heavy, foreign, and so are the singers. Operetta is still an opera but usually much shorter, and they are often comedies. A musical is just a play where people burst into songs, or songs and dance now and then.

So where does Les Miserables fall? I liked that movie, and I hateles-miserables-dvd-cover-48 opera! Les Mis is a bone of contention. It is not an opera, because the songs are not sung in the operatic style. It’s more than a musical, because all the dialogue is sung and there’s certainly nothing to dance about, like Oliver! dreaming of a real meal. So at best, for lack of a better term, the experts call Les Mis a sung-through, meaning there is some non-song dialogue, but the lines are sung without being part of a song (think of Javert and Jean Valjean’s confrontation in singsong https://www.youtube.com/watch?v=I8WSysB5vKM). Some call Les Mis a “popera,” or pop-opera, but those aren’t exactly songs that will climb record charts, and others try to call it a rock-opera, which it is also definitely not.

So what then IS rock opera? At some point in your life, on some radio station, you’ve heard a version of “Pinball Wizard,” or “We Don’t Need No Education” (the technical title is “Another Brick in the Wall part 2”). Those songs come from the two most well-known Rock Operas, Tommy, and The Wall. A rock opera consists of a full-length story in which the story is told through song, but the music is entirely modern and popular.

TommyalbumcoverTommy, by The Who, was the first work known as Rock Opera (1969). Purists will say it is not opera because it is not sung in opera fashion; the fact remains, it is a full story told entirely in song. In short, as a child, Tommy witnesses his father kill his mother’s boyfriend, retreats into an autistic-like trance, and endures much abuse as his parents look for ways to break him free. They discover that, even though it doesn’t appear he can hear, speak, or see, he is a master at pinball, which they use to draw him out and return him to society. Yes, there are differences between the album, the play, and the movie version, but the flow of the story remains the same. The movie includes Tina Turner, Elton John, and Peter Frampton. ‘Nuff said.

Fastforward ten years. The Brits hit again, with the release of Pink Floyd’s The Wall inB000006TRV 1979. The Wall is a masterpiece of modern music, the story of a rock singer (Pinkerton Floyd) who builds a mental wall to insulate himself from the outside world, which he feels has abandoned him. The death of his father in WWII, his overbearing mother, his abusive teachers, his unfaithful wife are all bricks in his wall, until, isolated and alone, he festers until the court of his peers orders the wall be torn down and he be returned to the world. It’s a masterpiece of suffering, death, and rebirth, without a word of dialogue. The movie had mixed reviews, but remains faithful to the vision. Check out the concert version here.

Green_Day_-_American_Idiot_coverA third, more modern piece (2004) that can be considered Rock Opera is Green Day’s American Idiot, which chronicles the “disillusionment and dissent experienced by (Jesus of Suburbia) a generation which came of age during various turmoil including the Iraq War.” What is it with wars creating Opera? Admittedly heavily influenced by The Who, the only real difference I see with American Idiot from its predecessors is it seems to be a LOT LOUDER. Songs like “Wake Me Up When September Comes” are just as worthy and beautiful.

Sure, some people try to lump Ziggy Stardust in here, and Lamb Lies Down on Broadway, but there is a difference between a “concept” album and a rock opera. Think of a concept album as a book of short stories around a theme, whereas a rock opera is an entire novel.

So if ladies in Viking horns screeching for the ophigh notes aren’t your style, try a rock opera. Drama, intrigue, murder, drug addiction, infidelity, and rebirth, all set to some pretty catchy music – and sometimes a pretty good movie, too. What more can you ask for?

I (Finally) Read “It”

I am not a fan of horror. I would not shut the shower door for ten years because Kolchak: The Night Stalker scared the daylights out of me. My father’s description of the movie Killdozer made me terrified of construction equipment – as if I wasn’t already, from a preschool nightmare involving dump trucks. I watched the original 1931 Dracula and got a bloody nose in sympathy. I won’t sleep in a room with a vacuum cleaner thanks to Zenna Henderson. I like sleeping at night, and I don’t need any more anxiety in my life. I have kids for that.

ZX0AYe8 It was my mother who got me reading Stephen King. I was about twelve, sick in bed, and Night Shift, his book of short stories, came out. Wouldn’t you know it, the light from the bathroom at night struck every knob on the dresser at just the right angle so each one looked like an eye staring at me, just like the cover story. I only dared read half of them, and never enjoyed going to the dry cleaners again. But I read The Shining (I will NOT go into a hotel bathroom without a light on), read The Stand (his best, I think), Cujo, The Dead Zone (more my style), Firestarter (I needed a book for the train back from Canada) and Christine (Like I didn’t suspect that already). One thing you can say about King without ever reading his books: he doesn’t write short volumes.

Jacket.aspxBut by Christine, I was Kinged out. The books were were getting to be too similar, and I moved on. That was how I missed reading It, the book everyone seems afraid of. I avoided it for the longest time, but it popped up in a series of references this year, and I decided the time had come to tackle it. I’d re-read The Stand, and The Shining, but nothing new of King’s in 30 years.

“It” tells the story of an evil presence that takes over4775612-3278691654-IT.jp the town of Derry, Maine, until a ragtag band of seven misfit children decide to take it on. Although the entity takes the shape of what scares a person most (werewolves, mummies, giant birds, etc), it often lures children to their deaths by taking the shape of a clown, Pennywise. I’ve never been afraid of clowns, though I understand the psychology behind it (like Daleks, you can’t read a clown’s frozen face, and it makes some people uneasy). I’m still not afraid of clowns; but I’m now nervous about balloons. Calling the evil “It” is a brilliant stroke of semantics – think of all the times you use the pronoun It: It was calling me. I tripped over It. It snuck up on me. I’m scared of it. You can’t help it; you can’t escape it. You talk about it all the time. Because you know it’s there. “It” can be anything, and you know it to be true.

But for everything anyone told me about the book, I think this is his worst that I’ve read. He’s written 55 novels, 200 short stories, comic books, films, has awards oozing out his ears – he knows what he’s doing. I don’t mind the back and forth nature of the story, bouncing between 1958 and 1985. The characters and style are classic King, but it is soooo long (1100+ pages), it really, really could have had sections of character description cut. It drags in places. It’s not the length: Game of Thrones is 1200 pages, scatmanbut I read it with more gusto. King’s name-dropping of characters from his other works grated on me. One is cool, but not several. Don’t stick Dick Hallorann in your book, a man with a strong sense of Shining (or, if you’re a Simpsons fan, Shinnin’), and have a catastrophe or a presence about that he doesn’t get ESP on. You laid Hallorann out in detail in The Shining; you let him drift in It. Sometimes the action is too cartoonish: having a victim’s head pop out of a box on a spring and go boing ruins my tension. I understand it might be appropriate to scare a child, but I’m not a child. Dolores Claiborne smashing my ankles with a sledgehammer makes me lie awake in a sweat all night. Cartoon boings don’t. I won’t tell the ending, but after fighting tooth and nail to wade through 1100 pages, I wanted more of a bang for my effort. The original Stand was 800 pages or so, and that ended with a nuclear explosion.

Yeah, yeah, I shouldn’t criticize King because he’s one of the most successful novelists images itof our time, and I don’t disagree with his talent. But perhaps he set his own bar too high. No one – not even Shakespeare – hits the nail of perfection every time. From the man who brought you Stand By Me, The Green Mile, Under the Dome, and so many, many wonderful tales, I just don’t think it’s his best.

What do you think is King’s best work – book or film?