The Green Door Presents Michael Occhipinti’s Sicilian Project at Centre 64, Kimberley, July 13, 2017, 7:30 pm
It is a long way from Sicily to Toronto and it is even further to Kimberley in the back blocks of British Columbia. Never-the-less, Michael Occhipinti (guitar) and his band of musicians, including the vocalist Pilar (all the way from vacation land in Sardinia) and Toronto bassist Scott Kemp traveled west and managed to hook up with the Kootenay’s “go-to” drummer Tony Ferraro for the Western Canadian tour of Michael’s The Sicilian Project. This is Michael’s nod to his Sicilian cultural roots featuring a healthy dose of folkloric musical themes and stories from the island of Sicily. Actually it is more than a nod. It is a full blown cultural experience that has nothing to do with the popular images of Sicily as presented in the novels of Mario Puzo and Director Francis Ford Coppola 1972 films of The Godfather. This was a wonderful evening of Sicilian culture as seen through the eyes and memories of Michael Occhipinti, his family and his extended visits to the Island. It was Sicilian culture with a twist. There is no way that Michael could deliver an undiluted portrayal of today’s Sicily or even the Sicily of yester-years. Michael is Canadian so it goes with out saying his perceptions of his parents homeland’s poetry and music is colored by his everyday Canadian experiences. That is not a bad thing, and as cultures change and evolve that it is probably the way it should be. Having said that, what the audience got was an evening filled with music, stories, language and humor. The music and musicianship was first class. Michael is one of Canada’s finest guitarists and to quote his website “Michael Occhipinti is a versatile, sound-sculpting guitarist and composer/arranger, who has spent decades freely moving between jazz, chamber music, world music, r&b/funk, and anything involving modern guitar sounds. He is a nine-time JUNO Award nominee and leads several acclaimed groups including The Sicilian Project, Shine On: The Universe of John Lennon, The Triodes, and the 16-piece group NOJO (Neufeld-Occhipinti Jazz Orchestra“. This barely scratches the surface of some of his current projects and collaborations. Surely one of his most successful endeavors is his current collaboration is with the the Italian vocalist Pilar. What can one say? Well she is so, so, so ……… European and that is so refreshing in today’s homogeneous music scene. Tony Ferraro is from Trail and as they say in Trail you are either “a Mac or a Macaroni” ( ie. either a Scot or Italian) so I guess he has a legitimate Italian connection. Scot Kemp is a sessions musician in Toronto so he has the unique skills needed to fit into Michael’s projects.
Here is the set list for the evening: Set 1
1 Di Pugno Tuo
2 Sacciu chi parla a la Luna
3. Cherchez La Femme
4. Nun ti lassu
5. Per tutto L’inverno
7. Amuninni Razzietta
1. Il Colore Delle Vene
2 Lingua e Dialettu
4 Last Day at the Beach
5. Autoctono Italiano
6. Vitti ‘na Crozza
With the exception of Muorica, Amuninni Razzietta and Lingua e Dialettu from the CD MUORICA for me the music is entirely new. However, nestled in the set list is Leonard Cohen’s Suzanne and until you hear Pilar’s version sung in Italian, backed by Michael’s artificial guitar harmonics and Tony’s subtle mallets on drum kit you have not yet lived. This has to be a definitive performance.
It was a wonderful concert that was only marred by the exceptionally poor stage lighting. I am a photographer and I can be critical of stage lighting so I tend to complain about these things. I know it is a balancing act for stage directors to keep in mind the desire of musicians not to be blinded by the heat and the “in your face” lights, the needs of the audience to see the action on stage and the desire for atmospheric lighting to enhance the performance. However, the lighting system in Centre 64 is excellent and for this performance it was not used to an optimum advantage. I did capture some images but it was struggle on the very edge of what was photographically possible without resorting to using a flash. Here are some images from the evening.
I have to admit that although I was aware of the name Allan Holdsworth I had not paid any attention to his music. It was only the article Remembering Allan Holdsworth in July 2017 edition of DownBeat that prompted me to do a little research. Here is part of an entry in Wikipedia:
“Allan Holdsworth (6 August 1946 – 15 April 2017) was a British guitarist and composer. He released twelve studio albums as a solo artist and played a variety of musical styles in a career spanning more than four decades, but is best known for his work in jazz fusion. Holdsworth was known for his advanced knowledge of music, through which he incorporated a vast array of complex chord progressions and intricate solos; the latter comprising myriad scale forms often derived from those such as the diminished, augmented, whole tone, chromatic and altered scales, among others, resulting in an unpredictable and “outside” sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Having been unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also become associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.
Holdsworth was cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen, Joe Satrriani, Greg Howe, Shawn Lane, Ritchie Kotzen, John Petrucci, Alex Lifeson, Kurt Rosenwinkel, Yngwie Malmsteen , Michael Romeo, Ty Tabor and Tom Morello . Frank Zappa once lauded him as “one of the most interesting guys on guitar on the planet”, while Robben Ford has said: “I think Allan Holdsworth is the John Coltrane of the guitar. I don’t think anyone can do as much with the guitar as Allan Holdsworth can.”
Check the full Wikipedia entry https://en.wikipedia.org/wiki/Allan_Holdsworth for more info.
Well, he obviously has a bucket full of credentials so I went to YouTube to get a taste of what he is about. There are lots and lots of clips. This is not relaxing music. It offers very significant challenges for a potential audience and I for one am not sure I am up to the challenge. The one I have selected is interesting because it was recorded April 3, 2017. He died on April 15, 2017.
The Jason Buie Band at Studio 64, Saturday May 13, 2017, 8pm
This band is a “Power Trio” of lead guitar, bass and drums to accompany mostly blues/rock vocals. In Jason Buie’s words the trio plays “West Coast Rockin’ Blues”. The concept of the “power trio” evolved in the 1960s out of the Chicago Blues tradition of the likes of Muddy waters. The invention of electricity and the expanding virtuosity of musicians made the concept of a high volume, powerful trio viable. Prior to the electrification of the guitar the instrument was too quiet to make its presence really felt in most ensembles and situations. Electricity changed all that. With the vast increase in volume and the availability of numerous effect pedals the guitar trio came into its own in the 1960s. Now, here was a configuration that could hold its own in the largest of venues and circumstances. The concept went onto fame and fortune in the music of The Jimmy Hendrix Experience, Eric Clapton in Cream, and later on in the music of Motorhead, ZZ Top, The Police, Nirvana, Rush, the John Mayer Trio and many, many others. In the economically stressful times of today a three man unit is much more employable than larger bands and I think that is a contributing factor in the longevity of the format.
Jason Buie (guitar and vocals) resides in the capital, believe it or not, of West Coast Blues, Victoria B.C. Bass player Murf Martin is a local freelance musician who performs in many situations. I am not sure where the drummer Jimmy James calls home. Collectively they are a tight group performing mostly blues/rock material that dips deep into the huge repertoire of the genre. They kicked off the evening with an instrumental and followed through with a number of well known tunes and songs that included Randy Newman’s classic Louisiana and its unforgettable refrain “six feet of water in the streets of Angeline”. Considering the current flood situation all across North America this would seem to be a very appropriate song for the day. The evening featured a few originals (Drifting Hard) and lots of well known tunes such as Big Joe Turner’s 1955 hit Flip, Flop and Fly (“a tune to get you out of your seat and onto your feet”); Van Morrison’s Into the Mystic; Prince’s Purple Rain; Eric Clapton’s cover of Big Bill Broonzy’s I’ve got the Key to the Highway; The Band’s The Weight; Muddy Water’s I’ve Got My Mojo Working and a marvelous version of Carlos Santana’s melodic masterpiece Black Magic Woman. To sum it up my buddy Bill St Amand described the music as “Two O’clock in the morning music” and given our age it is not music we get to hear very often so the evening of loud free wheeling music was real treat for us old folks.
This was the last performance in the Stage 64 Spring Concert Series and the first one on the newly installed stage. As always the concert was a screaming success with another sold out crowd. The organizing committee would like to thank the Columbia Basin Trust, Telus and various organizations that made funds available for the installation of the stage. Thanks also to the Burrito Grill and B&B at 228 for the musicians food and accommodations and also the organizing committee and volunteers who have made this season another great success.
Basically I prefer instrumental music. Singer / Song writer music is fine but it is instrumental music that, for me, is a distillation of the real magic and mystery of music. I particularly like jazz and at every jazz performance I come away wondering “how did they do that” and the answer always escapes me. Its magic.There are also classical performances that amaze me with their perfection. Glen Gould’s recordings of The Goldberg Variations I have listened to more times than I could possibly count and it still sounds as fresh as the first time I heard it. Instrumental Celtic music falls into that realm of magic and mystery where one forgets the beginning and the end and gets lost somewhere in the middle. A perfect example of what I am talking about is this performance by The Blackie O’Connell Band featuring Cyril O’Donoghue on Irish Bouzouki; Meabh O’Hare on Fiddle; Blackie O’Connell on Uillean Pipes and, off camera, Eamon Cotter on Flute. Why do Celtic performances, and this one in particular, appeal to me?
Well here are some of my observations:
Having said all of the above. Nothing is cast in stone and like all rules they are there to be broken. In one form or another Celtic music has existed for hundreds of years and the reason it continues to exist is that each generation of performers literally re-invents the music. As the traditional fiddle player Mairead Ni Mhaonaigh of the Celtic band Altan has often mentioned in interviews “When I play a traditional tune I don’t play it the way my father played it. That would not be possible. I have been exposed to too many other musical influences to be able to do that”. That is why the music keeps evolving.
I hope you enjoy this YouTube clip.
I believe it was Jelly Roll Morton who first coined the phrase “the Spanish Tinge” to describe the Cuban and Caribbean influences in early New Orleans jazz. It didn’t stop there. All through the last century “The Spanish Tinge” has been in Jazz in spades. Duke Ellington made full use of it in a number of classic compositions including Juan Tizol’s masterpiece Caravan. Dizzy Gillespie, along with the Cuban Conga player Chano Pozo used the “Spanish Tinge” to virtually invent a whole genre of jazz called Afro-Cuban Jazz. His tunes Tin Tin Deo, Manteca and A Night in Tunisia are staple tunes in the Jazz repertoire. Cuban and Porto Rican musicians invented Salsa and Latin Jazz and that has gone onto to infiltrate and influence the rock music of Carlos Santana. Even Mexican Mariachi now and again pops up as an ingredient in pop and rock music. “The Spanish Tinge” has even filtered back to the black continent to become a major influence in West African music.
“The Spanish Tinge” crops up every where except possibly in Celtic music. Because there are no cultural connections between the Caribbean and Ireland it is no surprise that “The Spanish Tinge” is largely absent from Irish music. However, a case could be made for a Spanish influence in Galician Celtic music. Galicia is a province of Spain so that is probably a special case. All of this does not mean to say that Celtic musicians are immune to outside influences. It is just that they have looked in different directions. They look to the music of the Balkans (Bulgaria, Romania, Macedonia, Serbia, etc) for that little bit of extra musical spice to lift their traditional music into another space. It may seem to be an odd connection, but keep in mind that Romany and Gypsies (The Travelling People) have always had a significant presence in Ireland and as a group they have cultural connections that go all the way back to Eastern Europe. So it is not surprising that Irish musicians have developed an interest in the music of the Balkans. The modern renaissance in Irish Celtic music of the early 1960s was well under way when a number of Irish musicians started wandering around Eastern Europe picking up tunes and instruments from that part of the world, bringing them back to Ireland, modifying and blending them into the Irish Celtic fabric. There are strong instrumental and dance components both in Balkan and Celtic music so the fit was pretty natural. Andy Irvine and Donal Lunny and others explored the potential of the Greek Bouzouki in Irish music and in a short period of time they developed a flat back version called the Irish Bouzouki. This instrument has become a “traditional” Irish and has a significant presence in many bands – Planxty, De Dannan, Altan and The Bothy Band, to just mention a few. Along with the bouzouki came tunes in odd meters (7/8, 9/8, 11/8, 14/8, etc), with odd changes of keys mid-tune and distinctly Balkan flavored melodies. These started showing up in the repertoire and recordings of bands like Planxty. Over the next forty years the Balkan influence has not abated and as Uilleann Pipers, fiddlers, guitarists, bouzouki and flute players became embroiled in the mix and improved their fluency it is sometimes hard to separate mainstream Celtic from Balkan influenced tunes. So here are some YouTube picks that demonstrate Balkan Benefits in Celtic music.
The first out the gate is Paul Brady and Andy Irvine’s elaboration on the familiar Irish theme of domestic “Bliss”. It is the traditional ballad Wearing the Britches“. It is followed by a Balkan tune written by Paul Brady called “Out the Door and Over the Wall”. This was recorded in 1976 and that must have been in the early days of the Bouzouki’s foray into Irish music. Both Andy’s and Paul’s Bouzoukis feature the elaborate inlaid tops that are traditionally Greek . I suspect the instruments are in a Balkan or Greek tuning rather than GDAD that has become the standard Irish tuning. I have seen several manuscript versions of this tune but the most accessible one appears to start out in D major in a variety of meters that switch between 11/8, 7/8, 9/8, 8/8 etc. Mid tune there is a key change to E minor.
Next is a recording of Suleiman’s Kopanitsa from 2012. Note that Donal Lunny and Andy Irvine are now playing the more familiar standard Irish version of the bouzouki that is probably tuned GDAD. Note how Paddy Glackin’s pipes blend seamlessly into the musical mix. The Uilleann pipes actually sound more Eastern European than western. This tune appears to have a mixed heritage as it is described as a tune with both Bulgarian and Lebanese elements. The transcriptions I have seen are in D major with a G major section. It is in a straight forward uncomplicated (if that is at all possible) 11/8 meter
Below is Michael McGoldrick’s playing his Balkan inspired Waterman’s. This is a fairly straight forward 7/8 Irish tune in G. The rhythm is a straight 7/8 counted 1 2 1 2 123 . Just listen to the bodhran and the guitar just nailing the rhythm. Once you get the feel there is no need to count. As for the flute playing look out Ian Anderson (Jethro Tull). You aren’t the only flute player who really rocks……….
and now as a special treat in a more traditional Irish mode here is more from Michael McGoldrick. I believe the tunes are Jenny’s Picking Cockles and The Earl’s Chair.
For those who are more technically inclined here are some manuscripts for a few of the tunes. They are not actual transcriptions of the above performances rather they are tools to learn the bare bones of the tunes.
Click on the following link – THE SESSION IS A USEFUL DATABASE OF IRISH TUNES .A significant number of Swedish, Norwegian, Balkan and other odd traditional tunes can also be found on this site. When looking for the manuscript of a traditional tune this is a good place to start
The recent performance of the Irish Celtic Band Lunasa At the Key City Theatre in Cranbrook should have been an eye (ear) opener for local audiences. I am sure it is the first time that a Uilleann Piper has graced a local stage. Cillian Vallely playing that curious collection of Irish plumbing certainly gave Lunasa a very distinctive sound and his solo piece was, for me, the highlight of the evening. This is a uniquely Irish instrument that as a Celtic mood instrument has replaced the highland bagpipes. It is not unusual in movies these days when the story line involves the highlands it is the Irish Uilleann that you will hear on the sound track providing the appropriate mystical mood. So it would seem appropriate to have a look at tutorial video to get some idea of how the instrument works.
Also here are also some performances on an instrument that has since the early 60s has gone from strength to strength. I remember in the mid 60s pipers traveling to Ireland to literally sleep on the floor to study at the feet of the great masters who were still alive. Here are some more recent performances. First off there is the Scotsman Fred Morrison who is also a master Highland piper, whistle, small pipes, etc, etc. .
Catherine Ashcroft playing a slow tune that only bagpipes can bring us to a high emotional state. She follows the slow piece with a tour de force on the KING OF THE PIPERS. What I find fascinating is how full the sound can be with all the drones going and various registers that can be heard when Catherine drops her wrist onto the registers. Also Maurice Dickson percussion and guitar accompaniments are more than note wothy. Celtic guitarists seem to have a lock on how to play rhythm guitar.
Just in case it is thought that only traditional Irish Music can be played on Uilleann pipes here is a classical piece by Handel.
and of course Cillian Vallely of Lunasa fame playing the popular LARK IN THE MORNING
Only a non-jazz fan would ask “Rudy who?”. Rudy was a renowned recording engineer and the principle sonic architect of the “Blue Note Sound”. A specific sound that is associated with the classic recordings of the golden jazz era of the last 50 years. He worked with many recording companies but is best known for his work with Alfred Lyon’s Blue Note Recording company. He recorded all the jazz greats, including Miles Davis, Thelonious Monk, John Coltrane and just about every other major jazz artist of the past 50 years.
He wasn’t always a sound engineer. He trained as an optometrist and that was his “day job”. He went off to work in the morning to his optometry practice to earn his “daily bread” and after hours he spent his time recording jazz. At first in his parent’s living room, then in the iconic studio he designed and built at Engelwood Cliffs in Hackensack, New Jersey. He eventually ditched his day job and became a full time recording engineer.
Here is a Wikipedia quote: “When I first started, I was interested in improving the quality of the playback equipment I had,” Van Gelder commented in 2005; “I never was really happy with what I heard. I always assumed the records made by the big companies sounded better than what I could reproduce. So that’s how I got interested in the process. I acquired everything I could to play back audio: speakers, turntables, amplifiers”. One of Van Gelder’s friends, the baritone saxophonist Gil Melle introduced him to Alfred Lyon, a producer for Blue Note Records, in 1953. Within a few years Van Gelder was in demand by many other independent labels based around New York, such as Prestige Records, Impulse and Savoy. Bob Weinstock, owner of Prestige, recalled in 1999, “Rudy was very much an asset. His rates were fair and he didn’t waste time. When you arrived at his studio he was prepared. His equipment was always ahead of its time and he was a genius when it came to recording”. According to a JazzTimes article in August 2016, “jazz lore has formed the brands into a yin and yang of sorts: The Blue Note albums involved more original music, with rehearsal and the stringent, consistent oversight of Alfred Lion; Weinstock was more nonchalant, organizing what were essentially blowing sessions for some of the best musicians in jazz history”. Van Gelder said in 2012, “Alfred was rigid about how he wanted Blue Note records to sound. But Bob Weinstock of Prestige was more easygoing, so I’d experiment on his dates and use what I learned on the Blue Note sessions”. He also worked for Savoy Records in this period, among others. “To accommodate everyone, I assigned different days of the week to different labels”. Rudy was also a pioneer in the development of live “on site” jazz recordings. In the 1950s Van Gelder also performed engineering and mastering for the classical label Vox Records. Thelonious Monk composed and recorded a tribute to Van Gelder entitled “Hackensack”.
Here is quote that I am sure will raise the ire of fans of vinyl recordings. From 1999 on, he re-mastered the analog Blue Note recordings, that he had made several decades earlier, into 24-bit digital recordings for the Blue Note’s RVG Edition series and also a similar series of re-masters for the current owners, Concord Records, of some of the Prestige albums he had previously recorded. He was positive about the switch from analog to digital technology. He told Audio magazine in 1995: “The biggest distorter is the LP itself. I’ve made thousands of LP masters. I used to make 17 a day, with two lathes going simultaneously, and I’m glad to see the LP go. As far as I’m concerned, good riddance. It was a constant battle to try to make that music sound the way it should. It was never any good. And if people don’t like what they hear in digital, they should blame the engineer who did it. Blame the mastering house. Blame the mixing engineer. That’s why some digital recordings sound terrible, and I’m not denying that they do, but don’t blame the medium.”
Van Gelder resided in Englewood Cliffs, New Jersey where he died at his home on August 25, 2016.
“Ralph Edmund Stanley (February 25, 1927 – June 23, 2016), also known as Dr. Ralph Stanley, was an American bluegrass artist, known for his distinctive singing and banjo playing. Stanley began playing music in 1946, originally with his brother Carter as part of The Stanley Brothers, and most often as the leader of his band, The Clinch Mountain Boys. He was part of the first generation of bluegrass and was inducted into both the International Bluegrass Music Hall of Honour and The Grande Ole Opry.” – Wikipedia. To the general public he was probably best known for the sound track of the film O Brother Where Art Thou in which he sings the Appalachian dirge O Death. At the age of 88, following a musical career that spanned 70 year Stanley died on June 13, 2016 as a result of skin cancer.
Guy Charles Clark (November 6, 1941 – May 17, 2016) was an American Texas country and folk singer, musician, songwriter, recording artist, and performer. He released more than twenty albums, and his songs have been recorded by other artists including Jerry Jeff Walker, Jimmy Buffett, Lyle Lovett, Ricky Scaggs, Steve Wariner and Rodney Crowell. He won the 2004 Grammy Award for the Best Folk Album My Favorite Picture of you. Clark was born in Monahans, Texas, and eventually settled in Nashville where he helped create the progressive country and outlaw country genres. His songs L.A. Freeway and Desparados Waiting for a Train that helped launch his career were covered by numerous performers. The New York Times described him as “a king of the Texas troubadours”, declaring his body of work “was as indelible as that of anyone working in the Americana idiom in the last decades of the 20th century” … Wikipedia
At the age of 74 Clark died in Nashville on May 17, 2016, following a lengthy battle with lymphoma.
Alirio Díaz (12 November 1923 – 5 July 2016) was a Venezuelan classical guitarist and composer and one of the most prominent composer-guitarists of his country. A guitar competition named Concurso Internacional de Guitarra Alirio Díaz has been held in his honor in Caracas and other cities in Venezuela (the April 2006 contest was held in Carora). Many compositions have been dedicated to Díaz including Spanish composer Joaquin Rodrigo’s Invocación y Danza…. Wikipedia.
That short paragraph hardly does justice to the magnitude of his status in the classical guitar world. Prior to him emerging on the scene Andre Segovia was “the man”. Alirio Diaz, John Williams, Julian Bream and others that followed Segovia and were part of the changing of guard in the classical guitar world. Segovia was the bench mark of an “old world” approach to the music. His recordings and performances exhibited a mellow, stately approach that demonstrated that guitar music deserved to be taken seriously. Segovia toured and recorded relentlessly throughout the 20th century and that certainly opened doors for the guitarists that followed. He invented the genre of classical guitar and paved the way for guitarists like Alirio Diaz that allowed them to gain an audience and, ultimately, perform in a different way with an expanded repertoire. Diaz’s sound and technique were way more dramatic than the Segovia school and on the standard pieces like Fernando Sor’s Variations on a Theme by Mozart (“The Magic Flute”) he virtually reinvented the music. I was most fortunate in my youth to attend concert performances by Segovia, Julian Bream, John Williams and Alirio Diaz and the one that left the most lasting impression was Alirio Diaz. At about that same time I acquired a LP called Guitarra De Venezuela that included the following tracks: Recuerdos de la Alhambra / Dos Valses Venezolanos / Guaso / Canción / Quirpa / Asturias / Dos Canciones Populares Catalanas / Minuet / Pavana y Folia / Sonata / Gavota / Fuga / Variaciones Sobre un Tema de Mozart. Here we are a half century later, the recording is still in the catalogue (complete with the original cheesy cover) and is still probably the finest recording of classical guitar music out there. One of his most notable achievements was the introduction of the music of Antonio Lauro (a fellow countryman) to a wider audience. The Valses Venezolanos are part of the modern day standard repertoire. You may have a perception of waltzes as being some what stately affairs, that will change once you hear the Venezuelan waltzes of Antonio Laurio.
Alirio Diaz at the age of 92 died on July 5, 2016
“The War on Drugs” was (is) a stupid approach for handling drug use. Prohibition on alcohol in the 1920s didn’t work and the legal / illegal frameworks of the current era have completely failed. Drug use, particularly cannabis, is endemic. At last the “light bulb” has gone on and the beginning of a legalization process has begun. The concept of a legal, taxable, and controlled distribution has taken root and the government revenue agencies are frothing at the bit to get their hands on an untapped revenue stream. Enforcement agencies have better things to do and are looking forward washing their hands of the petty enforcement rituals they inflict on mostly law abiding citizens. The application of the laws as they now stand is impossible. A law that can’t be enforced is no longer the law. So there is really no choice but to create a legal frame work for drug use.
The following thoughts have come to mind while paying attention to the dialogue surrounding the legalization of Pot. It seems we haven’t learned much from the “Tobacco Debates” of recent years.
Pot has to be made legal, controlled and taxed. The world is full of idiots and we can’t prevent people from acting in idiotic ways but at least we can generate tax revenues to do some good and get it out of hands of criminals. I suspect when it is legal Pot smokers are not going to be happy. The end result will not be what they wanted or expected. With the corporate interests of a new huge commercial industry to be protected along with the government protecting its new found revenue stream I suspect “home grown” operations will be strictly controlled if not eliminated. After all, in the world of booze how many individuals have a moonshine operation in their basement?
Pot has the reputation of being “a harmless recreational drug” and I suspect that is largely a myth. Here is a link to some information that may be useful in the ongoing discussions National Institute on Drug Abuse
While I am at it here are a couple of my more outlandish opinions and rants.