By Douglas N. Husak
My test, Non OCR'd, 300DPI
Recreational drug clients (other than those that take destructive elements like alcohol and tobacco) are on a regular basis imprisoned. approximately part 1000000 drug offenders are incarcerated in US jails, greater than the whole variety of prisoners in 1980 and greater than the full european legal inhabitants. In a few states extra is spent on preserving the felony procedure than on schooling. present drug guidelines result in tremendous own affliction, in addition to police corruption, prepared crime, and contempt for the legislations, and make medicines extra harmful simply because they're unlawful and therefore now not topic to right controls. Politicians from both sides of the political spectrum are starting to ask: is it worthy it?
In arguing that criminalization is unjust, Douglas Husak explodes a few of the myths that encompass drug use. In a few years, greater than half highschool seniors take medicinal drugs, but the U.S. isn't really overrun with drug-crazed addicts. Horror tales of the risks of drug use abound, however the fact is extra prosaic; even though leisure medicinal drugs are often undesirable for clients, there are among eighty and ninety million US voters who've used illicit medications with no unwell results.
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Additional resources for Legalize This!: The Case for Decriminalizing Drugs (Practical Ethics)
38. 2. 39. Adrian Thrills, ‘Up Slit Creek’, NME, 8 September 1979. 40. Toynbee, Making Popular Music, pp. ix–x. 41. Ray Gosling, ‘Dream Boy’, New Left Review 1, no. 3 (May–June 1960), 30–34. 42. 26. 43. 25. 44. Toynbee, Making Popular Music, pp. xi–xii. 45. 56–60. 46. 178. 47. 324–325. 48. 180. 49. 325. 50. Jon Savage, England’s Dreaming: Sex Pistols and Punk Rock, 2nd ed. 43. 51. 7–8. 52. See, for example, Steve Taylor, ‘The Popular Press or How to Roll Your Own Records’, Time Out, 2 February 1979; Paul Morley and Adrian Thrills, ‘Independent Discs’, NME, 1 September 1979, p.
95 To draw on such elements, then, often invokes or unsettles particular connotations, as we will see in the following chapters in relation to post-punk’s expansive musical experiment. Music, in contrast to the linear flow of the novel, entails experiencing various signifying elements simultaneously as well as sequentially. 96 We should note, too, that popular music with lyrics actually com- POST-PUNK AND THE POLITICS OF POSTWAR POPULAR MUSIC 27 bines both processes. When analysing songs, it is necessary to investigate not only the significance of placing certain musical elements in synchronicity with one another but also their interaction with the accompanying lyrics.
173. 163. 145–146. ITV’s serialisation of Brideshead Revisited and the ‘nominal’ radicalism of postmodernist art came in for particular stick. See, for example, Jason Toynbee, Making Popular Music: Musicians, Creativity and Institutions (London: Arnold, 2000), pp. x–xii; Keith Negus, Popular Music in Theory (Cambridge: Polity, 1996), p. 151; David Hesmondhalgh, ‘Post-Punk’s Attempt to Democratise the Music Industry: The Success and Failure of Rough Trade’, Popular Music 16, no. 3 (October 1997), 255–274.