Drugs

Seeing past the “Endless Summer”

Mark Athitakis reviews the Beach Boys' 'Endless Harmony,' which spotlights the classic vocal group's underrated later history.

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As anyone who’s spent any amount of time working in journalism knows, you can get pretty cynical about press releases. A steady stream of hype-laden front-office prose comes in over the transom so routinely, so uninformatively, that it’s easy to imagine how a slightly more cynical fellow than myself might miss the following line, the final sentence of EMI Music Distribution’s announcement about the Beach Boys film and tie-in CD, “Endless Harmony”:

“Beginning in 1999, Capitol will launch the re-release of all of the
out-of-print Beach Boys albums originally released in the 1970s on the
group’s own Brother Records label.”

It’s about time. Capitol’s 1990 Beach Boys CD-reissue program stopped at
1969′s “20/20″ album, and the label publicized their remastered version of
the 1966 masterpiece “Pet Sounds” at the expense of the rest of the band’s
output. News of any classic band getting its complete discography back in
print is always good to hear, but the announcement happily comes at the
tail end of a year when it’s been depressing to be a Beach Boys fan. Carl
Wilson,
whose gorgeous, soulful voice propelled the band’s classic ballads
and whose guitar drove its early surf rock hits, died of lung cancer this
February. This June, with much fanfare, the band’s resident genius, Brian
Wilson, released the solo album “Imagination,” a heartening but ultimately
lackluster collection of new songs; it exists mainly as proof of his recovery from the manipulative tentacles of drugs and overbearing doctors, but little else. But the upcoming re-release of the band’s ’70s records is crucial because it goes a long way toward dismissing the biggest lie ever
told about the Beach Boys: namely, that after “Pet Sounds,” the band was finished. As a collection of rarities and other musical ephemera, “Endless Harmony” might not debunk that myth entirely. But it’s a good place to start arguing the point.

The reason that myth is so pervasive involves more than just the lack of
’70s-era CDs for new fans to pick up. It hinges on a simple fact: Brian
Wilson never finished “Smile.” It was during the creation of that
notoriously unfinished record, which Brian Wilson promised in 1967 to be a
“teenage symphony to God,” that he suffered a nervous breakdown; the band
was still creative for a number of years afterwards, but their reputation
had become severely damaged, and years later the ghost of the greatest
record never made continued to haunt them.

“Endless Harmony” includes a 1972 live version of the “Smile”-era “Wonderful,” where Carl Wilson makes the following announcement to the crowd: “Several years ago, we did an album called ‘Smile.’ It should be coming out …” — he pauses for a long
moment, as if he doesn’t quite believe it himself — “… this coming year.” Still, his prayerful vocal on “Wonderful” resonates, as do many of the songs that came out of the “Smile” era. On an unreleased demo of “Heroes and Villains,” Brian plays piano and chats with his then-lyricist,
Van Dyke Parks, shifting from the song’s familiar chords and vocals into
interpolations of unfinished songs of the same time: “I’m in Great Shape”
and “Barnyard,” where he imitates livestock noises, singing scales in a
chicken’s voice.

It’s a frightening and revealing moment, and certainly adds more fodder for the
belief that Brian had truly gone off the deep end by the late ’60s. But
even on the brink of madness, Brian Wilson’s goal as a songwriter never
changed: He wanted to channel a feeling of innocence, be it at the beach or
around the barnyard. The remixes and demos of earlier songs included here — “Help Me Rhonda,” “God Only Knows,” “Kiss Me Baby,” the
transcendent “Good Vibrations,” here in the form of a 1968 live
rehearsal — are proof of that. His goal never wavered, although it did become more
sophisticated and, arguably, weirder. The previously unreleased 1969
doo-wop jaunt “Soulful Old Man Sunshine” finds the band nodding further
into the soulful psychedelia that would come into bloom on later albums
like “Sunflower,” “Holland” and “Love You.” The inclusion of “Til I Die,”
the centerpiece of the band’s beautiful 1971 album “Surf’s Up,” shows Brian
Wilson at his saddest and his most heartbreakingly confessional; the mature
follow-up to “In My Room,” he achingly sings, “I’m a cork on the ocean,
floating on the raging sea … I lost my way.”

Brian wasn’t always a major player in the late ’60s/early ’70s version of the
Beach Boys; the “Smile” debacle truly did take its toll on him, and in
truth, some of his output at the time could be maddening, like the oddball
musical fairy tale he included as a 45 with 1972′s “Holland.” But
it offered a chance for the other members of the group to prove their worth
as composers and musicians, which “Endless Harmony” amply displays. By
1970, Carl Wilson had increasingly taken on the role of producer and
ringleader of the band, exemplified by his strong, soulful vocals on
“Darlin’,” here included from a 1980 concert, and “Long Promised
Road,” another highlight from “Surf’s Up.” Drummer Dennis Wilson, who died
in 1983, never got much of the spotlight as a vocalist, a situation rectified
here by the inclusion of two ’70s songs, “Barbara” and “All Alone,” which show him
as the owner of a rich, mournful tenor. Unfortunately, Mike Love didn’t fare quite so well. By 1976, Brian was falling further under the influence of self-abuses and began his
relationship with a manipulative psychiatrist, Eugene Landy. To burnish
Brian’s image, the band launched a “Brian’s Back!” campaign to coincide
with the release of the band’s worst record, “15 Big Ones.” Love’s
previously unreleased song to his cousin, “Brian’s Back,” tries hard to
praise his genius, but Love winds up mainly promoting himself in front of a
’70s chintz-rock background. “They say that Brian is back,” he croons, “I
never knew that he was gone.” Well, maybe he didn’t — but everybody else did.

The Beach Boys’ history has never been a pretty one, but, to its credit,
“Endless Harmony” doesn’t try to smooth out the rough spots. Even when the band was great — and make no mistake, the band had strokes of greatness well after “Pet Sounds” — it was often mired in failures, infighting and aborted concepts and projects. But the messes that the
band wound up with should be seen as proof that the group’s ambitions went
much further than fun, fun, fun and two girls for every boy. When those
’70s albums start coming out next year and fans no longer have to scour the
used LP bins, that story will become much clearer. But for now, “Endless
Harmony” offers something that the Beach Boys’ tale desperately needed for
a long time: perspective.

Mark Athitakis is a regular contributor to Salon.

The damned

Almost two decades after she documented the L.A. punk scene, Penelope Spheeris returns to find its legacy -- and finds no legacy at all.

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When Penelope Spheeris titled her documentaries on punk and heavy metal “The Decline of Western Civilization,” she meant it as a joke. She knew that Aerosmith and X and Kiss and Black Flag weren’t sounding Gabriel’s trumpet for America, but she had fun thumbing her nose at the narrow-minded folks who truly believed so; she wanted to provoke the Tipper Gores and TV evangelists who claimed that regular doses of Motvrhead and Fear rotted brains and endangered society. It’s true that both films showcased some pathetic personalities: W.A.S.P. bassist Chris Holmes downing bottles of vodka in a swimming pool while his mother watches; Kiss bassist Paul Stanley lounging around on an oversized bed with a bevy of over-inflated groupies; just about everything the late Germs singer Darby Crash said and did on camera. But mostly, Spheeris was working hard to redeem her subjects as both normal human beings and worthwhile musicians. Sure they were grimy and sometimes not-so-bright, but symptoms of the decline of Western civilization? Please.

What’s disturbing about Spheeris’ third installment in the series — which follows Los Angeles punks in 1996 and 1997 — is that its title has no irony in it now; it truly does map out a generation in a tailspin. The punks that Spheeris documented in 1979 for the first “Decline” film were a vibrant group of musicians, journalists and scenesters who were mapping out music culture’s next turn. While the ’90s punks that she tails are in punk bands as well — groups like Naked Aggression, Final Conflict and Litmus Green — musically they’re simply walking down a trail that Black Flag and X blazed nearly two decades ago. As the film’s opening series of interviews points out, most of the subjects weren’t even born when the first “Decline” was released in 1981, but most of the ratty T-shirts they wear bear the names of punk’s first wave: Crass, the Exploited, the Subhumans, the Misfits, the Business, Fear, Black Flag. And the fans aren’t the excited, if sometimes lunk-headed, community they once were. The teenagers Spheeris talks to are rough, homeless gutterpunks. They have no snazzy, hip fanzine to produce, no well-reasoned arguments about punk’s musical and social worth, no Baudelaire poems to quote. Most are alcoholics; they get drunk and sneak into punk shows to let off steam. They then go back to the streets or the squats, get drunker and wait to die.

The kids all cop to that pathetic spiral of their lives, and they do it smilingly, blithely. When Spheeris’ off-camera voice asks them where they plan to be five years from now, the responses are a series of don’t-knows and dead-probablys. It’s the assurance in their voices, the sense of inevitability about it, that’s so distressing. And when you hear their stories, their fates do feel inevitable: An overweight, slurring, teenage punk named Hamburger recalls how he nearly drowned in a toilet when his father and uncle got him drunk when he was 3 years old, and others argue that the abuse of the streets and the feared Nazi skinhead punks (whom Spheeris either doesn’t find or chooses not to) is better than the abuse they received at home. One squatter relates her plans for the weekend: She’s started making a circle of cigarette burns around her left biceps, grossly infected. She hopes to get drunk enough to finish the job.

It’s not a new story that Spheeris is telling — teenage homelessness, drug abuse in the L.A. punk scene — but she deserves credit for stepping away from mainstream fare like “Wayne’s World” and “The Beverly Hillbillies” (both of which she directed) to tell it properly (the film won a Freedom of Expression award at this year’s Sundance Film Festival). She’s slid back easily into the stylistic conventions of the first two “Decline” films, right down to the bands’ reading disclaimers onstage, to the dangling light bulb during the subject interviews, to another scene of a musician frying eggs. To offer some perspective on the changes in L.A. punk, Spheeris inserts interviews with the Circle Jerks’ Chris Morris and Red Hot Chili Peppers bassist Flea, who both argue that life for punks and teenagers in general has gotten more difficult; Flea notes that the homeless punks of the early ’80s were protected by “an umbrella of art and punk rock” that doesn’t exist anymore. But the most powerful remembrance is offered by Rick Wilder of the Mau Maus, who stuns you with his mere presence on-screen: Backlit and emaciated, he speaks of the damage drugs did to the scene, and he looks like the Ghost of Christmas Yet to Come in bondage pants.

The film’s rare moments of humor are infused with rage and irony. A buff, smiling Los Angeles police officer — the sort of authority figure Henry Rollins has been making fun of for years — speaks self-importantly about empathy while policing the punks, but hedges when asked if he makes fun of them; cut to a series of punks talking about routine beat-downs by cops, one of whom asks, “Don’t they have some kind of rapist to bust?” When Spheeris asks the members of Naked Aggression about the morality of signing with a major label, one musician deadpans, “I’d probably be able to buy car insurance.” And one long sequence shows the punks “spanging” — panhandling for spare change — with a series of clever come-on lines to passersby; you laugh, even when you recognize that these are people who’ve hit rock bottom. And even at their worst, the punks emerge as soulful, well-meaning people, who “just cover it up with spikes and color and shit,” as a girl named Spoon says. At all times, though, you’re deeply aware of how broken their lives are, and how conscious the teenagers are of the break.

Spheeris doesn’t present her story as an indictment of punk rock or teenagers, and well she shouldn’t; had she cared to make a movie about ambitious, sober and inventive punks in the late ’90s, there’s ample subject matter to do it with. Perhaps even she thought she would have found that story in Los Angeles again. After all, a scene that inspired the greatness of X and Black Flag must have trickled down to the next generation in some way, right? It didn’t. It faded into memory like a T-shirt run through the wash too many times. Spheeris isn’t uncovering poetry about nausea and bloody red eyes, or righteous anger about authority and mass consumption. What she finds is loss and death, and all she can do is tag the corpses properly.

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Mark Athitakis is a regular contributor to Salon.

Studio 54, where are you?

Instead of offering a comic portrait of '70s excess, '54' is a '90s-style morality tale.

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The rise and fall of Studio 54 has luscious possibilities as a glitzy, bitchy movie comedy. An upscale playground offering unlimited sex, dope and good times, Studio 54 was a ready-made Jacqueline Susann novel. And there was perhaps nothing funnier about the disco than its star-fucker visionary, Steve Rubell. A Sammy Glick in Sergio Valente, Rubell was equal parts candy man, hustler and celebrity ass kisser. He was the sort of guy who was so arrogant that when a television interviewer asked him how much money the club took in each night, he had the stones to answer, “What the IRS doesn’t know won’t hurt them.” What they found out hurt Rubell. The party he envisioned going on forever lasted only a few short years. Busted for tax evasion in the early ’80s, Rubell reemerged from prison after a year and a half to act as a consultant to the reopened Studio 54. The club itself closed down in 1986. Three years later, Rubell died at age 45.

In the new “54,” Mike Myers plays Steve Rubell as a Quaaluded version of Linda Richman, the “Coffee Talk” host he created on “Saturday Night Live.” Fitted with a prosthetic nose and balding scalp and speaking in a thick Brooklyn Jewish whine, Myers’ Rubell takes in his hedonist’s paradise through eyes that his nightly drug ingestion has narrowed to slits, and flashes back a blissed-out smile. Myers floats through the movie with the lethargy of a pampered pill head, and still, he brings his scenes a comic zap.

I have a friend who, every time she sees Donna Karan, says, “You can take the girl out of Long Island …” Well, looking at Myers’ Rubell, you can still see a guy from Brooklyn who started out managing a couple of steak houses. Welcoming designer Elio Fiorucci to 54, Rubell says, “You’re so Italian and normal, I could eat you with a spoon.” Myers nails Rubell’s Uriah Heep side. When you see him ruthlessly deciding who to admit to his exclusive party, you know just how much credence to give his blather about the new world without labels or prejudices. “54″ doesn’t give Myers much of a chance to get at Rubell’s pathetically needy side, the part that made him court the glitterati as much as he used them. And that’s a shame, because Myers seems fully capable of burrowing into this pathetic little man. He’s more of an actor here than he’s ever been, though writer-director Mark Christopher is content to use him for schtick.

Rubell, the frog princeling lost in his fantasies of the rich and famous, was the essence of Studio 54. That “54″ isn’t about Rubell is a measure of how blundering it is. Christopher has come up with a character named Shane (Ryan Phillippe, the Maxwell Caulfield of his era), a working-class kid from suburban Jersey whose golden-boy good looks get him into the club and start him on the road to becoming its star bartender. (Didn’t Tom Cruise already play this part?)

The notion of a Jersey Candide who turns on club patrons of every sexual persuasion might have made for lewd, raucous comedy. Instead, Christopher falls back on the old wheeze about the working-class boy who forgets his roots. And the bad old movie clichis keep on coming. The soap star (Neve Campbell) that Shane lusts after turns out to be from Jersey just like him. He stabs his friend and co-worker Greg (the appealing Breckin Meyer) in the back to get ahead. Greg’s wife Anita (Salma Hayek) is the coat-check girl who dreams of being a big star. And I haven’t even mentioned the brittle older woman who “keeps” Shane (Sela Ward in the ultimate Sela Ward role; if anyone is thinking of remaking “Breakfast at Tiffany’s” and is looking to cast Patricia Neal’s part, Sela’s your girl).

Everything about “54,” from the running time (119 minutes) to the drab cinematography and cramped sets, seems to have been scaled down, cranked out on the cheap. Was Studio 54 really this tiny and underpopulated? Was the music level this conducive to conversation? The press kit lists scads of great disco numbers, but damned if I heard any of them. It’s a flat, clumsy piece of filmmaking. When Phillippe and Ward are in bed, the shots are so badly matched that I believed they were having sex, just not with each other.

The best things the movie offers are a few throwaway moments: the club workers gathering at an all-night diner to divide drugs and trinkets that patrons have left behind; Lauren Hutton as a society hostess congratulating Ward on picking up Phillippe, saying, “Oh, you sly puss”; porn star Ron Jeremy trying to claim his jacket at the coat check and being told by the girl, “Do you know how many black leather jackets with poppers and cock rings in the left-hand pocket we got?”

I’m still waiting for the disco movie that deals with disco as music. Both “54″ and the pallid “The Last Days of Disco” present it as kitschy nostalgia, though all pop music should age as well as disco has. Coming along in perhaps the most segregated period for pop music since before rock ‘n’ roll, disco shook things up in ways similar to punk. It allowed for fast, cheaply made records that opened the charts up to people who had been shut out by the proliferation of white corporate guitar bands. Not only were black voices back on the charts, but the first openly gay voices in pop music came along, too.

The narcissism and elitism of the disco scene aside, the scene’s unabashed love of pleasure now seems a lot more honest — and a lot less repressive — than the conservative prudery that replaced it. The most depressing thing about “54″ is that it pretends to be a celebration of the casual sex and drug-taking of the ’70s club scene when it’s really a morality tale that tells us — guess what, kids! — that dope and sex lead to self-deception, self-destruction and betrayal. (It’s also depressing that the sex we see is almost exclusively hetero.) I’m not denying that people drugged and screwed themselves to death, and that it’s sad. But can’t grown-ups be trusted to enjoy a comic celebration of excess, especially when that excess was the essence of the subject at hand? Far from being a nostalgia trip, “54″ is right in tune with the times. All the press and politicians currently making royal asses of themselves by acting as if they’ve never heard of adultery can enjoy it without feeling like hypocrites.

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Charles Taylor is a columnist for the Newark Star-Ledger.

A Yankee way of knowledge

Carlos Castaneda, whoever he was, is dead -- whatever that is.

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Last week, the Los Angeles Times ruefully alerted us to the death of Carlos Castaneda, noting the occasion with a baffled overview of his life. He was believed to be 72, born (perhaps) in 1925 in either Brazil or Peru, depending on which story one accepts. On his death certificate, his occupation was listed as a teacher in Beverly Hills, but records don’t show Castaneda teaching there. A (possibly bitter) ex-wife was quoted: “Much of the Castaneda mystique is based on the fact that even his closest friends aren’t sure who he is.”

The obituary was accompanied by a very odd photograph taken at the University of Texas in 1951. The picture, however, didn’t show a kid in his mid-20s. It looked like a Hollywood publicity photo of a character actor who specializes in playing stout bankers. He might have played one of Lionel Barrymore’s clerks in “It’s a Wonderful Life.” Time’s obituary of what it called, in its mighty wisdom, an “enigmatic personality who was either an unfairly vilified anthropologist or a wildly inventive novelist,” was accompanied by a picture of a face covered by a hand, with only intense eyes and a few strands of black hair showing. This is the only photograph, according to Time, to which Castaneda would consent. For a cover story!

I hadn’t thought about Castaneda in years. As a matter of fact, the last time I thought about Carlos Castaneda, after the previous years I hadn’t thought about him, was at a party in Mill Valley, Calif., in the early ’80s. Midnight or so, a short, long-haired Latino man walked through the door. He had a huge mustache and a grin that ate half his face. On either side of him, two women, gorgeous in a Playboy/hippie kind of way (honey-blond, vacant, faded blue jeans, halter tops, you know), sashayed through the door. They seemed like a dream sequence from a Cheech and Chong movie.

After a while, somebody came up to me and shouted over the music (the ’80s equivalent of whispering) that this guy was Carlos Castaneda. I went over to the cluster of people surrounding him in the corner of the garage, out of the way of the dancers. He had his wallet open, beaming, showing everybody his driver’s license. The two women were moving their bodies idly to the music, looking away, scanning the crowd. I elbowed to his side. Like a stoned pope offering his ring, he held his license up for my view. Sure enough, it said, “Carlos Castaneda.”

And that was that. I didn’t talk with him. I danced until 3 and drove home erratically.

Was he the One True Castaneda? I doubt it. He was too young and pleased to be recognized. On the other hand, he did have two fabulous babes following him around, always a sure-fire fame indicator. Maybe he was a con man who’d convinced them that he was the real Castaneda. Maybe he was the genuine Castaneda, acting like a con man to teach us a lesson, and the two women were spiritual guides from a separate reality. I just don’t know.

After reading the obituary, feeling both nostalgic and mildly alarmed that I couldn’t remember what the deal was with Carlos Castaneda, I rushed out and tracked down a copy of “The Teachings of Don Juan: A Yaqui Way of Knowledge.” I found one for $2 in a used bookstore in Santa Rosa, from a woman who seemed excited that I was buying it. I guess the news of Castaneda’s demise hadn’t precipitated a rush for his output.

The book was pretty much as I’d remembered it — an earnest seeker hooks up with a cranky old magician and learns what fear is. That was the appeal of the book (and series) when I was a kid, and probably remains so today.

There are all kinds of echoes in the relationship between Carlos and Don Juan — Plato and Socrates, Boswell and Johnson, Watson and Holmes, Luke and Yoda, Scully and Mulder. The book is very well written, in an old-fashioned meticulous style that only contributes to the — what? Verisimilitude, I guess. I liked it as much as I had the first time I read it, which was quite a lot.

But I also remembered why I stopped reading the series. “Journey to Ixtlan” was the last one I read, I think, if that’s the one that ended with Carlos leaping into the Nagual. Anyway, I didn’t leap with him. I lost interest, that’s all. I was as fond of amazing dope tales as the next guy, but I wasn’t about to pack my troubles in an old kit bag, hitchhike to Sonora and stalk old Apaches in the hope of finding luminous beings, magical gestures or even the secret of life. My parents would have killed me.

I’m a Tonal, not a Nagual, kind of guy, in other words. I had a life, such as it was.

What Castaneda’s life was, though, remains a mystery. He seems to be one of those peculiar Americans (despite his origins), like Joseph Smith, L. Ron Hubbard, Walt Disney or Hugh Hefner, who had a dream of combining mission with marketing. He was more subtle than most, and therefore less successful (though successful enough to remain in print, and on required reading lists, for 30 years). Cruising the Internet, however, I’ve noted that he has bickering female “disciples,” roaming the land, promoting his (Don Juan’s?) concept of “tensegrity” through workshops and seminars. Tensegrity is a tool that allows us to cross the bridges of space, time and awareness. Nothing wrong with that, but where’s the theme park? The church? The drugs?

Ah well, if it isn’t dead, Castanedaniasm is young. As are we all. Forever young, forever stupid.

As the ever-wise Don Juan put it in “The Teachings,” re. the abuse of magical power:

“I killed a man with a single blow of my arm … Once I jumped so high I chopped the top leaves off the highest trees. But it was all for nothing! … For what? To frighten the Indians?”

Really. What’s the point of that? That’s the true lesson of the ’60s, isn’t it? On the magic bus, we’re all Indians. What’s the point of that?

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Ian Shoales is a regular contributor to Salon.

Noble words, empty deeds

The war on drugs will fail so long as the victims don't get help.

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With 150 world leaders committed to fighting the scourge of drugs, even a cynic might hope for some substantial result.

The recently concluded United Nations conference on drug control, attended by President Clinton and other leaders, was filled with resounding pledges of cooperation and determination. “With determined and relentless effort, we can turn the tide,” Clinton told the gathering.

U.N. Secretary-General Kofi Annan assured delegates that historians will see this as a turning point in the history of drug control. The “new vision,” said Annan, is driven by 52 million users of illegal drugs worldwide.

Darlene James is one of those 52 million. She lives in a cave alongside a freeway in San Francisco. A few weeks back, while U.N. leaders were planning their meeting, James was deciding she would not let her boyfriend inject “speed” into a vein in her neck.

“Methamphetamine’s making me crazy,” she says. “I need to stop.” But that same week James was rejected for treatment for the fourth time — this time because she did not have the appropriate paperwork.

James first walked into a drug rehab center more than six months ago and asked for help. But, although San Francisco has a policy of “treatment on demand” — within 48 hours of an addict’s decision to quit — she has yet to be accepted into a program.

Her story is not unusual. Most addicts seeking rehab wait weeks or months. Michael Pagsolingan overdosed on heroin after waiting eight weeks to get into a program. Cost of emergency treatment for an overdose — $1,450. Cost of one day in treatment — $55.

At the United Nations, President Clinton proclaimed that the United States would spend $17 billion to combat the drug scourge. Yet only 35 percent of those funds will be directed at “demand reduction” — i.e. treatment of addicts. The rest will go to attempting to control the flow of drugs.

These priorities seem wrongheaded, given the findings of a study sponsored by the U.S. Office of National Drug Control Policy. The study shows that $1 spent on treatment decreases drug use as much as $7 spent on domestic law enforcement, $11 on confiscating drugs at the border and $23 to stop drugs at their country of origin.

Funding in San Francisco’s Treatment on Demand program is at 40 percent of needs. In Baltimore, there are 5,700 treatment slots for 60,000 addicts. In New York City, 60 percent of paroled drug abusers who don’t get into treatment are back in jail within months, but new treatment programs are still awaiting funding.

In the United States as a whole, an estimated 4 to 6 million addicts who need treatment are not receiving any.

“We are determined to build a drug-free America,” President Clinton told the U.N. special assembly. He spoke of a “virtual university” where anyone with access to a computer and modem could share knowledge and experience about substance abuse.

Darlene James, in her cave by the freeway, with no modem or computer, remains trapped in a chemical and bureaucratic nightmare. After being turned down four times, she beds down in her wet sleeping bag and says she is trying to keep from asking her boyfriend to inject her.

“These programs keep running me in littler and littler circles,” she says.

James did not think President Clinton’s fighting words or the U.N. conference marked the beginning of a new war against drugs.

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Lonny Shavelson is a physician in Berkeley, Calif., and author of "A Chosen Death."

A real growth stock

Viagra may give you the perfect penis, but there may be problems in getting what you wish for.

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Erections are a growth industry. In 1996, American men spent $25 million on drugs designed to transform middle-aged torpor into teenage turgor. That’s a significant sum considering the only medication approved by the Food and Drug Administration had to be injected in the penis with a needle. In 1997, after the feds OK’d a plastic plunger delivering the same drug sans syringe, the market surged to $200 million. If you include non-pharmaceutical therapies such as vacuum pumps and surgical implants, the number expands to $700 million. That’s a lot of hard cash, yet more — a lot more — is coming.

On March 27, the FDA approved Viagra, a little blue pill that, according to its manufacturer, Pfizer Inc., has created a forest of wood in up to 80 percent of the 4,000 impotent men tested in their clinical trials. The sound of trees rising is beautiful music to stock analysts, no doubt thinking of the 30 million American men who are said to have erectile dysfunction. And as baby boomers age, that number will soar. Like teeth, penises weren’t designed to last 80 years.

Thus, predicts David Saks of Gruntal & Co., Viagra will be the most profitable drug ever — and early reports show he’s probably right. In the week ending April 10, nearly 40,000 prescriptions were written at a retail price of about $10 a pill. One Net-savvy physician, Michael Thomas of Milwaukee, was selling Viagra scrips on his Web page at $50 per “consultation,” until criticism forced him to require in-person office visits. Even without the Internet, Pfizer could gross $4 billion yearly from the drug. One thing is certain: Wall Street has placed its bet. In the past year Pfizer’s stock — now selling at an all-time high — has more than doubled. On Thursday, the company is expected to announce a two-for-one stock split.

The man behind that growth is Dr. Ian Osterloh, a diffident Englishman with narrow shoulders, a receding chin and a complexion the color of typing paper. When we met, not long before Pfizer submitted Viagra for approval, he was sipping tea and waiting to take the podium at a medical conference. The discovery of Viagra, he said, is a tale of the unexpected.

“We were experimenting at our research center in Sandwich [England] with treatments for hypertension and angina. We thought a phosphodiesterase inhibitor [which Viagra is] might be effective.” Viagra surprised Osterloh and his fellow researchers twice: It didn’t lower blood pressure but it did raise erections. A follow-up study caused even more excitement — first among the research subjects, then Pfizer, now investors.

Viagra is poised to dominate the impotence market much the way Prozac and similar pills have taken over the treatment of depression. But unlike Prozac, Viagra has a huge potential for black-market sales. At one testing site, a burglar stole a shipment of pills. Osterloh blames (guess who?) the media.

“This is not a ‘superstud drug,’” he said. “It is a serious medication for a serious disease. It is not intended for healthy, functioning men.” But sensational news coverage, he complained, has given the false impression that Viagra is for “regular guys” who want “a little extra performance.”

“That,” Osterloh said, “is what you get in your motorcar after it has been properly serviced.”

Osterloh was annoyed when I asked if he’d taken the drug himself. “Certainly not,” he said. But the history of impotence research is filled with men who’ve experimented on themselves. An unforgettable example occurred at the 1983 meeting of the American Urological Association in Las Vegas. There, British physician Giles Brindley demonstrated beyond charts and graphs that a drug he’d been experimenting with was effective. He did this by stepping in front of the podium and dropping his trousers. Moments earlier, Brindley had injected himself. So there it was, standing proud before a room full of strangers: the, uh, “evidence.” Farther down the Strip, Siegfried and Roy were making a white Bengal tiger disappear, and two circus aerialists — one sitting on the other’s shoulders — were traversing a tightrope without a net. But even in Vegas they’d never seen a show like this.

Within weeks, doctors were prescribing injections, even though the medication was not FDA-approved for that purpose until two years later.

The mainstream press, especially the New York Times (which ran four
pieces on Viagra in the week after its approval) has been a consistent booster of this erection industry, gushing over every new treatment — and the new treatment emphasis. Once impotence was thought to be a psychological problem, the turf of sex therapists and shrinks. Now urologists, backed by the media, say the problem isn’t in your head — it’s in the vascular system inside your penis.

This shift has moved the focus from the couple (Masters and Johnson’s great insight) to the male organ. Treatment is based on an assumption of pathology. Many erectile-dysfunction specialists don’t even do a diagnostic work-up on the patient’s penis — nor did Osterloh recommend one when he spoke on March 27 at Pfizer’s press conference announcing Viagra’s approval by the FDA. Instead, most urologists give a general physical exam, take a sexual history, then offer the patient drugs.
Sure, these medications work, technically speaking, just as a doctor can prescribe a sedative to make an insomniac sleep. But does the fact that the drug works mean the problem is solved?

The answer to that, of course, depends on how you define the “problem.” The 1994 Massachusetts Male Aging Study, the survey urologists cite to prove their assertion that impotence is a problem (of varying severity) for half the male population between the ages of 40 and 70, didn’t merely ask respondents to rate their erections. It asked, “How satisfied are you with your sex life?” Surveyors created a “mild ED” category (ED = Erectile Dysfunction) for men who have erections, but worry that they’re not getting quite as hard, or lasting as long, as they used to.
(And how many men over 40, even those who have a regular sex partner, don’t worry about that?)

It’s only when you count these men that the
number of “impotent” men reaches 30 million. Dr. James Barada of Albany, N.Y., a member of the American Urological Association’s Treatment Guidelines Committee, is one of a small but growing number of urologists concerned about this “inflation” of the patient pool. “There’s a
difference between erectile dysfunction, which is a real disease,”
Barada said, “and erectile dysphoria, which is a vague sense of
dissatisfaction. I worry the line is getting blurred.”

Of course, the issue of sexual “satisfaction” is important, even if it is of questionable value in determining how many man really suffer from impotence. After all, only a dunderhead would deny that sex for humans — for better and worse — is at least as much a psychological process as it is biological. But these
truths are of little interest to most urologists. When Brindley
dropped his pants in Las Vegas, he did more than give new meaning to the term “scientific presentation.” He achieved the first major breakthrough in what Dr. Leonore Tiefer, professor of psychiatry at New York Medical Center, has called “the pursuit of the perfect penis.” This penis is impervious to Freudian insights, couples counseling and feminist criticism. It is a sexual tire that can be reinflated at will by drugs, no matter how many times it has gone flat in the past — or why. The
ultimate male fantasy has come true: a penis that’s hard on demand. And, best of all, you don’t have to talk to your wife, girlfriend or lover — or, even worse, a shrink — about your “relationship.” The only relationship that matters is the one between you and your dick.

Science has rewired that connection, but the price tag for this new
power tool is hidden. Men joke about being sex machines; the reality may not be so funny. When the penis becomes a mere engineering problem, the psychic vault of attitudes and anxieties that make up the “masculine mystique” is at risk of losing something important: its mystery, with consequences for eroticism, manhood and gender relations that the wood salesmen — and buyers of Pfizer stock — haven’t pondered at all.

With urologists, roughly 99 percent of whom are men, now
dominating the discourse on sexual functioning, an important group is rarely heard from — women. Sure, most women appreciate a firm,
hard erection. But a firm, hard erection attached to an inept,
insensitive lover is hardly the answer to anyone’s problem. Not
surprisingly, this is an issue you don’t hear addressed at urological conventions.

Even so, nothing is likely to stop the Viagra juggernaut. American men have been reeducated to see aging and the loss of youthful vigor not as a natural process, but as a disease. Sure, life is hard, doctors tell us — it’s supposed to be. And we have the drugs to keep it that way.

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David Friedman writes for Esquire, Vogue and other magazines. He is the author of "A Mind of Its Own: A Cultural History of the Penis," to be published by the Free Press.

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