
āϏāĻā§āĻā§āϤ⧠āĻāĻžāĻāĻāĻž: āĻāĻŋāĻāĻžāĻŦā§ āĻāĻāĻžāĻāĻž āĻāĻā§āϤāĻŋāϰ āϏāĻā§āĻā§āϤ āĻāϤāĻŋāĻšāĻžāϏ
James Wilson
Cannabis Culture Writer
āϏāĻā§āĻā§āϤ⧠āĻāĻžāĻāĻāĻž: āĻāĻŋāĻāĻžāĻŦā§ āĻāĻāĻžāĻāĻž āĻāĻā§āϤāĻŋāϰ āϏāĻā§āĻā§āϤ āĻāϤāĻŋāĻšāĻžāϏ
Cannabis and music share a relationship spanning centuries. From New Orleans jazz clubs to Kingston studios, from Woodstock to modern hip-hop, cannabis has influenced how musicians create and audiences experience music. Whether you're rolling up with āĻāĻžāϏā§āĻāĻŽ āϰā§āϞāĻŋāĻ āĻāĻžāĻāĻāĻĒāϤā§āϰ for a listening session, this guide explores that intertwined history.
āĻĻā§āϰā§āϤ āĻāϤā§āϤāϰ
āĻāĻžāĻāĻāĻž āĻāĻāĻžāϧāĻŋāĻ āϏāĻā§āĻā§āϤ āĻāϰāĻžāύāĻžāĻā§ āĻāĻā§āϰāĻāĻžāĻŦā§ āĻĒā§āϰāĻāĻžāĻŦāĻŋāϤ āĻāϰā§āĻā§: 1920-40 āĻāϰ āĻĻāĻļāĻā§ āĻā§āϝāĻžāĻ āϏāĻā§āĻā§āϤāĻļāĻŋāϞā§āĻĒā§āϰāĻž āĻāĻāĻŋāĻā§ āĻāĻŽā§āĻĒā§āϰā§āĻāĻžāĻāĻā§āĻļāύā§āϰ āĻāύā§āϝ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻāϰā§āĻāĻŋāϞā§āύ, āϰā§āĻā§ āĻāĻāĻŋāĻā§ āĻāϧā§āϝāĻžāϤā§āĻŽāĻŋāĻ āϧāϰā§āĻŽāĻžāύā§āώā§āĻ āĻžāύ āĻšāĻŋāϏāĻžāĻŦā§ āĻā§āϰāĻšāĻŖ āĻāϰā§āĻāĻŋāϞā§āύ, āϰāĻā§āϰ āϏāĻžāĻāĻā§āĻĄā§āϞāĻŋāĻ āϝā§āĻ āĻĒā§āϰāĻāĻžāĻļā§āϝ⧠āĻĒāϰā§āĻā§āώāĻž āĻāϰā§āĻāĻŋāϞā§āύ āĻāĻŦāĻ āĻšāĻŋāĻĒ-āĻšāĻĒ āĻāĻāĻŋāĻā§ āĻāĻāĻāĻŋ āĻā§āĻŦāύāϧāĻžāϰāĻžāϰ āĻĒā§āϰāϤā§āĻ āĻāϰ⧠āϤā§āϞā§āĻāĻŋāϞāĨ¤ āĻĒā§āϰāϤāĻŋāĻāĻŋ āϧāĻžāϰāĻž āĻāĻžāĻāĻāĻžāϰ āϏāĻžāĻĨā§ āύāĻŋāĻāϏā§āĻŦ āϏāĻŽā§āĻĒāϰā§āĻ āĻāĻĄāĻŧā§ āϤā§āϞā§āĻā§, āϏāĻā§āĻā§āϤ āĻāĻŦāĻ āĻŦā§āĻšāϤā§āϤāϰ āϏāĻāϏā§āĻā§āϤāĻŋ āĻāĻāϝāĻŧāĻā§āĻ āĻāĻ āύ āĻāϰā§āĻā§āĨ¤
āĻā§āϝāĻžāĻ: āϝā§āĻāĻžāύ⧠āĻāĻāĻŋ āϏāĻŦ āĻļā§āϰ⧠āĻšāϝāĻŧā§āĻāĻŋāϞ
āĻĒā§āϰāĻžāϰāĻŽā§āĻāĻŋāĻ āĻĻāĻŋāύāĻā§āϞāĻŋ (1920-1940)
āĻāĻžāĻāĻāĻž āĻĒā§āϰāĻĨāĻŽ āĻā§āϝāĻžāĻā§āϰ āĻŽāĻžāϧā§āϝāĻŽā§ āĻāĻŽā§āϰāĻŋāĻāĻžāύ āĻāύāĻĒā§āϰāĻŋāϝāĻŧ āϏāĻā§āĻā§āϤ⧠āĻĒā§āϰāĻŦā§āĻļ āĻāϰā§āĨ¤ āύāĻŋāĻ āĻ āϰāϞāĻŋāύā§āϏā§āϰ āϏāĻā§āĻā§āϤāĻā§āĻāϰāĻž āĻā§āϝāĻžāĻ āĻā§āϞāĻžāĻŦāĻā§āϞāĻŋāϤ⧠"āϰāĻŋāĻĢāĻžāϰ" āύāĻŋāϝāĻŧā§ āĻāϏā§, āϝā§āĻāĻžāύ⧠āĻāĻāĻŋ āϏā§āĻāύāĻļā§āϞ āĻ āĻāĻŋāĻŦā§āϝāĻā§āϤāĻŋ āĻāĻŦāĻ āϝā§āĻā§āϰ āĻĒā§āϰāϤāĻŋāϏāĻāϏā§āĻā§āϤāĻŋāϰ āϏāĻžāĻĨā§ āϝā§āĻā§āϤ āĻšāϝāĻŧā§ āϝāĻžāϝāĻŧāĨ¤
āĻŽā§āϞ āĻĒāϰāĻŋāϏāĻāĻā§āϝāĻžāύ:
- āϞā§āĻ āĻāϰā§āĻŽāϏā§āĻā§āϰāĻ - Openly used cannabis throughout his life, reportedly preferring it to alcohol
- āĻā§āϝāĻžāĻŦ āĻāϞāĻāϝāĻŧā§ - His 1932 hit "Reefer Man" was one of the first explicit cannabis songs
- Gene Krupa - Drummer arrested for cannabis, fueling jazz's "dangerous" image
āĻā§āύ āĻā§āϝāĻžāĻ āĻāĻŦāĻ āĻāĻžāĻāĻāĻž āϏāĻāϝā§āĻā§āϤ
āĻā§āϝāĻžāĻā§āϰ āĻāĻŽā§āĻĒā§āϰā§āĻāĻžāĻāĻā§āĻļāύāĻžāϞ āĻĒā§āϰāĻā§āϤāĻŋ āĻāĻžāĻāĻāĻžāϰ āĻĒā§āϰāĻāĻžāĻŦā§āϰ āϏāĻžāĻĨā§ āϏāĻāϝā§āĻā§āϤ:
- āϏāĻŽāϝāĻŧā§āϰ āĻŦāϰā§āϧāĻŋāϤ āĻāĻĒāϞāĻŦā§āϧāĻŋ (āĻāύā§āĻĻā§āϰ āĻāύā§āϝ āĻā§āϰā§āϤā§āĻŦāĻĒā§āϰā§āĻŖ)
- āĻšā§āϰāĻžāϏ āĻŦāĻžāϧāĻž (āĻā§āϏāĻžāĻšāĻŋāϤ āĻĒāϰā§āĻā§āώāĻž)
- āĻāĻā§āĻāϤāϰ āϏāĻāĻŦā§āĻĻāύāĻļā§āϞ āϏāĻā§āϤāύāϤāĻž (āĻāĻā§āϰ āϏāĻā§āĻā§āϤ āĻāĻĒāϞāĻŦā§āϧāĻŋ)
- āϏāĻžāĻŽāĻžāĻāĻŋāĻ āĻŦāύā§āϧāύ (āĻā§āϝāĻžāĻŽ āϏā§āĻļāύā§āϰ āϏāĻŽāϝāĻŧ āĻĒāĻžāϏ)
āϏāĻžāĻāϏā§āĻā§āϤāĻŋāĻ āĻĒā§āϰāĻāĻžāĻŦ
āĻā§āϝāĻžāĻā§āϰ āĻā§āϝāĻžāύāĻžāĻŦāĻŋāϏ āĻ ā§āϝāĻžāϏā§āϏāĻŋāϝāĻŧā§āĻļāύ āĻāϤ⧠āĻ āĻŦāĻĻāĻžāύ āϰā§āĻā§āĻā§:
- 1930 āĻāϰ āĻĻāĻļāĻā§āϰ "āϰāĻŋāĻĢāĻžāϰ āĻŽā§āϝāĻžāĻĄāύā§āϏ" āύā§āϤāĻŋāĻ āĻāϤāĻā§āĻ
- āĻāĻžāϞ⧠āϏāĻā§āĻā§āϤāĻā§āĻāĻĻā§āϰ āϏāĻžāĻĨā§ āĻāĻžāĻāĻāĻž āϏāĻŽāĻŋāϤāĻŋ
- āĻā§āϝāĻžāĻ āϏāĻŽā§āĻĒā§āϰāĻĻāĻžāϝāĻŧāĻā§ āϞāĻā§āώā§āϝ āĻāϰ⧠āĻ āĻĒāϰāĻžāϧā§āĻāϰāĻŖ
- āĻā§āĻāϰā§āĻāϏā§āĻĨ āĻ āĻŦāϏā§āĻĨāĻž āϝāĻž āĻāϝāĻŧā§āĻ āĻĻāĻļāĻ āϧāϰ⧠āĻāϞā§āĻāĻŋāϞ
The āĻāĻžāĻāĻāĻž āĻāĻŦāĻ āϏāĻā§āĻā§āϤā§āϰ āĻāĻĒāϰ āĻāĻāĻāĻŋāĻĒāĻŋāĻĄāĻŋāϝāĻŧāĻž āύāĻŋāĻŦāύā§āϧ documents how prohibition policies disproportionately affected musical communities.
āϰā§āĻā§: āĻāϧā§āϝāĻžāϤā§āĻŽāĻŋāĻ āϧāϰā§āĻŽāĻžāύā§āώā§āĻ āĻžāύ
āϰāĻžāϏā§āϤāĻžāĻĢā§āϰāĻŋāϝāĻŧāĻžāύ āĻļāĻŋāĻāĻĄāĻŧ
āĻāĻžāĻāĻāĻžāϰ āϏāĻžāĻĨā§ āϰā§āĻā§āϰ āϏāĻŽā§āĻĒāϰā§āĻ āĻŦāĻŋāύā§āĻĻāύā§āϰ āĻŦāĻžāĻāϰ⧠āϝāĻžāϝāĻŧ - āĻāĻāĻŋ āĻāϧā§āϝāĻžāϤā§āĻŽāĻŋāĻāĨ¤ āϰāĻžāϏā§āϤāĻžāĻĢāĻžāϰāĻŋāϝāĻŧāĻžāύ āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āĻāĻžāĻāĻāĻž ("āĻāĻžāĻā§āĻāĻž" āĻŦāĻž "āĻā§āώāĻ") āĻā§ āĻāĻāĻāĻŋ āϧāϰā§āĻŽāĻžāύā§āώā§āĻ āĻžāύ āĻŦāϞ⧠āĻŽāύ⧠āĻāϰ⧠āϝāĻž āϧā§āϝāĻžāύ⧠āϏāĻšāĻžāϝāĻŧāϤāĻž āĻāϰ⧠āĻāĻŦāĻ āĻŦā§āϝāĻŦāĻšāĻžāϰāĻāĻžāϰā§āĻĻā§āϰ āĻāĻžāĻš (āĻāĻļā§āĻŦāϰ) āĻāϰ āϏāĻžāĻĨā§ āϏāĻāϝā§āĻā§āϤ āĻāϰā§āĨ¤
āϧāϰā§āĻŽā§āϰ āĻāĻŋāϤā§āϤāĻŋ: āϰāĻžāϏā§āϤāĻžāĻĢāĻžāϰāĻŋāϝāĻŧāĻžāύāϰāĻž āĻāĻžāĻāĻāĻžāϰ āĻāĻļā§āĻŦāϰāĻŋāĻ āĻāĻĻā§āĻĻā§āĻļā§āϝā§āϰ āĻĒā§āϰāĻŽāĻžāĻŖ āĻšāĻŋāϏāĻžāĻŦā§ "āĻā§āώāĻ" āĻāϞā§āϞā§āĻ āĻāϰ⧠āĻŦāĻžāĻāĻŦā§āϞā§āϰ āĻ āύā§āĻā§āĻā§āĻĻāĻā§āϞāĻŋ āĻāϞā§āϞā§āĻ āĻāϰā§āĻā§āύāĨ¤
āĻŦāĻŦ āĻŽāĻžāϰā§āϞā§: āϰāĻžāώā§āĻā§āϰāĻĻā§āϤ
āĻŦāĻŦ āĻŽāĻžāϰā§āϞāĻŋāϰ āĻā§āϝāĻŧā§ āĻāĻžāĻāĻāĻž āϏāĻāϏā§āĻā§āϤāĻŋāϰ āĻā§āϝāĻŧā§ āϏāĻŽā§āĻĒā§āϰā§āĻŖāϰā§āĻĒā§ āĻŽā§āϰā§āϤ āĻā§āύ⧠āĻļāĻŋāϞā§āĻĒā§āĻ āύā§āĻāĨ¤ āϤāĻžāϰ āϏāĻā§āĻā§āϤ, āĻāĻŽā§āĻ āĻāĻŦāĻ āĻ ā§āϝāĻžāĻĄāĻā§āĻā§āϏāĻŋ āϤāĻžāĻā§ āϰā§āĻā§ āĻāĻŦāĻ āĻāĻžāĻāĻāĻž āĻāĻāϝāĻŧā§āϰāĻ āĻŦāĻŋāĻļā§āĻŦāĻŦā§āϝāĻžāĻĒā§ āĻŽā§āĻ āĻāϰ⧠āϤā§āϞā§āĻā§āĨ¤
āĻŽāĻžāϰā§āϞ⧠āĻāϰ āĻĒā§āϰāĻāĻžāĻŦ:
- āϰā§āĻā§ āĻāĻŦāĻ āĻāĻžāĻāĻāĻžāĻā§ āĻāύāĻĒā§āϰāĻŋāϝāĻŧ āĻāϞā§āĻĒāύāĻžāϝāĻŧ āĻ āĻŦāĻŋāĻā§āĻā§āĻĻā§āϝ āĻāϰ⧠āϤā§āϞā§āĻā§
- āĻāĻāĻŋ āĻŽā§āϞāϧāĻžāϰāĻžāϰ āĻāϝāĻŧā§āĻ āĻĻāĻļāĻ āĻāĻā§ āĻŦā§āϧāĻāϰāĻŖā§āϰ āĻĒāĻā§āώ⧠āϏāĻŽāϰā§āĻĨāύ āĻāϰā§āĻāĻŋāϞ
- āĻĒā§āϰāĻŽāĻžāĻŖāĻŋāϤ āϝ⧠āĻāĻžāĻāĻāĻž āĻŦā§āϝāĻŦāĻšāĻžāϰāĻāĻžāϰā§āϰāĻž āĻāϤā§āĻĒāĻžāĻĻāύāĻļā§āϞ āĻļāĻŋāϞā§āĻĒā§ āĻšāϤ⧠āĻĒāĻžāϰā§
- āĻŦāĻŋāĻļā§āĻŦāĻŦā§āϝāĻžāĻĒā§ āϰāĻžāϏā§āϤāĻžāĻĢāĻžāϰāĻŋāϝāĻŧāĻžāύ āĻĻā§āώā§āĻāĻŋāĻāĻā§āĻāĻŋ āĻāĻĄāĻŧāĻŋāϝāĻŧā§ āĻĻāĻŋāύ
āĻŦāĻŋāϝāĻŧāύā§āĻĄ āĻŽāĻžāϰā§āϞā§
āĻ āύā§āϝāĻžāύā§āϝ āϰā§āĻā§ āĻļāĻŋāϞā§āĻĒā§āϰāĻž āĻāϤāĻŋāĻšā§āϝ āĻ āĻŦā§āϝāĻžāĻšāϤ āϰā§āĻā§āĻā§āύ:
- Peter Tosh - "Legalize It" (1976) became an anthem
- āĻāϰāĻā§āĻļ - Original Wailer, consistent advocate
- āĻā§āĻŦāϞāύā§āϤ āĻŦāϰā§āĻļāĻž - Incorporated spiritual cannabis themes
- āĻĄā§āϝāĻžāĻŽāĻŋāϝāĻŧāĻžāύ āĻŽāĻžāϰā§āϞ⧠- Carried father's legacy into modern era
āϰā§āĻā§āϰ āĻāϤā§āϤāϰāĻžāϧāĻŋāĻāĻžāϰ
āϰā§āĻā§ āϏā§āĻĨāĻžāϝāĻŧā§āĻāĻžāĻŦā§ āĻāĻžāĻāĻāĻžāϰ āϏāĻžāĻĨā§ āϏāĻāϝā§āĻā§āϤ:
- āĻļāĻžāύā§āϤāĻŋāĻĒā§āϰā§āĻŖ āĻĒā§āϰāϤāĻŋāϰā§āϧ
- āĻāϧā§āϝāĻžāϤā§āĻŽāĻŋāĻ āĻā§āĻāĻžāύ
- āĻŦāĻŋāĻĒāϰā§āϤ - āĻĒā§āϰāϤāĻŋāώā§āĻ āĻžāϰ āĻ āĻŦāϏā§āĻĨāĻžāύ
- āĻĻā§āĻŦā§āĻĒ āĻā§āĻŦāύāϧāĻžāϰāĻž āĻāĻŦāĻ āĻļāĻŋāĻĨāĻŋāϞāĻāϰāĻŖ
āĻļāĻŋāϞāĻž āĻāĻŦāĻ āϏāĻžāĻāĻā§āĻĄā§āϞāĻŋāϝāĻŧāĻž
1960 āĻāϰ āĻŦāĻŋāĻĒā§āϞāĻŦ
āĻāĻžāĻāĻāĻžāϰ āϏāĻžāĻĨā§ āϰāĻ āĻŽāĻŋāĻāĻāĻŋāĻā§āϰ āϏāĻŽā§āĻĒāϰā§āĻ āĻāĻžāĻāύā§āĻāĻžāϰāĻāĻžāϞāĻāĻžāϰ āϝā§āĻā§ āĻŦāĻŋāϏā§āĻĢā§āϰāĻŋāϤ āĻšāϝāĻŧāĨ¤ āĻāĻžāĻ āϝāĻž āĻāĻŋāĻā§āĻāĻž āϞā§āĻāĻŋāϝāĻŧā§ āϰā§āĻā§āĻāĻŋāϞ, āϰāĻ āĻāĻāĻāĻŋ āĻŦāĻŋāĻŦā§āϤāĻŋ āĻĻāĻŋāϝāĻŧā§āĻā§āύāĨ¤
āĻŽā§āĻā§āϝ āĻŽā§āĻšā§āϰā§āϤ:
- 1964: āĻŦāĻŦ āĻĄāĻŋāϞāĻžāύ āĻŦāĻŋāĻāϞāϏāĻā§ āĻāĻžāĻāĻāĻžāϰ āϏāĻžāĻĨā§ āĻĒāϰāĻŋāĻāϝāĻŧ āĻāϰāĻŋāϝāĻŧā§ āĻĻāĻŋāϝāĻŧā§āĻā§āύ āĻŦāϞ⧠āĻāĻžāύāĻž āĻā§āĻā§
- 1967: āĻĒā§āϰā§āĻŽā§āϰ āĻā§āϰā§āώā§āĻŽ āϝā§āĻŦāĻāĻĻā§āϰ āĻŽāϧā§āϝ⧠āĻāĻžāĻāĻāĻžāĻā§ āĻŽā§āϞāϧāĻžāϰāĻžāϝāĻŧ āĻĒāϰāĻŋāĻŖāϤ āĻāϰā§āĻā§
- āĻāĻĄāϏā§āĻāĻ (1969): āĻāĻžāĻāĻāĻž āĻĒā§āϰāĻāĻžāĻļā§āϝ⧠āĻāϝāĻŧā§āĻ āĻšāĻžāĻāĻžāϰ āĻĻā§āĻŦāĻžāϰāĻž āĻāĻžāĻāϝāĻŧāĻž
āĻĒā§āϰāĻāĻžāĻŦāĻļāĻžāϞ⧠āĻļāĻŋāϞā§āĻĒā§
āĻŦāĻŋāĻāϞāϏ: āĻāĻžāĻāĻāĻž-āĻĒāϰāĻŦāϰā§āϤā§, āϤāĻžāĻĻā§āϰ āϏāĻā§āĻā§āϤ āĻĒāĻĒ āĻĨā§āĻā§ āĻĒāϰā§āĻā§āώāĻžāĻŽā§āϞāĻāĻāĻžāĻŦā§ āϏā§āĻĨāĻžāύāĻžāύā§āϤāϰāĻŋāϤ āĻšāϝāĻŧā§āĻā§āĨ¤ "āϞāĻžāĻ āĻŽāĻŋ āĻĄā§" (1962) āĻāϰ āϏāĻžāĻĨā§ "āϏā§āĻā§āϰāĻŦā§āϰāĻŋ āĻĢāĻŋāϞā§āĻĄāϏ āĻĢāϰāĻāĻāĻžāϰ" (1967) āϤā§āϞāύāĻž āĻāϰā§āύāĨ¤
āĻāĻŋāĻŽāĻŋ āĻšā§āύā§āĻĄāϰāĻŋāĻā§āϏ: āĻāĻŋāĻāĻžāϰ āĻāĻĻā§āĻāĻžāĻŦāύ āĻāĻāĻļāĻŋāĻāĻāĻžāĻŦā§ āĻĒāϰāĻŋāĻŦāϰā§āϤāĻŋāϤ āĻāĻĒāϞāĻŦā§āϧāĻŋ āϰāĻžāώā§āĻā§āϰā§āϰ āĻāύā§āϝ āĻāĻŽāĻžāĨ¤
āĻā§āϤāĻā§āĻ āĻŽā§āϤ: āĻāĻžāĻāĻāĻž-āĻŦāĻžāύā§āϧāĻŦ āĻāύāϏāĻžāϰā§āĻā§āϰ āĻāĻžāϰāĻĒāĻžāĻļā§ āϏāĻŽāĻā§āϰ āϏāĻŽā§āĻĒā§āϰāĻĻāĻžāϝāĻŧ āϤā§āϰāĻŋ āĻāϰā§āĻā§āĨ¤
Pink Floyd: āϏāĻžāĻāĻā§āĻĄā§āϞāĻŋāĻ āϏāĻžāĻāύā§āĻĄāϏā§āĻā§āĻĒ āĻĒāϰāĻŋāĻŦāϰā§āϤāĻŋāϤ āĻ āĻŦāϏā§āĻĨāĻžāϰ āĻāύā§āϝ āĻĄāĻŋāĻāĻžāĻāύ āĻāϰāĻž āĻšāϝāĻŧā§āĻā§āĨ¤
āϏāĻžāĻāĻā§āĻĄā§āϞāĻŋāĻ āϰāĻ āĻāĻŦāĻ āĻā§āϝāĻžāύāĻžāĻŦāĻŋāϏ
āϝāĻĻāĻŋāĻ āĻāϞāĻāϏāĻĄāĻŋ āĻĒā§āϰāĻžāϝāĻŧāĻļāĻ āϏāĻžāĻāĻā§āĻĄā§āϞāĻŋāĻ āϰāĻā§āϰ āĻāύā§āϝ āĻā§āϰā§āĻĄāĻŋāĻ āĻĒāĻžāϝāĻŧ, āĻāĻžāĻāĻāĻž āĻāĻāĻāĻŋ āĻā§āϰā§āϤā§āĻŦāĻĒā§āϰā§āĻŖ āĻā§āĻŽāĻŋāĻāĻž āĻĒāĻžāϞāύ āĻāϰā§āĻāĻŋāϞ:
- āĻāϞāĻāϏāĻĄāĻŋāϰ āĻā§āϝāĻŧā§ āĻŦā§āĻļāĻŋ āĻ ā§āϝāĻžāĻā§āϏā§āϏāϝā§āĻā§āϝ āĻāĻŦāĻ āĻāĻŽ āϤā§āĻŦā§āϰ
- āϏā§āĻāύāĻļā§āϞ āϏā§āĻļāύā§āϰ āϏāĻŽāϝāĻŧ āϏāĻžāϧāĻžāϰāĻŖāϤ āĻŦā§āϝāĻŦāĻšā§āϤ āĻšāϝāĻŧ
- āϏāĻā§āĻā§āϤ āĻāϰ āĻā§āĻā§āϏāĻāĻžāϰ āĻāύā§āύāϤ āĻĒā§āϰāĻļāĻāϏāĻž
- āϏāĻžāĻŽā§āĻĒā§āϰāĻĻāĻžāϝāĻŧāĻŋāĻ āĻāύāϏāĻžāϰā§āĻā§āϰ āĻ āĻāĻŋāĻā§āĻāϤāĻž āϤā§āϰāĻŋ āĻāϰā§āĻā§āύ
āĻšāĻŋāĻĒ-āĻšāĻĒ: āĻāύā§āĻĄāĻžāϰāĻā§āϰāĻžāĻāύā§āĻĄ āĻĨā§āĻā§ āϏāĻžāĻŽā§āϰāĻžāĻā§āϝ āĻĒāϰā§āϝāύā§āϤ
āĻĒā§āϰāĻžāϰāĻŽā§āĻāĻŋāĻ āĻšāĻŋāĻĒ-āĻšāĻĒ (1980)
āĻĒā§āϰāĻžāϰāĻŽā§āĻāĻŋāĻ āĻšāĻŋāĻĒ-āĻšāĻĒ āĻāĻžāĻāĻāĻž āĻāϞā§āϞā§āĻ āĻāϰā§āĻā§ āĻāĻŋāύā§āϤ⧠āĻāĻāĻŋ āĻĻā§āĻŦāĻžāϰāĻž āϏāĻāĻā§āĻāĻžāϝāĻŧāĻŋāϤ āĻāϰāĻž āĻšāϝāĻŧāύāĻŋāĨ¤ āĻāĻŽāϏāĻŋāĻāϏ āϝā§āĻĻā§āϧ, āϏāĻžāĻŽāĻžāĻāĻŋāĻ āĻāĻžāώā§āϝ āĻāĻŦāĻ āĻĒāĻžāϰā§āĻāĻŋ āϰā§āĻāϰā§āĻĄā§āϰ āĻāĻĒāϰ āĻŦā§āĻļāĻŋ āĻŽāύā§āϝā§āĻ āĻĻā§āϝāĻŧāĨ¤
āĻĒā§āϰāĻžāĻĨāĻŽāĻŋāĻ āĻāϞā§āϞā§āĻ: āϏā§āϞāĻŋāĻ āϰāĻŋāĻ, āĻāĻĒāĻŋāĻāĻŽāĻĄāĻŋ, āĻāĻŦāĻ āĻ āύā§āϝāĻžāύā§āϝāĻĻā§āϰ āĻŽāϧā§āϝ⧠āĻāĻžāĻāĻāĻžāϰ āϰā§āĻĢāĻžāϰā§āύā§āϏ āĻ āύā§āϤāϰā§āĻā§āĻā§āϤ āĻāĻŋāϞ āĻāĻŋāύā§āϤ⧠āĻā§āĻŦ āĻāĻŽāĻ āĻāϰ āĻāĻžāϰāĻĒāĻžāĻļā§ āϏāĻŽā§āĻĒā§āϰā§āĻŖ āĻāĻžāύ āĻā§āύā§āĻĻā§āϰā§āĻā§āϤ āĻšāϝāĻŧāĨ¤
āĻĒāĻļā§āĻāĻŋāĻŽ āĻāĻĒāĻā§āϞ āĻŦāĻŋāĻĒā§āϞāĻŦ (1990)
āĻāϝāĻŧā§āϏā§āĻ āĻā§āϏā§āĻ āĻšāĻŋāĻĒ-āĻšāĻĒ āϝāĻāύ āĻāĻžāĻāĻāĻžāĻā§ āϤāĻžāϰ āĻĒāϰāĻŋāĻāϝāĻŧā§āϰ āĻā§āύā§āĻĻā§āϰāĻŦāĻŋāύā§āĻĻā§āϤ⧠āĻĒāϰāĻŋāĻŖāϤ āĻāϰā§āĻāĻŋāϞ āϤāĻāύ āϏāĻŦāĻāĻŋāĻā§ āĻŦāĻĻāϞ⧠āϝāĻžāϝāĻŧāĨ¤
āĻĄāĻžāĻ āĻĄā§āϰā§āϰ "āĻĻā§āϝ āĻā§āϰāύāĻŋāĻ" (1992):
- āĻāĻā§āĻ āĻŽāĻžāύā§āϰ āĻāĻžāĻāĻāĻžāϰ āύāĻžāĻŽā§ āϏāϰāĻžāϏāϰāĻŋ āύāĻžāĻŽāĻāϰāĻŖ āĻāϰāĻž āĻšāϝāĻŧā§āĻā§
- āĻāĻžāĻāĻāĻžāĻā§ āĻāĻāĻāĻŋ āĻŦāĻžāĻŖāĻŋāĻā§āϝāĻŋāĻ āϏāĻā§āĻā§āϤ āĻĒāϰāĻŋāĻāϝāĻŧ āϤā§āϰāĻŋ āĻāϰā§āĻā§
- āĻāĻŋ-āĻĢāĻžāĻā§āĻā§āϰ āĻļāĻžāύā§āϤ-āĻŦā§āϝāĻžāĻ, āĻāĻžāĻāĻāĻž-āĻĒā§āϰāĻāĻžāĻŦāĻŋāϤ āĻļāĻŦā§āĻĻ āĻāĻžāϞ⧠āĻāϰā§āĻā§
- 5+ āĻŽāĻŋāϞāĻŋāϝāĻŧāύ āĻāĻĒāĻŋ āĻŦāĻŋāĻā§āϰāĻŋ āĻšāϝāĻŧā§āĻā§
Snoop Dogg:
- āĻšāĻŋāĻĒ-āĻšāĻĒā§āϰ āĻā§āĻĄāĻŧāĻžāύā§āϤ āĻāĻžāĻāĻāĻžāϰ āĻĻā§āϤ āĻšāϝāĻŧā§ āĻāĻ ā§āύ
- āĻāĻžāĻāĻāĻžāĻā§ āϤāĻžāϰ āϏāĻŽā§āĻĒā§āϰā§āĻŖ āĻŦā§āϰā§āϝāĻžāύā§āĻĄ āĻĒāϰāĻŋāĻāϝāĻŧ āĻŦāĻžāύāĻŋāϝāĻŧā§āĻā§
- "āĻāĻŋāύ āĻ ā§āϝāĻžāύā§āĻĄ āĻā§āϏ," "āĻāĻŽāĻŋ āĻā§ (āĻāĻŽāĻžāϰ āύāĻžāĻŽ āĻā§)" - āϤāĻžāϤā§āĻā§āώāĻŖāĻŋāĻ āĻā§āϞāĻžāϏāĻŋāĻ
- āĻĒāϰ⧠āĻŦā§āϧ āĻāĻžāĻāĻāĻž āĻŦā§āϝāĻŦāϏāĻž āĻļā§āϰ⧠āĻāϰā§
āϏāĻžāĻāĻĒā§āϰāĻžāϏ āĻšāĻŋāϞ:
- āĻāĻžāĻāĻāĻž āϏāĻāϏā§āĻā§āϤāĻŋāϰ āĻāύā§āϝ āĻāϤā§āϏāϰā§āĻā§āĻā§āϤ āĻā§āϝāĻžāĻāĻžāϞāĻ
- "āĻŦāĻ āĻĨā§āĻā§ āĻšāĻŋāĻ," "āĻāĻŽāĻŋ āĻāĻā§āĻ āĻĒā§āϤ⧠āĻāĻžāĻ"
- āĻšāĻŋāĻĒ-āĻšāĻĒā§āϰ āĻŽāϧā§āϝ⧠āĻŦā§āϧāĻāϰāĻŖā§āϰ āĻāύā§āϝ āϏāĻŽāϰā§āĻĨāύ āĻāϰāĻž āĻšāϝāĻŧā§āĻā§
āĻāϧā§āύāĻŋāĻ āĻšāĻŋāĻĒ-āĻšāĻĒ
āĻāĻžāĻāĻāĻž āĻāϤāĻāĻžāĻ āϏā§āĻŦāĻžāĻāĻžāĻŦāĻŋāĻ āĻšāϝāĻŧā§ āĻā§āĻā§ āϝ⧠āĻāĻāĻŋ āĻāĻāύ āĻŽāĻžāύāĻ:
Wiz Khalifa: "Black and Yellow" to cannabis empire
Curren$y: Entire discography is cannabis-themed
Kid Cudi: Connected cannabis to mental health discussions
Travis Scott: Named album "Days Before Rodeo" after slang
Hip-Hop's Commercial Impact
Hip-hop made cannabis:
- Cool rather than countercultural
- A lifestyle brand
- Associated with success and wealth
- Normalized across demographics
Country and Cannabis: The Hidden History
Willie Nelson
Country music might seem unlikely cannabis territory, but Willie Nelson changed that:
- Became openly cannabis-friendly in conservative genre
- Co-founded "Farm Aid" while openly using cannabis
- Launched his own cannabis brand (Willie's Reserve)
- Proved cannabis transcends musical genres
Outlaw Country
The "Outlaw Country" movement (Willie Nelson, Waylon Jennings, Kris Kristofferson) challenged Nashville's conservative image, including attitudes toward cannabis.
Modern Country
Contemporary country increasingly references cannabis:
- Kacey Musgraves: Open about use
- Eric Church: "Smoke a Little Smoke"
- Toby Keith: "Weed with Willie"
Electronic Music and Rave Culture
The Dance Music Connection
Electronic music developed its own cannabis relationship:
- Dub: Jamaican electronic music directly descended from reggae
- Chillout: Genres designed for cannabis-enhanced listening
- Festival Culture: Cannabis common at electronic events
Why Electronic Music and Cannabis Work
- Long sets benefit from sustained altered states
- Complex layers revealed with enhanced perception
- Repetitive beats align with cannabis's time perception effects
- Social, communal experience
Famous Songs About Cannabis
Classic Era
- "Reefer Man" - Cab Calloway (1932)
- "Sweet Leaf" - Black Sabbath (1971)
- "Legalize It" - Peter Tosh (1976)
- "Kaya" - Bob Marley (1978)
1990s Explosion
- "Hits from the Bong" - Cypress Hill (1993)
- "Because I Got High" - Afroman (2000)
- "Mary Jane" - Rick James (1978)
- "Smoke Two Joints" - Sublime (1992)
Modern Era
- "Young, Wild & Free" - Snoop Dogg & Wiz Khalifa (2011)
- "Smoke Weed Everyday" - Nate Dogg (2001)
- "Day 'n' Nite" - Kid Cudi (2008)
- "Roll Up" - Wiz Khalifa (2011)
How Cannabis Influences Creativity
Artist Perspectives
Musicians report cannabis:
- Reduces creative self-censorship
- Enhances pattern recognition
- Creates flow states
- Makes repetitive practice tolerable
- Aids relaxation before performances
The Science (Limited)
Research suggests cannabis may:
- Increase divergent thinking (generating many ideas)
- Alter time perception
- Enhance sensory processing
- Reduce anxiety in some users
Caveat: Effects vary dramatically by individual, strain, and dosage. Many successful musicians don't use cannabis.
The Touring Connection
Musicians on tour face:
- Long bus/plane rides (cannabis passes time)
- Performance anxiety (cannabis can help or hurt)
- Sleep disruption (cannabis may aid sleep)
- Physical strain (pain management)
Cannabis and Live Music
Concert Culture
Cannabis at concerts creates:
- Communal experience among audience
- Enhanced appreciation of music
- Relaxed, peaceful crowd atmosphere
- Shared ritual of passing
Festival Evolution
Modern festivals increasingly accommodate cannabis:
- Legal consumption areas in some jurisdictions
- Reduced enforcement in many areas
- Cannabis vendors at legal events
- Integration into festival lifestyle
The Business Connection
Musicians Turned Entrepreneurs
Cannabis legalization allowed artists to monetize their associations:
Snoop Dogg - Leafs by Snoop (cannabis brand)
Willie Nelson - Willie's Reserve
Wiz Khalifa - Khalifa Kush
Melissa Etheridge - Cannabis products
Jim Belushi - Belushi's Farm
Brand Authenticity
These ventures succeed because of authentic history - artists who built careers partly around cannabis culture can credibly sell cannabis products.
Impact on Music Consumption
Enhanced Listening
Cannabis reportedly enhances:
- Appreciation of instrumental detail
- Emotional response to lyrics
- Physical response to rhythm
- Memory of musical experiences
Genre Preferences
Cannabis may influence what people want to hear:
- Slower tempos often preferred
- Complex arrangements appreciated
- Bass and rhythm emphasized
- "Mellow" music sought
Summary
Cannabis and music share a relationship spanning a century of popular music:
Jazz established the connection through improvisation and underground culture.
Reggae elevated cannabis to spiritual practice and global symbol.
Rock made it a generational statement during the counterculture era.
Hip-hop transformed it from counterculture to lifestyle brand.
Country proved cannabis transcends genre boundaries.
Today, cannabis is woven into music culture so deeply that it's impossible to imagine modern music history without it. As legalization spreads, this relationship continues evolving - with musicians now becoming cannabis entrepreneurs.
Whether you're a musician seeking creative enhancement or a listener looking to deepen your appreciation, understanding this history enriches your relationship with both cannabis and music.
This guide is for educational purposes. Cannabis laws vary by jurisdiction.
Frequently Asked Questions
āϰā§āĻā§ āϏāĻŦāĻā§āϝāĻŧā§ āϏā§āĻĒāώā§āĻāĻāĻžāĻŦā§ āĻāĻžāĻāĻāĻžāϰ āϏāĻžāĻĨā§ āϝā§āĻā§āϤ, āĻŦāĻŋāĻļā§āώ āĻāϰ⧠āϰāĻžāϏā§āϤāĻžāĻĢāĻžāϰāĻŋāϝāĻŧāĻžāύ āϏāĻāϏā§āĻā§āϤāĻŋ āĻāĻŦāĻ āĻŦāĻŦ āĻŽāĻžāϰā§āϞāĻŋāϰ āĻŽāĻžāϧā§āϝāĻŽā§āĨ¤ āϝāĻžāĻāĻšā§āĻ, āĻā§āϝāĻžāĻ, āĻšāĻŋāĻĒ-āĻšāĻĒ āĻāĻŦāĻ āϰāĻ āϏāĻāϞā§āϰāĻ āĻāĻžāĻāĻāĻž āϏāĻāϏā§āĻā§āϤāĻŋāϰ āĻāĻā§āϰ āĻļāĻŋāĻāĻĄāĻŧ āϰāϝāĻŧā§āĻā§, āĻĒā§āϰāϤāĻŋāĻāĻŋ āϤāĻžāĻĻā§āϰ āύāĻŋāĻ āύāĻŋāĻ āϏāĻŽā§āĻĒā§āϰāĻĻāĻžāϝāĻŧ āĻā§āĻāĻžāĻŦā§ āĻāĻĻā§āĻāĻŋāĻĻāĻāĻŋāĻā§ āĻĻā§āĻā§ āĻāĻŦāĻ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻāϰ⧠āϤāĻž āĻĒā§āϰāĻāĻžāĻŦāĻŋāϤ āĻāϰā§āĨ¤
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