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While I was researching the United States Narcotic Farm, I came across this music video for a song named Prisontown by the band the Malefactors of Great Wealth. The history of the Narcotic Farm, its residents, staff, philosophies and experiments is enthralling. There’s so much to confound and surprise we could start any place, so we might as well start with this music video.

The Malefactors are a contemporary band whereas this footage clearly is not. The band here is Pacific Gas & Electric playing in 1970 at the National Institute of Mental Health & Clinical Research Center. (The U.S. Narcotic Farm was renamed the U.S. Public Health Service Hospital and later the National Institute of Mental Health.) Throughout all of it’s iterations, residents and staff just called it ‘Narco’.

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Lexington Narcotic Hospital, 1935. Credit: University of Kentucky Archives

The Narcotic Farm was established to treat drug use and addiction as a health issue and not a criminal issue. Ostensibly, the residents were considered patients, not prisoners. They were thought of not as deviant but as sick.

The administration wanted to rehabilitate as and when it could but, in those times, society, science and the public had a lot to learn if they were to successfully treat addiction. Bear in mind, manufactured heroin had been in the public realm for less than 40 years up to that point, and from its introduction to market in 1898 until 1910 it was advertised as a non-addictive morphine substitute and cough suppressant.

The Narcotic Farm had several types of resident. One third had been sent there in lieu of custody in other federal prisons. Two thirds, however, were volunteers wanting to kick drugs. They checked themselves in and could leave any time, though most stayed for extended periods.

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As much of the work was trial and error (literally experiments in laboratories) the farm’s levels of success in its treatment of drug addiction varied greatly. The context to all the work was the rural setting. Away from the iniquity of the city, patients worked in the fields, harvesting crops and milking cattle. Sports, group therapies and music were all encouraged as healthy outlets. The walls were relatively porous; local softball teams played patient-teams in the courtyard. No users went cold-turkey, instead the doctors prescribed methadone and other replacements to wean patients off heroin. Hundreds of the best jazz musicians passed through the farm in the 40s and 50s. Concerts and jam sessions were a mainstay.

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So why this footage? Well Malefactors band-member J.P. Olsen is also an author and filmmaker. He directed the fantastic documentary The Narcotic Farmand co-authored the accompanying book The Narcotic Farm: The Rise and Fall of America’s First Prison for Drug Addicts. The Prisontown video was made with footage that Olsen did not use for the documentary. The band is Pacific Gas & Electric, an American blues rock band known for their biggest hit Are You Ready? in 1970. I highly recommend the documentary Olsen made with Luke Walden and Nancy Campbell. You can watch The Narcotic Farm in full on Vimeo.

Under its many different titles, the United States Narcotic Farm carved a fascinating history. It’s generally thought it failed to rehab patients (90% of residents returned to opiate addiction after their stays) but much of our knowledge about the chemistry and physical effects of addiction stems from research carried out there. Not all research was ethical by todays standards though. Volunteer patients would sign up to take various drugs–from LSD to barbiturates to marijuana–so that they might be monitored during withdrawal or medical interventions.

The Narcotic Farm succeeded in unmasking many prescription drugs and tranquilizers as addictive when they’d only been marketed previously as positive agents. To give you a sense of the open and relaxed approach to research see this brief clip:

 

 

Some of the payments to volunteer-patients in these trials were made in drugs–heroin, methadone included. The patients could even put these drugs “in the bank” so to speak, so that they might, at a later date, go to the dispensary, claim and imbibe them. If it sounds crazy it’s because, in all honesty, it is.

Five years after the band footage (top) was made, the institution was designated as a federal psychiatric hospital. All volunteer patients were moved out and the Addiction Research Center was closed down. It is now the Federal Medical Center with an adjacent minimum security camp and 1,900 prisoners in total.

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The United States Narcotic Farm represents a fascinating, surprising chapter in American medical and correctional history. There’s many great resources online which I encourage you to read: an academic history of the farm by Erin Weiss; a brief history of the farm by the Alcohol and Drugs History Society; an interview with Narcotic Farm book author Dr. Nancy Campbell by the Public Library of Science; some reflections by documentary maker Luke Walden; an interview with Olsen and Campbell on NPR; a feature on Kentucky Educational Television; a slideshow of images from the farm on Scientific American; and a slideshow on the website of the Lexington Herald Leader newspaper.

To close, I went on an Internet joyride scouring for images from the farm and dump the most intriguing here. Note, several made by Arthur Rothstein are staged promotional shots, which you can read more about here.)

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Intake. Credit: Unknown.
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Courtesy of Nancy D. Campbell, JP Olsen & Luke Walden. Credit :Arthur Rothstein, Kentucky Historical Society
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Courtesy of Nancy D. Campbell, JP Olsen & Luke Walden, “The Narcotic Farm: The Rise and Fall of America’s First Prison for Drug Addicts”, Kentucky Historical Society
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At its peak, the institution’s award-winning dairy herd numbered more than ninety cows. Credit: Unknown.
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Nurses clip patients fingernails. Manicures and pedicures were part of the early program to improve patients’ personal hygiene and were considered part of “the cure”. Circa 1940s. Credit: Kentucky Historical Society
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‘Narcotic Farm at Lexington, Kentucky, Circa. 1950.’ Furniture was made in the institution’s woodshop was used throughout the prison and was also sent to various federal agencies, including the Treasury Department and, in later years, NASA. Credit: Arthur Rothstein, Kentucky Historical Society
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Male and female patients perform a Latin dance accompanied by Marco’s big band. Former patient Eddie Flowers recalls: “We used to put on a big extravaganza with sets and everything. It was one of the good times down there in Lexington, Kentucky. And everybody came to the show-the females, the personnel, the males, you know. For that couple of hours we were just in a whole other space and time.” Courtesy of Nancy D. Campbell, JP Olsen & Luke Walden, “The Narcotic Farm: The Rise and Fall of America’s First Prison for Drug Addicts”
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This photo from 1939 was one of scores made by Arthur Rothstein used to promote the “disease model” practiced by doctors at Lexington. Drug use was seen as an illness not a inherently criminal behaviour.
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‘Narcotic Farm at Lexington, Kentucky, 1939. Credit: Arthur Rothstein
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Hypodermic syringes confiscated during admissions in 1939. Note one disguised as a fountain pen. Credit: Arthur Rothstein, National Library of Medicine.
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The Darrow Photopolygraph measured a patient’s mental and physical reaction to slang references to drugs. In this 1939 photo, a researcher shows the addict words such as “dope” and “informer”, while monitoring the patient’s reaction. The patient is an actor posing for promotional material created by the government to publicize the Narcotic Farm. Credit: Arthur Rothstein, Kentucky Historical Society.
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© 2009 Jerome Brunet Photography. All rights reserved.

© 2009 Jerome Brunet Photography. All rights reserved.

Jérôme Brunet‘s photo essay Riding Shotgun with Texas Sheriff’s is a ferocious document of police activity and procedure in America’s ‘love-to-hate’ lone star state. I am in deep admiration of this project for it connects the dots and marries everything in a police officer’s routine from violent confrontation to mundane paperwork.

Brunet spent six months with Texas Sheriffs and the stark quality of his work demonstrates that.

Brunet’s work inevitably features sites of incarceration, but I contend viewers are more shocked Brunet’s depictions of inhumanity on the highways (and front yards) than they are of inhumanity within the confines of state institutions.

Prison Photography Blog embraces complexity and unanswerable questions and Brunet poses many. Prisons and jails are not isolated from society but a point of destination and departure throughout the cyclical mechanisms of state authority. It is right to feature a project that merges the chaotic unknowns (crime scenes) and prevailing controls (sites of incarceration) of police activity.

Brunet explains:

When asked why I’m interested in law enforcement, I’m compelled to reply, “We all should be.” The fact that we know so incredibly little about our ‘boys in blue’ all though we see them on our street corners and of course in more dramatized versions on television and in Hollywood, I’ve always been interested in the symbolic aspect of the modern day police officer; the man with the badge, gun and authority to dramatically change a persons life forever. Societies apparent answer to all life’s little and not so little problems. However bleak and insignificant a situation may seem, officers are constantly dealing with lost children, family quarrels, various assemblies of homeless and confronting each day, the violence and corruption humanity inflicts on each other everyday.

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© 2009 Jerome Brunet Photography. All rights reserved.

Much of the Sheriff’s department’s work is devoted to tackling drug-smuggling and again Brunet comments with incredible even-handedness

Roads linking Mexico to the U.S., such as the I-10, are sensitive arteries of a flourishing contraband. Even though another deputy in a deep sigh, admitted to me catching only ten percent of the actual traffic, a task force made up of U.S. Customs, D.E.A., Texas and New Mexico police have seized over 30 kilos of heroin, 2 tons of cocaine and 75 tons of marijuana. Even though these quantities sound enormous, actually landing on a large bust was a different story, only luck and perseverance enabled me to land on what was to be one of US’s largest single drug bust in US’s history. As a nervous Mexican driver arrives at the U.S. border and a routine check is made on his car, officers reveal neatly packed away in the trunk, 23.3 pounds of black tar heroin, estimated at 24 million dollars. This package is later revealed to the local press in Hollywoodesque fashion. I watch in amazement and think of the outcome of this Mexican peasant paid 1000 dollars to transport this load into the land of the free.

As an editorial decision, I have not included Brunet’s images of the station or officers’ meetings, but they are as vital as the images from within the jail. The images inform one another.

Here are two desperate images from the station and I’d like to know the exact context. I shall not speculate, only present.

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© 2009 Jerome Brunet Photography. All rights reserved.

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© 2009 Jerome Brunet Photography. All rights reserved.

Brunet offers insights into El Paso County Jail:

Texas, the second largest state in the U.S. also boasts the highest rate of incarceration (700 for 100 000). In an ultramodern county jail of El Paso, Texas, I witnessed different aspects of “the inside world”. Body searches, finger printing and delousing before the anonymous inmate dons the regulation blue overalls inscribed E.P.C.D.F. (El Paso County Detention Facility). On the top floor is the outdoor gym, from which you can admire the end of the Rocky Mountains and the beginning of the Sierra Madre into Mexico. Caged like lions, 40 federal prisoners await transport to a large prison. I am placed alone with one guard in this cage. Surprisingly enough, like a ghost, I hover through the crowd unnoticed, my heart beating for what felt like an eternity. Prisoners can only be exposed to the natural light of the gymnasium a sparsely granted privilege of only three hours a week.

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© 2009 Jerome Brunet Photography. All rights reserved.

The photo essay even covers tactical training exercises.

An afternoon spent with the elite S.R.T. (Sheriff Reaction Team) proved to provide more excitement. This team made up of tough looking officers is specially trained to counter an unlikely riot in the prison. I was presented a billboard full of makeshift weapons made by previous inmates, everything from hand sharpened spikes, to knives made out of tooth brush handles with razor blades attached to their ends. All used for assassination purpose by gang members thriving too in the “inside world”.

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© 2009 Jerome Brunet Photography. All rights reserved.

Brunet has admiration for officers “just like you and me”, whose work is unpredictable and occasionally very dangerous.

We will find in the police officers, goodness, honesty, corruption and brutality. In many cases we are the police, and like it or not we are responsible of their actions as much as our own. The more we know about them, the more we observe and tie ourselves to them, and the more this society will feel secure. This realistic testimony succeeds in making us share a few privileged moments into the life of these Texas and New Mexico cops as well as revealing the true backdrop of American culture.

Unlike other reportages of state authority, Brunet is keen to impress the absence of racial inequalities of power.

The majority of the men and women I interacted with were primarily Hispanic. Because of their ancestry they were able to bring forth a much appreciated warmth and understanding that I and, I’m sure, the rest of the townspeople, who were also Hispanic, enjoyed and accepted openly.

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Jérôme Brunet is a freelance photojournalist Jérôme Brunet was born in southern France and raised in London, Ontario (Canada). After obtaining his O.S.S.D. majoring in visual arts, he started his post secondary education in Paris, France, at the E.F.E.T. School of Photography, graduating in 1997. Jérôme Brunet has been published internationally through such diverse publications as Rolling Stone Magazine, Forbes and The New York Times. His client list includes The Discovery Channel, Fender Musical Instruments, Nikon Imaging Inc. and is currently featured on the official websites of musicians Eric Clapton, Carlos Santana and James Brown. Jérôme Brunet is currently working and residing in the Bay Area of San Francisco and is represented internationally by the Zuma Press agency.

Jérôme Brunet also takes portait pictures of musicians here and here.

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