"In September 1970, Vice President Spiro T. Agnew, in a speech in Las Vegas, warned that drug use was threatening 'to sap our national strength'..."

"... and called out a number of pop songs, including the Beatles’ 'With a Little Help From My Friends' and the Byrds’ 'Eight Miles High,' as 'latent drug culture propaganda.' Within a year, under the Nixon administration, the Federal Communications Commission warned broadcasters about playing songs with lyrics that might promote drug use. As a result, 'One Toke Over the Line' was banned by radio stations in Buffalo, Miami, Houston, Washington, Chicago, Dallas and New York. Brewer & Shipley, Mr. Brewer said, came to embrace the crackdown as 'a badge of honor.'"

From "Michael Brewer, Whose 'One Toke' Was a Big Hit, Is Dead at 80/The duo Brewer & Shipley reached the Top 10 in 1970 with 'One Toke Over the Line,' a ditty about marijuana that ran afoul of Nixon-era censors" (NYT).

Brewer lived to be 80 and that was half a century after he expressed this conception of how he wanted to die: "My last wish will be just one thing/Be smilin' when I die/I wanna be one toke over the line, sweet Jesus/One toke over the line..."

The singer was "sitting downtown in a railway station" and "just waitin' for the train that goes home, sweet Mary." 

Even if the song originated from an exclamation about smoking marijuana, it seems that the substance of the song is religious. The metaphor of the train is seen in other songs, such as "People Get Ready (There's a train a-coming....") and "This Train (Is Bound for Glory)."

I wouldn't brush off "One Toke Over the Line" as a "ditty."

And by the way, screw Agnew. Back in 1970, young people easily opposed censorship. Who would have thought that in 50 years, the tables would be turned and the young would embrace it?

"When the Rock & Roll Hall of Fame started in 1983, you would have thought they might want to begin with Sister Rosetta..."

"... with those first chords that chimed the songbook we were now all singing from. The initial inductees were Chuck Berry, James Brown, Ray Charles, Little Richard, Sam Cooke, Fats Domino, the Everly Brothers, Buddy Holly, Jerry Lee Lewis and Elvis Presley; not a woman in sight. Sister Rosetta didn’t get in until the Rock Hall was publicly shamed into adding her in 2018. (She was on a US postal stamp two decades before the Rock Hall embraced her.) Big Mama Thornton, whose recording of Ball’n’Chain also shaped this new form of music? Still not in. Today, just 8.48% of the inductees are women... If the Rock Hall is not willing to look at the ways it is replicating the violence of structural racism and sexism that artists face in the music industry, if it cannot properly honour what visionary women artists have created, innovated, revolutionised and contributed to popular music – well, then let it go to hell in a handbag."

 
Writes Courtney Love, in "Why are women so marginalised by the Rock & Roll Hall of Fame?" (The Guardian).

Why hasn't Love written off the Rock & Roll Hall of Fame? However much contempt she has for the place, she says it's "a bulwark against erasure... game recognising game, history made and marked... a king-making force in the global music industry." It makes "the difference between touring secondary-market casinos opening for a second-rate comedian, or headlining respected festivals."

AND: I see she quoted Breitbart yesterday: