Scotch and soda, mud in your eye. Baby, do I feel high, oh, me, oh, my. Do I feel high.
Dry martini, jigger of gin. Oh, what a spell you've got me in, oh, my. Do I feel high.
Dry martini, jigger of gin. Oh, what a spell you've got me in, oh, my. Do I feel high.
People won't believe me. They'll think that I'm just braggin'. But I could feel the way I do and still be on the wagon.
All I need is one of your smiles. Sunshine of your eyes, oh, me, oh, my. Do I feel high.
People won't believe me. They'll think that I'm just braggin'. But I could feel the way I do and still be on the wagon.
All I need is one of your smiles. Sunshine of your eyes, oh, me, oh, my. Do I feel higher than a kite can fly.
Give me lovin', baby. I feel high
Scotch and Soda: Lyrics by Kingston Trio
Its quarter to three, there’s no one in the place
Except you and me
Except you and me
So set ‘em up Joe, I got a little story
I think you should know
I think you should know
Were drinking my friend, to the end
Of a brief episode
Of a brief episode
Make it one for my baby
And one more for the road
And one more for the road
One for My Baby One More for the Road: Harold Arlen and Johnny Mercer
“Son,
he said without preamble, never trust a man who doesn't drink because
he's probably a self-righteous sort, a man who thinks he knows right
from wrong all the time."
James Crumley, The Wrong Case.
I don’t know
where you stand on the issue of “altered states,” but I tend to agree
with the artsy crowd that the highly examined life tends to create the
need for recreational relief. If you have researched global warming,
pollution, political corruption and the CIA’s Black Ops activities—any
sane human would want a drink.
Writers seem to drink a bit. There are numerous examples provided in this article by Joan Acocella in an article in The New Yorker.
Tom Dardis begins his book “The Thirsty Muse: Alcohol and the American Writer” (1989)
by noting that of the seven native-born Americans awarded the Nobel
Prize for Literature five were alcoholics: Sinclair Lewis, Eugene
O’Neill, William Faulkner, Ernest Hemingway, and John Steinbeck. As for
problem drinkers who didn’t get the Nobel Prize, Dardis assembles an
impressive list, including Edna St. Vincent Millay, Hart Crane, Thomas
Wolfe, Dorothy Parker, Ring Lardner, Djuna Barnes, John O’Hara,
Tennessee Williams, John Berryman, Carson McCullers, James Jones, John
Cheever, Jean Stafford, Truman Capote, Raymond Carver, and James Agee.
In an article for “The Washington Post,” Writers and Alcohol, Ann Waldron says,
Nancy J. Andreasen, a professor of psychiatry at the University of Iowa
with a PhD in English, did a 15-year study of 30 creative writers on
the faculty of the Iowa Writers' Workshop, where students and faculty
have included well-known writers Philip Roth, Kurt Vonnegut, John
Irving, John Cheever, Robert Lowell and Flannery O'Connor. She found
that 30 percent of the writers were alcoholics, compared with 7 percent
in the comparison group of nonwriters, she wrote in the October 1987
issue of the American Journal of Psychiatry.
Andreasen
had begun her investigation to study the correlation between
schizophrenia and creativity. She found none. But she did find that 80
percent of the writers had had an episode of affective disorders, i.e. a
major bout of depression including manic-depressive illness, compared
with 30 percent in the control group.
My own humble
opinion is that emotionally distressed people seek, and find, comfort in
the solitary reflection and personal exploration that writing affords.
Perhaps the primacy of internal dialogue and the examination of one's
personal sentiments and feelings provide a vehicle for catharsis—that’s
the way it works for me. I know very little about art, but from my
perspective most artists seek emotional expression.
Being “in
touch” with ones emotions may be different from emotionalizing life
through symbols, images, metaphors, and analogies. Many of the most
famous writers seemed to revel in expressing themselves through
eccentric emotional behavior, in public and in print. I am not sure they
were “in touch” enough to understand the effects of their actions on
the feelings of others—which is a very different thing from
understanding how to emotionalize the behavior of a fictional character.
Artists may
just be neurotics that use their writing to control their symptoms. The
practical, well-balanced John Waynes of the world eschew the
emotionalism and sentiment that drives my obsessions. I once showed one
of my favorite movies, “How Green Was My Valley,” to a friend who was a
CPA. He thought it was disgustingly sentimental. I find it to be
melodramatic, heart rending, and inspiring.
The business
majors of the world, the captains of commerce, the utilitarians,
pragmatist, realists, naturalists and other practical people have
probably never cried at a movie, or when reading a poem. In which case,
to rewrite or an old adage—I think the practical life is not worth
living. I'll drink to that.
Life is a tragedy for those who feel, but a comedy to those who think.
Horace Walpole (1717–1797)




