"It was 1967, and the hippie thing was happening. I got into experimenting with drugs while I was in college in Michigan"
About this Quote
1967 isn’t just a timestamp here; it’s an alibi and an origin story. Frey frames his drug experimentation as less a personal crisis than an ambient condition, something in the air like patchouli or protest chants. “The hippie thing was happening” does a lot of quiet work: it flattens an unruly cultural upheaval into a vaguely weather-like phenomenon, making his choices feel almost inevitable. That’s the subtextual bargain he’s offering the listener: don’t read this as moral failure or romantic rebellion, read it as a young person absorbing the era’s currents.
The line “I got into experimenting” is equally careful. Not “using,” not “abusing,” but “experimenting” - the language of curiosity, of labs and learning, a term that sanitizes risk and recasts hedonism as research. It also subtly preserves Frey’s later image: the disciplined craftsman-pop star who could channel chaos into clean, radio-ready narrative. Even in confession, there’s brand management.
Placing it “in college in Michigan” matters, too. Michigan signals distance from the mythic coastal centers of the counterculture; it suggests how quickly the movement metastasized into the American middle. Frey isn’t claiming a front-row seat at Haight-Ashbury so much as describing the counterculture’s secondhand diffusion - the way big cultural revolutions become local peer pressure.
The intent feels pragmatic: to contextualize rather than dramatize, to acknowledge participation without turning it into a defining wound. It’s a musician’s memory edited for readability, the kind of candidness that keeps the story human while keeping the edges safely sanded.
The line “I got into experimenting” is equally careful. Not “using,” not “abusing,” but “experimenting” - the language of curiosity, of labs and learning, a term that sanitizes risk and recasts hedonism as research. It also subtly preserves Frey’s later image: the disciplined craftsman-pop star who could channel chaos into clean, radio-ready narrative. Even in confession, there’s brand management.
Placing it “in college in Michigan” matters, too. Michigan signals distance from the mythic coastal centers of the counterculture; it suggests how quickly the movement metastasized into the American middle. Frey isn’t claiming a front-row seat at Haight-Ashbury so much as describing the counterculture’s secondhand diffusion - the way big cultural revolutions become local peer pressure.
The intent feels pragmatic: to contextualize rather than dramatize, to acknowledge participation without turning it into a defining wound. It’s a musician’s memory edited for readability, the kind of candidness that keeps the story human while keeping the edges safely sanded.
Quote Details
| Topic | Nostalgia |
|---|---|
| Source | Help us find the source |
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