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20ish Questions with Jared Polis: Colorado Congressman and Gubernatorial Candidate

by Matthew Van Deventer

Outspokenly cannabis-friendly U.S. Rep. Jared Polis of Boulder County has officially thrown his hat into the crowded race to replace Colorado Governor John Hickenlooper, who is facing his term limit. Because of the state’s strict limits on fundraising, Polis, the internet-entrepreneur turned politician with an estimated worth of $140 million to $468 million, may already have a top spot.
Polis’ top campaign promises include powering Colorado with 100 percent renewable energy by 2040, providing parents with access to free preschool and kindergarten, and pushing companies to provide employees with stock options.

As for cannabis, Polis says he doesn’t want to move cautiously, but instead make sure regulations work for businesses and consumers, and he wants to keep Colorado competitive as other states look to legalize it.

He took time out of his busy congressional voting schedule and running for governor to speak with THC.

THC: Last we spoke you had recently formed the Cannabis Caucus to educate your colleagues and introduced the Regulate Marijuana Like Alcohol Act. How have those been received?

Jared Polis: I think we are gaining support every day for marijuana reform in Congress. I think we have support today if we could get an amendment to the floor that would prevent the Department of Justice from [prosecuting] marijuana related offenses where it’s legal under state law. But the challenge is getting it to the floor. . . I think we need to get to a federal framework that’s consistent with how we look at alcohol and tobacco and address legitimate concerns around safety and smuggling, but create a framework that allows for states to fully implement legalized marijuana and their own regulatory systems.

THC: And what about the Cannabis Caucus?

JP: We had a great [Marijuana Thinkers Talk and Expo on the Hill] and we featured a number of folks who are [from] across the country. It’s great to have that bipartisan imprint of Democrats and Republicans as we seek to educate my colleagues about cannabis reform.

THC: How long have you been thinking about running for governor and what made you decide to go for it?

JP: I am honored to serve at any level just as I really enjoyed starting businesses and creating hundreds of jobs. I enjoyed starting a school for new immigrants and homeless youth. I’m really excited to give back, and I think [there are] a lot of opportunities to give back, whether it’s moving towards a renewable energy economy, establishing universal preschool and kindergarten or just making sure our economic success works for everybody, not just a few—the action will be at the state level.

THC: What’s that transition from representative to gubernatorial candidate going to look like for you?

JP: I have executive experience in the business sector. I also have executive experience at the state level having chaired the State Board of Education. And frankly, I welcome the opportunity and the responsibility of that kind of position. I think that for us to move forward as a state we’re going to need strong leadership and bold leadership at the state level and that’s one of the reasons I decided to run.

THC: How will your pro-cannabis stance translate to a governorship?

JP: I don’t think we need to be cautious about it. We need to make cannabis regulations work for our state, for businesses, for consumers and I’m excited to tackle that. I think Colorado’s leadership role in the cannabis industry will be challenged by states like California and Washington, and we need to make sure that we keep a lot of those good jobs right here in Colorado.

THC: Voters in Denver recently passed a social consumption pilot program. Many people in the industry think its limited scope will knock us down on the competitive totem pole. Do you have any plans for how you will help keep Colorado competitive in that way?

JP: A lot of those decisions should be made at the local level, and they are made at the local level. Different communities decide whether they want to have dispensaries, how many they have, how they want to regulate social consumption . . . these are all dealt with locally and they’re very important issues as people select their mayors and city council candidates.

THC: What’s your strategy look like headed into such a crowd governor’s race and how do you feel about your place in the arena?

JP: I’m working hard to earn every vote and taking no votes for granted. So I think it’s a wide open field to continue the legacy of Governor Hickenlooper of growing our economy and creating jobs. And I’m excited to offer a vision for an economy that works for everybody, and creating tens of thousands of green jobs that can’t be outsourced, and improving our schools to make sure we have a first-class education system in place for next generation Coloradans.

THC: How did energy, free access to preschool and kindergarten, and employee stock options become your focus?

JP: There’s a lot more, obviously, than that, but I think the fundamental question that we need to answer as Americans and Coloradans is how can economic growth work for everybody not just investors and executives. And I think a big part of the answer is encouraging employee ownership in all of its forms and that means stock options. It means formalized profit sharing. It means ESOPs (employee stock ownership plans). It means co-ops. All the different forms that it can take, we want to make sure that those who work hard every day to create the value have their incentives aligned with the investors and management and also to see their share of the profits from the sale or from profitabilities.

THC: What about renewable energy and free access to preschool and kindergarten?

JP: There’s so many reasons to move to 100 percent renewable energy. I have a plan at to do it by 2040. It’s for clean air. It’s to do our part on climate. It creates green jobs that can’t be outsourced and it creates an economy that’s energy independent and gives us an advantage over other states and countries that will rely on the price variability of fossil fuels that are subject to global markets and global forces that they don’t control.

Education is where I’ve done much of my professional work. I served six years on the state board of education. I’ve started two schools; I’ve served as superintendent of one. And I’ve served on the Education and Workforce Committee in Washington. The most important and impactful thing we can do to improve opportunity for success is have universal preschool and kindergarten in our state. So we’re going to build a coalition with Republicans and Democrats and the business community to get it done.

THC: What else tops your list?

JP: I would say another challenge facing the state is transportation and infrastructure. We’ve had a lot of growth. We have a lot of traffic. We need smart planning, transit-oriented communities that are bus and rail systems in our metro area. We need to get ahead of the curve with regard to traffic and growth rather than always playing catch-up.

THC: How do you plan on bringing Colorado Democrats and Republicans together?

JP: I have a proven record of doing that work in my experience. I’m a member of the “no labels group” where we bring Democrats and Republicans together around solving problems. I think the challenges that Colorado faces are not partisan challenges. Republicans and Democrats want quality preschool and kindergarten for their kids. Republicans and Democrats want clean air. Republicans and Democrats want to make sure that the economy works for everybody. So we should focus on what brings us together rather than what separates us.

THC: What sort of relationship do you envision having with the Trump Administration?

JP: As a governor you have to work with whatever administration is in charge. But certainly we worry about their actions with regard to the legal cannabis industry. It’s too early to say, but we’re scared of some of the rhetoric from both the attorney general and others. As the governor, I would continue my efforts to push back against any and all federal efforts that interfere with our state laws.

THC: You’ve been back and forth with the oil and gas industry, what’s that relationship going to be like and how would you work with it?

JP: Well, look, with my plan for 100 percent renewable energy the goal is 2040, so that means that the grid will continue. That’s talking about the retirement of the last coal plant, the last natural gas burning facility and certainly I’ve been active in empowering communities to be able to successfully integrate — to have a planning process around integrating oil and gas extraction in their communities.

Among the other Democratic gubernatorial hopefuls are former State Sen. Mike Johnston, former State Treasurer Cary Kennedy, Intertech Plastics founder Noel Ginsburg, and businessman Erik Underwood.

On the Republican side, seven candidates have declared they’re running for governor including prosecuting attorney of the Aurora Theater shooting, George Brauchler; Mitt Romney’s nephew, Doug Robinson; the co-chair of President Donald Trump’s election campaign in Denver, Steve Barlock; and former State Rep. Victor Mitchell.  ♦

TUMBLIN’ DOWN: The weed-scented history of Colorado’s obscure, early-’70s record label, Tumbleweed Records

By Gregory Daurer

Tumbleweed’s arrival in Colorado, as announced with a full page Billboard advertisement. Image courtesy of Tumbleweed Records.

The Denver record label that hardly anyone remembers – or has ever even heard of – is getting some love.

A Tumbleweed Records compilation called “Sing It High, Sing It Low” has been released by the noted reissue label, Light In The Attic Records. Mojo – the elegant and tasteful music magazine out of England – gave the project its top rating of four stars. The new album/CD/digital download has shined a spotlight onto a forgotten musical history.

The story of Tumbleweed Records involves a multi-million dollar record deal, one of the most respected names in music production in the ‘70s (who would go on to produce the Eagles’ multi-platinum selling album “Hotel California”), and an eclectic roster of musicians playing everything from quasi-jazz and country rock to psychedelic folk and R&B. Nine albums were released by the label, which only existed from 1971-1973. According to some, it wasn’t so much the-record-label-that-couldn’t as the-record-label-that-wasn’t-allowed-to by its parent company overseers.

But now, thanks to Light In The Attic’s compilation, artists who were overlooked when their music was first released are being re-evaluated – and their highs (some very cannabis-accented ones, at that) and lows are being sung.

“So sing it high, sing it low/Which way would you like to go?…High, low, high…” – “Sunday Sherry” by Arthur Gee.

Tumbleweed Records began in 1971, after two record music vets Larry Ray, 31, and Bill Szymczyk, 28, arrived in Denver. The region had been gaining an increasing reputation as a place for musicians to relocate to. Szymczyk says “the vibe was very, very open” in the city back then, noting the area’s “undercurrent of musicality” – which some have likened to a pared-down version of L.A.’s Laurel Canyon scene.

Ray, who had spent time in Denver growing up, was burning to base a brand-new venture there, likely desiring his own hits with Tumbleweed like his previous employers, Elektra and A&M, had achieved with The Doors, Joe Cocker, and Cat Stevens.

But Szymczyk – who’d had some success producing B.B. King’s hit “The Thrill Is Gone” and the James Gang (featuring guitarist Joe Walsh, who would become a longtime collaborator) – ultimately had a terrifying wake-up call which caused him to join Ray in Denver: the deadly San Fernando Valley earthquake in California, in February 1971, scared him into moving his family out of harm’s way.

Through entrepreneurial hustle, Ray negotiated a multi-million dollar deal with Gulf + Western – one of the largest entertainment conglomerates in the world, and the owners of Paramount Pictures – and Tumbleweed Records was soon in business. Things were looking up for the brand-new label, which featured the image of a tumbleweed on its records (a tumblin’ tumbleweed, in fact, when spinning on a turntable).

Danny Holien. Image courtesy of Light In The Attic.

For their offices, they rented a house at 1368 Gilpin Street (a fact noted on the back of each release) situated near Cheesman Park. Robb Kunkel, who brought several acts to Ray and Szymczyk’s attention before eventually recording his own album “Abyss” for the label, lived upstairs; Kunkel sometimes wheeled his upright piano out onto the deck situated above the house’s porch, filling Gilpin Street with song.

Commander-in-chief Ray had his own office there. So did the label’s radio man, Bob Ruttenberg, doing the all-important promotional outreach to the era’s still-revolutionary band of FM DJs. Tumbleweed had two secretaries and an art department in the basement. Soon enough, the label had a string of albums ready to be released – most of which were recorded elsewhere, often in Los Angeles.

According to promo man Ruttenberg, the Tumbleweed Records crew was considered “radical hippies” by the industry – and not just because of their toking, but also due to their approach to business. Ray has said that Tumbleweed Records set out to equitably share royalties with its acts; not keeping two sets of accounting books like other labels did to screw over their musicians. (Never mind that ultimately there was very little in royalties to ever share.)

Tumbleweed’s label-mates shared their weed as well. “Everyone was smoking,” recalls the intelligently-quirky songwriter Pete McCabe, who would show up at the Gilpin Street house to pick up an advance check for his upcoming album and then spend part of it on that week’s blonde hash. Once, McCabe was visiting Arthur Gee, a Canadian who was Tumbleweed’s resident hippie/cosmic cowboy. Gee told McCabe, “I’m out of pot, but I did spill some hash oil on this sweatshirt.” They cut up that sticky part of Gee’s shirt and began smoking it, according to McCabe.

Ruttenberg also shared his weed with radio DJs. It was a way of seeking airplay, as much as it was a fun way to travel and hang out. Ruttenberg says, “All the FM DJs loved getting stoned – and I loved getting them stoned. And that’s one of the ways I presented myself: as Tumbleweed’s stoner… Let’s get stoned and listen to the new Michael Stanley record. Let’s get stoned and listen to Albert Collins and Dewey Terry.”

Original cover painting by E.L. Bortlenortz (circa 1972) depicting an epic journey to a magical land for a Dewey Terry concert (the venue is in the statue, which is Dewey). Originally commissioned by Tumbleweed as album cover art for Dewey’s “Chief” LP

Notoriously, Ruttenberg was arrested in Seattle with six ounces in his possession after having to unexpectedly pass through an airport metal detector (which perhaps came into greater use as a result of D.B. Cooper hijacking a plane in the Pacific Northwest in 1971). The metal-detector alerted authorities due to the recording equipment Ruttenberg was carrying, and his contraband was quickly discovered.

Ruttenberg told airport security, “Listen, man. This is my personal stash. It means nothing to you. It’s not going to hurt anybody. I’m just going around the country, taking care of business. Why don’t you put the bag back in the suitcase and let me go Eugene, Oregon to see my friend who’s waiting for me at the gate?”

After a short spell in jail and ultimately five thousand dollars in legal fees, charges were dismissed due to an improper search and Ruttenberg was a free man.
But even though its promo man was able to get out of jail, the label couldn’t achieve breakout success.

Arthur Gee-Whizz Band “City Cowboy” (TWS 107, 1973).

Tumbleweed’s highest charting record was a single by Danny Holien called “Colorado.” It hit number 66 on Billboard Magazine’s charts in October 1972. Whereas John Denver’s 1972 single “Rocky Mountain High” (released after Holien’s) celebrated the natural wonder of the state, Holien’s song explored a dystopian vision, an early take on the “Californication” of Colorado. It has a martial, fife and drum-like quality to it, a deeply-expressed passion for how wilderness would be overrun by development one day.

“Colorado, Colorado, beautiful place that you are/Feel the sorrow of tomorrow, before you go very far/Listen to the calling of the wilderness crying for a human soul to feel.” – “Colorado” by Danny Holien.

The song incorporates what Pulitzer Prize-winning zen Beat poet Gary Snyder has termed a “moral sense of the nonhuman world.” In other words, given its subject matter and keen production, it’s a stunning-sounding bummer.

Holien wasn’t the only act brought to Tumbleweed by Kunkel. Also brought into the fold was Dewey Terry, who had been recording music since the 1950s as part of the soul and doo-wop act Don and Dewey. With his partner Don “Sugarcane” Harris, Terry had written and recorded seriously-grooving songs like “Big Boy Pete” and “Farmer John” (which has been covered, over the years, by The Premieres, Neil Young, and The White Stripes). Don and Dewey toured alongside Little Richard (featuring Jimi Hendrix) and even met the Beatles.

“He was one of the funkiest dudes ever,” Szymczyk says of Terry.

Terry’s howling vocals on the song “Do On My Feet (What I Did On The Street)” call to mind the Don and Dewey ‘50s raver “Justine.” It’s Tumbleweed’s funkiest, James Brown-like moment. Then, on “Sweet as Spring,” Terry delivers a tender, country-esque, string-accented number. The two songs, which sound as if they had been recorded by totally separate acts, both appear on 2017’s Light In The Attic release, as well as Terry’s Tumbleweed record “Chief.” Holien and Kunkel were both a part of Terry’s backup band, the Rocky Mountain Rhythm Kings – as all-white as a snow-capped Colorado peak. (Kunkel has written about how, prior to Tumbleweed starting, he was dragged to Denver’s Five Points neighborhood by Terry so he could share his Thai-stick weed with a fellow soul brother at the “Bucket of Blood” bar and demanded that Kunkel take to the stage and jam on guitar for the all-black audience.)

Arthur Gee. Image courtesy of Jeanne Damerst.

Kunkel also heard brilliance in Denver native Pete McCabe, who rightly calls some of the lyrics on his recording “The Man Who Ate The Plant” “fantastical.” In McCabe’s song “Magic Box,” a seemingly whimsical story about a drunken magician turns into a tale of existential horror: in his act, the magician really does make volunteers from the audience disappear forever, and he laments over how so many people are eager not to exist. To close its reissue disc, Light In The Attic includes McCabe’s “Late Letter” – an ode to movie star Marilyn Monroe told by an admirer whose needy fan letter belatedly arrives after the late Monroe has already taken too many sleeping pills. Szymczyk remembers McCabe as an “eccentric singer-songwriter” and says, “I also always loved the Pete McCabe [record], because that is such an oddball.”

During the recording of “The Man Who Ate the Plant,” Szymczyk says it was “cool as hell” to put the anxious, tenor banjo-plunking McCabe – who’d only played solo before – in a room with 20 accomplished musicians. As for the studio environment itself, McCabe recalls, “Bill told me, ‘Okay, when these string players come in, we put the pot away. But for the horn players, it’s okay, we can smoke.’”

Szymczyk also produced bluesman Albert Collins for Tumbleweed. Collins’ guitar-string bends can wrench one’s guts, while the backing horns add their own “Yeah, ain’t life a bitch?” emphasis. (Collins’ song “There’s Gotta Be A Change” – the title of his Tumbleweed album – is included on his “Best Of” album, but not on Light In The Attic’s compilation, due to issues with acquiring the rights.)

However, if Collins had been hoping to have a hit like Szymczyk had crafted for B.B. King with “The Thrill is Gone”(which reached the 15 spot on the Billboard Hot 100 in 1970), the lack of chart success was something that Collins could have written a blues song about. Regardless, the Texan is remembered as a powerful performer by Gee: “He played his guitar and he’d walk into the crowd. That was one of his signatures. He was a fabulous blues guitar player. Very creative.”

Besides producing Collins, Szymczyk also brought Michael Stanley to Tumbleweed. The Colorado Music Hall of Fame presently cites Stanley’s woeful “Denver Rain” as one of the greatest songs ever written about Colorado.

“Maybe it’s back to the mountains/Back to my place in the hills/Hoping that maybe she’ll tell me/Denver rain never will.” – “Denver Rain” by Michael Stanley.

Dewey Terry and Robb Kunkel. Photograph by and courtesy of Daniel Mainzer.

Stanley came to Szymczyk’s attention when he was playing in a Cleveland band called Silk, back when Stanley was still known by his original last name, Gee. That surname proved problematic when he was about to be signed to Tumbleweed. Szymczyk told Cleveland’s The Plain Dealer newspaper, “When I finished Michael’s album we played it for Larry [Ray], surrounded by a cloud of fine Colorado weed, (mostly mine).” Ray was “floored” by the music – which included musicians like Todd Rundgren and Joe Walsh – but there was a problem: the label already had a Gee –

Arthur Gee – as part of its roster. In that shroud of cannabis smoke, Michael Gee ultimately changed out his last name for his middle name, Stanley.

The other Gee – Arthur – was the only Tumbleweed artist to have two albums released by the label. Gee comes off as a troubadour of inner-space and outer-geographies, doing what he’s called his “hippie, wandering-minstrel type thing.” While his first album was released under his own name, his second included a band which Tumbleweed took the liberty of naming the Arthur Gee-Whizz Band. “I was sort of shaking my head about that for a while,” says Gee, who ultimately rolled with the decision.

Gee recalls of the era, “It was an exciting time musically, because there was a lot of experimenting going on, back then, with music and electronic instruments and stuff like that.”

Tumbleweed house band: The Rocky Mountain Rhythm Kings, featuring Danny Holien, Allan Blazek, Robb Kunkel, Steve Swenson, Gaga and Bill Szymczyk. Image courtesy of Light In The Attic.

Although the music was sometimes experimental, the Tumbleweed business experiment didn’t prove sustainable in the long run. There were constant rifts between Tumbleweed and its parent entities – Gulf + Western and its music distributor, Famous Music – which controlled the label’s destiny. Szymczyk and Ruttenberg both maintain that Tumbleweed’s records received decent airplay, but weren’t given proper distribution in retail stores for stoned heads to buy. “In retrospect, we were nothing but a tax write-off,” says Szymczyk. Ruttenberg adds, “We were up against a brick wall with Famous Music. They didn’t do shit for us…We were like a bunch of freaks to them. We were hippies in Colorado, trying to make something happen.”
Until the label wasn’t happening anymore, at all, that is.

Gee, just back from a tour in 1973, discovered that Tumbleweed Records had ended when he paid a call to the label’s office. It had been abandoned. “That’s how I found out,” says Gee. “Nobody called me.”

About two and a half years ago, Light In The Attic Records phoned Gee to tell him they wanted to use his songs for a compilation of Tumbleweed Records material. Light In The Attic had been working on the project for a few years already and had just located him in British Columbia. Gee learned they were going to name the project after a line from one of his songs. “At first, I was a little shocked,” he says.

Despite a quibble or two over song choices, Gee, now 73, says about “Sing It High, Sing It Low,” “I think it’s an excellent package.”

Gee’s greatest commercial success had come in the late ‘60s when his song “Sunspots” was covered by Canadian vocalist Anne Murray on an album that included her best-selling hit “Snowbird.” In the late ‘70s, he formed a punk-inspired band based in San Francisco and Portland. Over the years, he’s played fiddle for a Celtic group, and as a country-inspired artist. He also recorded an intriguing collection of songs called “The Dark Monkey is Laughing” with Jeff Bird, a musician known for his work with The Cowboy Junkies.

On the steps of the Tumbleweed house in Denver, Colorado. Top row, left to right: Allan Blazek, unknown, Aaron Schumaker, Robb Kunkel, Bob Ruttenberg, and Mitch Kampf. Bottom row, left to right: Donna Rabatt, Willie Seltzer, Bill Szymczyk, Larry Ray, and Bonnie McEvoy

Gee’s fellow label-mate Pete McCabe, who lives in Venice, California, recalls his own Tumbleweed Record days as “a fabulous time…To be able to make a record and have the production I got is pretty amazing.” Employed over the years as a graphic designer and teacher’s aide, McCabe, 68, just started recording music again over the past decade, and his Tumbleweed record “The Man Who Ate The Plant” has become a cult favorite. In fact, it’s drawn musicians anew to him, assisting him with his recordings. He released a new disc, “I Forgot,” this year.

McCabe says of his late friend, Robb Kunkel, “I’m just eternally grateful for him for kind of discovering me and bringing me to Tumbleweed.” McCabe calls that period in the early ‘70s “a magical time for both of us.”

In 2009, Kunkel discussed by email his Tumbleweed album, “Abyss,” which has achieved its own cult following for its somber, jazz-accented stylings: “I was 21 and stoned to the hilt making ‘Abyss’ and, at the time, I knew there was not one commercial track on it – but, hey, I had 56,000 bucks to make it and more cocaine than Sly Stone…The company looked at me with suspicion, but [they] were too busy getting stoned to pay attention.”

Due to the label’s problems, Tumbleweed “backfired—but spectacularly,” says Sarah Sweeney, who wrote the liner notes to “Sing It High, Sing It Low.” Ultimately, it’s most noted for having served as a stepping stone for Szymczyk’s subsequent career, allowing him to “hone his chops.” Sweeney says, “[Tumbleweed] really launched Bill Szymczyk into the stratosphere.”
Szymczyk went on to produce popular records for the J. Geils Band, Rick Derringer (“Rock and Roll, Hoochie Koo”), Bob Seger, The Who, Joe Walsh (including the song “Rocky Mountain Way”), and the Eagles.

As for his time with Tumbleweed Records, which ended in 1972, Szymczyk says, “I would consider that definitely my grad school work, if you will.”

Pete McCabe during the Tumbleweed years. Image courtesy of Pete McCabe

Szymczyk, 74, still considers the Tumbleweed album he made for Michael Stanley one of the highlights of his career, and he remains one of Stanley’s biggest admirers. In fact, Szymczyk was preparing to travel from his home in North Carolina to visit Stanley and assist the Ohioan with a new album. “As he’s gotten older his songwriting has become incredible,” says Szymczyk. “It’s always done from a perspective of intelligence.”

Recognizing Szymczyk’s achievements, the Colorado Music Hall of Fame will be honoring him with an “Award of Excellence” on August 13 at Fiddler’s Green Amphitheatre. The Hall of Fame’s Director, G. Brown, says of Szymczyk, “There were only a handful of people that created the classic rock sound of the ‘70s – and Bill was one of them.” Szymczyk’s Tumbleweed days (as well as his more prominent recordings done at Nederland’s Caribou Ranch) will be cited at the ceremony, and Brown is particularly impressed with Light In The Attic’s recent reissue: “That was a forgotten bit of Colorado music history, until they addressed it. I’m not sure who would have.”

In 2019, the History Colorado Center will be including Szymczyk and Tumbleweed Records in an exhibition called “Colorado Sound: Homegrown Music from Folk to Rock.” Curator Megan K. Friedel says of Tumbleweed, “It’s part of that early 1970s story of what’s happening with the music scene here: that suddenly people from outside of the state are discovering Colorado as a place to come and make music, [a place] that’s particularly conducive to inspiring music that’s not necessarily of the mainstream.”

And given that Tumbleweed Records was known for gifting people stone-engraved roach clips in the early ‘70s, it’s fitting that Light In The Attic’s deluxe packaging of Tumbleweed’s music includes a packet of rolling papers. Arthur Gee – who G. Brown says offered him his first hit of weed back when Brown was a teenage rock journalist – agrees: “I think it’s totally appropriate,” says Gee, who says he’s been smoking cannabis for over 50 years and has recently been using a regimen of CBD oil to combat his cancer and rheumatoid arthritis. “Everyone was smoking pot back then.”

In other words, once upon a time in Denver in the early ‘70s, there was plenty of weed at a storied music label called Tumbleweed Records. 

Light In The Attic Records:
Colorado Music Hall of Fame:
Pete McCabe:



14 women-owned businesses are bringing recognition to the dispensaries, the brands and the services that are creating an industry

(Denver, CO) – 14 women-owned cannabis companies have come together to showcase the power of female entrepreneurship in the cannabis space. The 13 business owners are proclaiming August 2017 as #BossWomen Month!

“The owners of the cannabis businesses are promoting not just their businesses, but the tremendous amount of revenue, jobs, and taxes their stores, products, and services provide to the state of Colorado,” states Wanda James, owner and CEO of Simply Pure Dispensary and the first black woman licensed in American to own a dispensary, an edible company, and grow facility.

A snapshot of the revenue power of the 13 Boss Women entrepreneurs shows not just the value of women led businesses in the cannabis space.  It also shows that women promote women, proving the importance of women in CEO and manger positions.


  • Combined Number of Employees: 118
  • 30 Female Managers
  • 50% of the Combined Management Teams are Female
  • 70% of the Combined Staffs are Women
  • Combined Monthly Sales Revenue: $1,149,839.00
  • Combined Monthly Mortgage / Rent / Lease amount: $62,750

The Boss Women businesses cover a wide range of cannabis products and services, infused teas, topicals, edibles and concentrates to business consulting to jewelry to greeting cards, the creativity and business acumen in this group is outstanding. Boss Women are not waiting for the world to change, they have made the decision to take action and be the change in the world, as women often do.

During the month of August, these products and services should be at the top of your shopping list. Together, the Boss Women will advertise numerous publications bringing attention to our August #BossWomen Month. The ladies have created a webpage that lists all the places these products and services are available. You can visit to find all the promotions, events, and discounts that will be offered during the month.


Wanda James – Simply Pure Dispensary and Cannabis Global Initiative

Maureen McNamara – Cannabis Trainers  

Wy Livingston – Purple Monkey Teas

Olivia Mannix – Cannabrand 

Missy Bradley – Stillwater Brands  

Dahlia Mertens – Mary Jane’s Medicinals  

Julie Dooley – Julie’s Natural Edibles  

Ashley Picillo – Point 7 Consulting

Megan Solano – Canna Botica  

Genifer Murray, GENIFER M – Cannabis Inspired Jewelry

Morgan Iwersen – Canyon Cultivation  

Lauren Miele – KushKards 

Deloise Vaden – Better Baked

# # #

High Rollers Dispensary and The Hemp Connoisseur Magazine to Host 3rd Annual Cannabis Charity Open – July 27, 2017


All golf tournament proceeds will benefit Students for Sensible Drug Policy (SSDP), an international grassroots organization dedicated to ending the war on drugs.

DENVER, Colo., (July 23, 2017)—  High Rollers dispensary in partnership with The Hemp Connoisseur Magazine will host its 3rd annual Cannabis Charity Open, from 1 – 7:30 p.m., Thursday, July 27, at the Park Hill Golf Club, 4141 E. 35th Avenue in Denver.

All proceeds from the golf tournament benefits Students for Sensible Drug Policy (SSDP), an international network of students dedicated to ending the war on drugs.

Individual registration starts at $150 and $500 for a foursome team. To participate, or for more information, visit

A much anticipated event, participants will receive free tournament golf balls, tees, and other apparel, as well as player gift bags with cannabis accessories.

“As part of an industry born by the will of the voters, we feel it is important to give back to our community. By being a part of the charitable golf tournament in Denver, we hope to help the communities neighborhoods we serve and make a positive impact on the residents who live in them,” said Luke Ramirez of High Rollers Dispensary.

Highlights include a post-event buffet and free drinks throughout the tournament. A raffle and awards ceremony will conclude the day, with prizes for top teams and individual achievements. Additional donation opportunities will be available during the event.

The Cannabis Charity Open is considered a major fundraiser for SSDP. Founded in 1998, the nonprofit organization brings young people together and creates safe spaces for students of all backgrounds to have honest conversations about drugs and drug policy. This year’s title sponsor is incredibles, recognized as the number one infused edible company in Colorado.

“We look forward to the opportunity to give back and celebrate cannabis at the THC Golf Tournament. Both incredibles and Students For a Sensible Drug Policy help to educate the public about cannabis while spreading facts about cannabis legislation across the country. The THC Golf tournament helps to bring together all sectors of the industry to support grass-roots cannabis advocacy,” said Bob Eschino, Founder and President of incredibles.


About High Rollers Dispensary:

High Rollers Dispensary is focuses on quality cannabis products and compassionate customer service. Based in Colorado, High Rollers is one of the top dispensaries in Denver for high-grade medical marijuana. Located between Florida and Arkansas Avenues on historic South Pearl Street, High Rollers Dispensary provides a boutique consumer experience. Set amidst locally-owned shops, quaint eateries and personal wellness facilities, High Rollers connects the community with the healing powers of cannabis-based therapy. High Rollers combines sophistication with modern-day technology to bring its clients high-quality cannabis flower, pure cannabis concentrates and delectable marijuana edibles. For more information visit

About The Hemp Connoisseur:

The Hemp Connoisseur (THC) Magazine is a national print outlet dedicated to delivering innovative and comprehensive news content to cannabis industry professionals, patients, and consumers. The magazine is a two-time winner of “Best Cannabis Publication” by the Cannabis Business Awards, educating audiences on the many benefits and uses of both marijuana and commercial hemp. It strives to elevate the image of the cannabis industry and consumer alike by providing mature, in-depth journalism with a foundation of editorial integrity. For more information visit

Building a Local Hemp Industry on the Western Slope

2nd annual Hemp On The Slope is July 22 at Salt Creek Ranch, Collbran, CO

Collbran, CO — Hemp experts from Colorado and beyond are headed “Back to the Slope” for the 2nd Annual Hemp On The Slope (HOTS2) event July 22nd at Salt Creek Ranch in Collbran, CO, 40 miles northeast of Grand Junction.

HOTS2 features educational panels, presentations and demonstrations with a mini-expo showcasing a wide variety of hemp-made products and services geared to support expansion and growth of this emerging industry. Exhibitors will showcase hemp-based food and nutritional supplements, bodycare, clothing, nutraceuticals, animal wellness products, hemp paper, along with building materials, bioplastics and more. Farmers and growers can access genetics, seeds, clones, soil nutrients, irrigation technology, farming equipment, processing and lab services, legal and financial services, and wholesale options for raw materials including flower, oil, and isolates.

The #LetsTalkHemp Speaker Series from 11:00 am to 5:00 pm features more than 20 expert presenters. Topics include hemp farming, seed, clones and genetics, processing, manufacturing, legal hurdles, regulations, state and federal legislation. At noon, the “Let Them Eat Hemp: Cake” auction benefits the Colorado Hemp Industries Association. Cakes will be baked and decorated by local Collbran youth with a touch of hemp flour provided by Colorado Hemp Works. Rick Trojan, captain of the nationwide Hemp Road Trip, and Tom Dermody, executive director of The Industrial Hemp Research Foundation, will co-MC the day’s educational activities.

A legislative overview will cover the Colorado Department of Public Health and Environment’s (CDPHE) new, groundbreaking policy, enacted July 1, 2017. It allows all parts of the hemp plant, including CBD and other cannabinoids, terpenes and compounds previously residing in a legal gray area to now be “officially” allowed and legal for human consumption in food and supplement products grown and produced in accordance with the Colorado Department of Agriculture hemp regulatory program. Samantha Walsh from the National Hemp Association, along with David Bush from the Hoban Law Group, two of the participating and integral parties behind the policy language, will provide an overview of what this actually means to Colorado hemp farmers and companies.

“We’re excited to share with our western slope neighbors, and those from outside the area, everything that’s happening in the changing landscape of the industrial hemp industry,” said Margaret MacKenzie, co-owner of Salt Creek Ranch and host of this hemp-centric event designed to educate the local community on the benefits of hemp. “So much has changed from a year ago,” Mackenzie continued, “it’s vitally important for us to get together, collaborate, network, and exchange ideas to build a cohesive industry at the local level.”

This year’s event is presented by Bluebird Botanicals, a Colorado-based hemp-health and wellness company whose planet-and-people-friendly, all-natural products help to enrich your spirit, calm your mind, and restore vitality to your body. Additional sponsors include Hoban Law Group, the nation’s premier cannabusiness law firm; Nature’s Root, creators of the world’s first hemp-spa; SteepFuze hemp extract coffee; and The Hemp Connoisseur Magazine, a leading voice locally and nationally for all things cannabis.

HOTS2 is produced by Colorado Hemp Company, creators of the NoCo Hemp Expo and the #LetsTalkHemp Speaker Series, bringing hemp education, advocacy and awareness to a heightened state of consciousness. We care, and you should too.  

For details on tickets, exhibitors and sponsors, speakers and panels, visit

Sträva Restore

reviewed by DJ Reetz

Don’t ask me to do anything before I’ve had my first cup of coffee. Seriously, the best response you’re likely to get is an indignant glare and an apathetic shrug. If it’s the morning following a rough night, that response gets even testier. Fortunately for everybody at the THC offices, we’ve got plenty of Sträva coffee on hand.

Each bag is infused with full-spectrum hemp oil derived from locally grown Colorado hemp, and every 12-ounce bag of the Restore is imparted with approximately 120 milligrams of CBD. That averages out to around five milligrams of CBD per cup of coffee. It might not be enough to replace your current CBD regimen if you’re using it as medicine, but it makes a nice addition to a cup of Joe and helps keep any caffeine jitters in check as you’re slamming your morning cups.

Some CBD companies might cut corners on the quality of the coffee when producing a product like this, but Sträva is focused on the quality of their roast. They’re a coffee company first, and their passion for quality coffee is apparent. Restore is a Colombian roast with a deep, rich aroma and taste on par with any other bagged coffee you’ll find at the grocery store or coffee shop. It’s good coffee all on its own, and the CBD is icing on a tasty, invigorating cake.

Sträva offers several varieties of CBD-infused coffees with different amounts of CBD, as well as a full line of traditional roasts. With such a wealth of options, you’re sure to find one that fits your preferences.


By Gregory Daurer


Aaron Lammer, photo by Anna Rose

On the podcast Longform, Aaron Lammer holds lively discussions with prominent journalists, geeking out on their abilities to conduct in-depth research and then write narratives that not only

relay important information, but emotional impact, as well. A savvy interviewer, Lammer readily conveys his fascination with his guests’ narratives to Lonform’s audience.

As examples, the 35-year-old Lammer has interviewed Evan Wright, a two-time National Magazine Award winner, about the warfare he witnessed in Iraq that led to his book “Generation Kill;” Nick Bilton about piecing together “American Kingpin,” his book about the dramatic rise and ugly fall of Silk Road, the onetime, dark web, drug-selling site; Washington Post reporter Wesley Lowery, about being a man of color reporting on the racial turmoil in Ferguson, Missouri; and New York Times reporter Rukmini Callimachi about how she cultivates sources, in order to report on what’s happening within the detested militant group ISIS.

The way Lammer conducts himself with prominent people of letters — dissecting their work and asking them about the construction of their stories — one might suspect that he’s a seasoned pro himself, a peer to the guests he hosts.

Hardly. “I’ve never really been employed as a journalist,” says Lammer, although he did work briefly in the publishing world, and did some ghostwriting.

He has another confession to make: “Honestly, I’m interested in journalism — but it’s not my primary interest in the world.” As a web developer, Lammer assisted his college friend, Max Linsky, a onetime alternative-weekly scribe, start the Longform web site in 2010, and then inaugurate its lauded podcast (often seen on “Best Of” lists for the genre) in 2012. Despite having conducted dozens of interviews now, Lammer says, “I think I’m more interested in small projects that serve an important role.”

So what important role is Lammer’s brand-new podcast project, Stoner, serving?

Unlike other cannabis-related podcasts, Stoner doesn’t delve deeply into entrepreneurship or stock offerings, cultivation or commerce. It doesn’t cover activist politics, for the most part, or discuss the origins of various strains.

Stoner is billed as “Creative people talk about their experiences with marijuana (and whatever else comes up).”

As the host of Stoner, Lammer is interested in the gradual, cultural shift taking place throughout America today regarding cannabis — although there still exists wide disparities from state to state. “The experience in New York and the experience in Alabama and the experience in Denver could not be more different than each other,” he says. “When you really look at America as a whole, a very tiny sliver of America is shopping for legal weed, even though it’s sort of swept a bunch of the country.”

Even in legal states, people can still lose their jobs — and potentially their housing or children — if they’re “out” as a cannabis consumer. Due to factors like that, Lammer has gotten rejections from several invitees he’s asked to appear on the show.

Lammer says part of Stoner’s role is to portray marijuana usage as normal, sane, acceptable; to open up a dialogue about social consumption.

So, why then is the show called Stoner, a term many still view as a pejorative? Lammer says he wanted a word that would immediately convey the nature of the podcast. And he wanted a term that would put the emphasis on people, rather than on the plant itself. Lammer likens “stoner” to the word “nerd,” which has undergone a rehabilitation “where it was negative and then it came to symbolize a community of people: ‘Hey I don’t accept that this is a stigma, a bad thing. I embrace it.’”

On his new podcast, Lammer sometimes spotlights media professionals like he does on Longform – although, they’re often people within the cannabis sphere. Guests have included Amanda Chicago Lewis, who writes a marijuana column for Rolling Stone, Ricardo Baca, the former Cannabist editor for the Denver Post, and Krishna Andavolu of Viceland’s Weediquette show.

Andavolu, who once smoked a joint at Uruguayan president José Mujica’s home in front of Mujica (whose country is the first to regulate cannabis), says on Stoner, “I was telling my parents about that before it came out, and they were just mortified.”

The analogy of “coming out” in the midst of prevailing social stigmas resonated with Stoner guest Alexandra Chasin. She’s the author of “Assassin of Youth,” a book about Harry J. Anslinger, America’s first “drug czar” and the architect of reefer madness propaganda in the 1930s. Due to Anslinger’s effective demonizing of marijuana decades ago, stigmas surrounding the plant still persist today in many quarters.

Chasin tells Lammer that when she came out as “queer,” it was a period when derisive names were still shouted at her, objects were violently hurled in her direction. She jokes about how it takes a “special kind of pervert,” like herself, to miss the onetime social taboo of being gay — or a “stoner,” for that matter. As the LGBT movement progressed into the ’90s, and the emphasis became more on military service and gay marriage, Chasin recalls feeling about her activism that “the thrill is gone.” She tells Lammer, “I feel a bit like that about marijuana” — although Chasin still prefers seeing the birth of a regulated market in America, rather than prohibition living on.

Lammer, who’s resided in New York his entire adult life, birthed the idea for Stoner after trips back to his hometown of Berkeley, California. “It’s a whole other world,” Lammer says of the West Coast. “There’s this massive retail establishment…not necessarily the classiest stuff always. A lot of dispensaries are weird, strip-mally places.” But in New York, some people still buy weed in parks — although, more often than not, purchases happen from delivery services that will show up with say, four to six strains, in Lammer’s experience. For all it’s hipster aspects, Brooklyn still isn’t Portland or Seattle or Denver (places where Lammer has purchased legal weed), when it comes to cannabis.

Perhaps it’s Lammer’s East Coast location, rather than being in a legal recreational state, that gives Stoner a slightly naive sensibility compared to other cannabis podcasts out there. But, then again, Lammer isn’t seeking to convey an in-the-know approach: “I try to come to it with the eye of an amateur,” he says. “I don’t want to be like, ‘Oh, I know more about weed than you.’ It’s more of a journey.”

The show is still coming into its own. Lammer says Longform began hitting its stride after 25 episodes (it’s released over 250 episodes now), and Stoner, with new broadcasts appearing once a week, has less than 20 episodes in its archive.

So far on Stoner, Lammer has amusingly journeyed into the outré, Midwestern mind of Bill Levin, leader of the First Church of Cannabis in Indianapolis. Using Indiana’s Religious Freedom and Restoration Act as a basis for a lawsuit, Levin is suing the state for the ability to use cannabis as a sacrament (and perhaps eventually sell it in his church’s gift shop, if Levin has his way). When asked about President Trump’s goal to allow churches to make political donations and endorse candidates — which Levin’s cannabis church could potentially benefit from — Levin amusingly tells Lammer, “What is good for one church is good for all churches. And if [Trump’s] going to make beneficial laws for churches, who am I to say no?”

Another guest, Nick Denton, who founded the website Gawker, discusses with Lammer the concept of “cross-cutting identities”: How people from disparate backgrounds can come together over a TV show — or a joint. “Being a stoner is an identity, and it cuts across race lines, it cuts across class lines,” says Denton in his British accent.

The guest who Lammer has known the longest is the singer who goes by the name of Francis Starlite of Francis and The Lights. It turns out Lammer and Starlite have been making music together since they were in their late teens. “It’s still a pretty big part of my life,” says Lammer of his behind-the-scenes music career, which he cites as one of his primary passions. “I’ve been in a band for most of my adult life.”

Within the video for Starlite’s song “Friends,” Starlite’s friends Bon Iver and Kanye West both make appearances. Lammer is listed as both a co-writer and co-producer on the track. Lammer has also released “Big Personality,” an e.p. of songs — including one called “Stoned Out Wonderland” — all written by Lammer and performed and sung by Starlite.

Who knew? It’s something that might surprise regular listeners to Longform or Stoner, who’ve become familiar with the engaging podcaster with the self-described, “scratchy and nasal at the same time, but not particularly high” voice.

“I like not knowing where people are going,” says Lammer. “That’s basically my goal in interviewing people: to end somewhere that neither of us expected…And that’s been an unexpected delight in the show.” ♦




reviewed by Monocle Man

Cranfords cannabis cigarettes bring prerolls to a whole new level. Cranfords were the first company in America to produce a machine-rolled, filtered cannabis cigarette back on 4/20 in 2014. The Cranfords cannabis cigarettes come in a pleasing tin of ten cannabis cigarettes. It’s a total of seven grams of high-THC blend flower in each tin. If you are a dirty tobacco smoker like me, you will really enjoy these. I’ve been working on quitting and while smoking the Cranfords I’ve noticed less of an urge to light up a filthy lung rocket throughout the day. They have the same look and feel as a normal cigarette, making them very discrete. The filters add a great smoking experience with a smooth and tasty drag every time. I don’t usually buy prerolls but these will be a part of my regular purchases moving forward. Spending my summer nights on the back porch with a tin of Cranfords and a cold drink enjoying life. You can currently find Cranfords at all Sweet Leaf recreational locations with more coming soon. Check out their website for more information about where you can purchase them.

Breaking Ground: 8th Annual HEMP HISTORY WEEK (2017)

by Josh Davis, photo by Ben Droz, courtesy of


CBD And Native American Land Rights Take The Stage At The 8th Annual Hemp History Week

The 8th annual Hemp History Week (HHW) is set to run throughout the country from June 5-11, 2017.  This year’s theme is “Breaking Ground” and along with the usual interactive and educational festivities of the celebration there will be a focus on consumer awareness education in relation to CBD products. The event will feature a female farmer, the outspoken Margaret Mackenzie of Salt Creek Hemp Co., for the first time. 

Hemp History Week will also bring attention to a continued dark spot on the federal government’s hemp policy, prohibiting Native American tribes from hemp cultivation on sovereign tribal lands, keeping them from research and economic opportunities.

“Though we’ve made significant strides towards lifting the federal prohibition on hemp farming in the U.S.,” says Eric Steenstra, president of Vote Hemp and executive director of the Hemp Industries Association (H.I.A.), “which is largely in part to the passage of the Congressional Agriculture Act of 2014 (Farm Bill), the current federal regulations allow only for ‘states’ to enact hemp farming programs. We are expanding our advocacy to include hemp cultivation rights on tribal lands.”

Alex White Plume, of the Oglala Lakota Sioux Tribe, is a hemp farmer and activist. In August of 2000, DEA agents violated the Sioux treaty of 1868, illegally entered the Pine Ridge Indian Reservation to destroy the flourishing industrial hemp crop that Alex had planted there.

“They (the DEA) came, they called it eradicating,” said White Plume in an interview with the H.I.A.  “I called it theft. They took our economic development. But I guess because we are Lakota people they feel that we don’t have a right (to grow hemp).”

Subsequently, White Plume and his family were banned from ever planting hemp on the reservations land again. It was only in the spring of 2016 that the federal injunction against White Plum was lifted, but under federal law it is still illegal for him to plant the seed.

Origins of a Movement

The first Hemp History Week took place in May of 2010. It was a modern battle cry for public education and governmental reform that echoed our country’s decades long, and often tumultuous, relationship with this productive but federally illegal crop.

Despite this fact that, the US is the largest consumer of the plant in all its forms, and the irony of this had not been lost on hemp advocates and entrepreneurs. In an effort to stimulate and grow the modern hemp industry and to remember what hemp meant to the US’s economy and culture, hemp farming advocates, the Hemp Industries Association, Vote Hemp, and several hemp brands, including Dr. Bronner’s, Nutiva, Nature’s Path, and Living Harvest organized the first Hemp History Week. 

“The idea was to celebrate the history of hemp farming in the U.S. and raise awareness at the grassroots level about the environmental and nutritional benefits of hemp products,” says Lauren Stansbury, public affairs and media relations specialist for Hemp History Week. “At the time, there was a real need to educate consumers and lawmakers about the difference between industrial hemp and other forms of cannabis, and rally support for legislation at the state and federal levels to allow farms to take advantage of the economic opportunity of industrial hemp cultivation.”

Since its inception in 2010 organizers and advocates of Hemp History Week have sought to create country-wide, hands-on events that would give curious attendees an opportunity to touch, taste, wear and learn about this incredibly useful plant.

“The celebration has grown dramatically since its beginnings. During its inaugural year we coordinated just under 200 events,” says Stansbury. “However this year’s campaign will achieve over 1,500!”

Also on the docket for this year’s festival is CBD education. Cannabidiol products have been gaining huge interest throughout the U.S., but education is needed so consumers can make intelligent decisions when it comes to buying CBD products.

“We were really excited to up our level of participation and sponsorship in this year’s HHW,” Says Josh Hendrix, director of business development and domestic production at CV Sciences, Inc. “This is our second year of sponsorship with HHW. Our products are in almost 1,200 stores across the country and HHW is a chance for us to give our retailers more educational opportunities to learn about CBD that they can then pass along to their customers. Plus they’re building a house made from hemp concrete down here in Kentucky and it’s just a lot of fun to be a part of something so special.”   

Vote Hemp and the HIA estimates the total retail value of hemp products sold in the US in 2016 to be at least $688 million, which means the retail market for hemp food, body care, CBD and supplements by 25 percent from the ear prior. Currently, 32 states have legalized industrial hemp farming in accordance with the Farm Bill, but more needs to be done. 

“The hemp industry still faces a number of challenges and barriers to full-scale farming of industrial hemp,” says Steenstra, “including the inability of hemp farmers to obtain crop insurance and financing, difficulties involved with sourcing certified hemp seed, lack of adequate processing infrastructure in the U.S. for raw hemp materials, barriers to interstate commerce for hemp products, and the potential exclusion of hemp-derived CBD products as nutritional supplements.”

There is still a lot to be done on this front, so come out to your local Hemp History Festivities and learn more about hemp during Hemp History Week.

Hemp History Week runs June 5-11, 2017.

To learn about events in your area or to volunteer visit

Zeus Thunder 2

I’ve used a lot of vape pens in my day, and this is definitely one of the better ones. While the Zeus Thunder 2 may not be the flashiest vape out there, it’s a competent pen that works reliably, and what more could you really want from a vape? It’s nice to see the trend of companies moving away from exposed coils, and the ceramic heating element of the Thunder makes for smooth, flavorful hits. Loading the pen is slightly more complicated than some pens, requiring a small cap to be unscrewed from the vaporization chamber. This can lead to some issues, since you definitely don’t want to lose the cap in a crowded concert, but helps to keep the runny hash goop from overflowing and gunking up the vape.  Pre-loading the pen makes it great for on-the-go usage, like hiking, biking, or any other activity requiring motion at which you’ll want to tote a toke. The vaporization chamber sits inside a glass housing, allowing you to see the hit as you take it, which is a nice feature lacking in some comparable models. If you are looking for an inconspicuous reliable vape, Zeus Thunder gets the job done.




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This advertisement is for customer reference only and has no value and is not intended to be exchanged for any product. Leafbuyer (Leafbuyer Technologies, Inc) is not responsible for the content of any advertisement. All advertisements are the sole responsibility of the vendor publishing the advertisement. If an advertisement is not valid, please contact the vendor directly as errors may have been made in the creation of the advertisement. This advertisement is only intended to be viewed by those of legal age and in the state/local area where the product is legally open for sale. Additionally, all state and local laws and restrictions apply to all advertisements. Void where prohibited.


legal notice

This advertisement is for customer reference only and has no value and is not intended to be exchanged for any product. Leafbuyer (Leafbuyer Technologies, Inc) is not responsible for the content of any advertisement. All advertisements are the sole responsibility of the vendor publishing the advertisement. If an advertisement is not valid, please contact the vendor directly as errors may have been made in the creation of the advertisement. This advertisement is only intended to be viewed by those of legal age and in the state/local area where the product is legally open for sale. Additionally, all state and local laws and restrictions apply to all advertisements. Void where prohibited.

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