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Look Out for Illegal Cannabis Edibles Mimicking Popular Snacks, California DOJ Says

In California, legal cannabis products must be affixed with the universal symbol that includes an encircled triangle with a marijuana leaf and exclamation mark in it. The letters ‘CA’ are imprinted below it. If you see indications of copycat packaging or do not see the universal symbol, the product is illicit — and may be dangerous.

Published

4 years ago

November 11, 2021

Oakland Post

California Attorney General Rob Bonta’s office insists that if a child has accidentally consumed these illicit products, monitor them for symptoms of intoxication. California’s Poison Control System has a 24-hour hotline available for immediate assistance.

By Antonio‌ ‌Ray‌ ‌Harvey‌ | California‌ ‌Black‌ ‌Media‌

Last week California Attorney General Rob Bonta issued a “consumer alert” warning Californians that cannabis-infused edibles are being packaged and sold as copycat versions of popular food and candy products.

The California Department of Justice is advising consumers that illegal and unregulated edibles may contain dangerously high levels of Tetrahydrocannabinol (THC), the main psychoactive ingredient in Cannabis, and they are available in packaging nearly identical to those of popular brands like Cheetos, Fruity Pebbles, and Sour Patch Kids.

Bonta is urging Californians not to consume these dangerous knockoffs and to report the products if they encounter them.

“While cannabis-infused edibles packaged to look like our favorite brands may seem harmless and fun, the dangers of consuming unregulated and untested cannabis products are high, particularly for children and teens,” Bonta said. “The fact is: here in California, we have a safe, regulated, and legal cannabis market. But if a product is being marketed to children, mimicking a well-known consumer brand, and advertising sky-high levels of THC — it’s not likely to be a part of it.”

Cannabis-infused edibles describes any food or drink containing marijuana or any of its active ingredients, most often THC and cannabidiol (CBD), according to the Recovery Village Drug and Alcohol Rehab (RVDAR), a California drug rehabilitation and substance abuse treatment program.

Generally, the edible product is infused with cannabis extract. Marijuana is heated in an oil-based liquid to obtain the extract, RVDAR explains.

“Compared to other ways of consuming marijuana, edibles are known for producing a delayed high. Further, they may be more discreetly consumed than marijuana from a blunt, vape pen or bong,” according to RVDAR.

The California cannabis industry is regulated by the state’s Business and Professions Code and is covered by the Medicinal and Adult Use Cannabis Regulation and Safety Act (MAUCRSA).

According to Bonta, the edible products sold by unlicensed operators, often contain levels of THC that exceed the legal limit, and are advertised to youth in violation of MAUCRSA, which sets up a basic framework for product licensing, oversight and enforcement.

Cannabis businesses have to follow the same rules that other businesses in California follow. For example, there are rules in the statutes about waste disposal, protecting the environment, vehicle registration and paying taxes.

Bonta’s office makes the following recommendations:

Identify Lookalike Products:

Californians should look for copycat packaging with language that indicates that the product contains cannabis — such as “medicated,” “THC,” “CBD,” “keep out of reach of children and animals,” and/or an image of a cannabis leaf.

Know The Health Risks:

Illegal cannabis products present a risk to public health and safety. Children can experience a variety of delayed symptoms upon ingesting cannabis edibles, including, but not limited to difficulty breathing, lethargy, dizziness, nausea, and loss of coordination.

Illegal products made with synthetic cannabinoids may pose additional health risks. Synthetic cannabinoids can be highly toxic and are illegal in the state of California. Side effects of consuming synthetic cannabinoids include rapid heart rate, agitation, vomiting, trouble breathing, psychosis, among others.

In recent years, California has seen a surge in pediatric exposure and Intensive Care Unit (ICU) visits related to cannabis edibles, as well as an increase in children as young as 12 who are intentionally using cannabis products.

In 2020, there were 1,173 calls to the Poison Control Center for services related to children aged 0-19 ingesting cannabis products. This is up from 404 calls in 2016, with the biggest increase for children aged 0-5.

California has also seen a rise in emergency room visits related to cannabis poisoning among young children. In 2016, there were approximately 21 visits per 1 million Californians aged 0-5. In 2020, there were approximately 113 visits.

Bonta’s office insists that if a child has accidentally consumed these illicit products, monitor them for symptoms of intoxication. California’s Poison Control System has a 24-hour hotline available for immediate assistance.

The toll-free phone number is (800) 222-1222. Language interpreter services are offered in over 200 different languages and calls are kept confidential.

Upon encountering lookalike cannabis-infused edible products, Bonta is asking the public to file a complaint with the Department of Justice and with the Department of Cannabis Control.

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

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3 weeks ago

March 24, 2026

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM). “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.