Tag Archives: acid

The man who took LSD – and didn’t come down for 30 years

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The man who took LSD – and didn’t come down for 30 years

 

The man who took LSD - and didn’t come down for 30 years

LSD Credit: Getty Images

A man who walked into a Canadian hospital said that he had been seeing faces every time he looked at trees – for 30 years.

The man admitted he had experimented with LSD when he was 21 – and had seen faces appearing in the leaves and branches ever since, according to Brain Decoder.

Scarily, the syndrome, hallucinogen persisting perception disorder (HPPD), is not unique – and there’s a Reddit community of sufferers.

It can affect users of LSD, MDMA, magic mushrooms and mescaline – and in some cases, affects users after just one or two trips.

It’s rare – and most sufferers just see ‘trails’, tracers behind moving objects, or geometric shapes, such as patterns appearing over curtains.

Even among sufferers, seeing faces in trees is pretty hardcore.

Has LSD affected you long term?

  • Yes

  • No

  • Get out of my head, man

MORE: Taking LSD for breakfast ‘can cure anxiety and insomnia’

 

AGAD7F LSD - these are real LSD tabs This man took LSD - and didn't come down for 30 years Credit: Alamy

LSD (Picture Getty)

Henry Abraham, an HPPD expert who has studied the disorder since the Seventies, said, ‘These people get visual information like everyone else, but they can’t shut off the noise.

‘Ordinarily, our visual system filters all of this stuff out, but theirs has a problem with dis-inhibition—and it makes them miserable.’

‘If you don’t allow yourself to be diomstracted by it, you can do OK. Those who have gotten well say the single best thing is not to focus on it.’

#lsd#acid#trip#, hallucinogen#drugs#ana_christy#beatnikhiway.com

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COOL PEOPLE – Albert Hofmann 1943 – a bicycle trip (2009)

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COOL PEOPLE – Albert Hofmann 1943 – a bicycle trip (2009)

albert hofmann 1943 – a bicycle trip (2009)

alberthoffmanbike 200 (15) images (50)

http://youtu.be/HBOPFWmZCdM

COOL PEOPLE -KEN KESEY and Alison Ellwood Captures The “MAGIC TRIP” Of Ken Kesey

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Ken Kesey

American writer, who gained world fame with his novel One Flew Over the Cuckoo’s Nest (1962, filmed 1975). In the 1960s, Kesey became a counterculture hero and a guru of psychedelic drugs with Timothy Leary. Kesey has been called the Pied Piper, who changed the beat generation into the hippie movement.

Ken Kesey was born in La Junta, CO, and brought up in Eugene, OR. Kesey spent his early years hunting, fishing, swimming; he learned to box and wrestle, and he was a star football player. He studied at the University of Oregon, where he acted in college plays. On graduating he won a scholarship to Stanford University. Kesey soon dropped out, joined the counterculture movement, and began experimenting with drugs. In 1956 he married his school s…more

Alison Ellwood Captures The “MAGIC TRIP” Of Ken Kesey

& the Merry Pranksters’

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http://youtu.be/irgq4NP8zWs

Taking it Furthur – Waking the Dead

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Taking it Furthur – Waking the Dead

CANNABIS CULTURE – The Grateful Dead has never really been a band as much as it’s been a culture that has to be experienced to be believed. The band’s latest incarnation, Furthur, continues the tradition and finds new ways to deconstruct and express their musical creativity.

Furthur concert poster. (Click to enlarge)Furthur concert poster. (Click to enlarge)Cuthbert Ampitheater, Eugene Oregon – September 24, 2011

“The way things were going, I never would have expected to be here at this moment. This is the overtime round, and every gathering like this is a blessing. And the way the band is playing, you can tell they know that and they’re making every note count”
– Delirious elder Deadhead between sets

Who’d have thought that forty-six years after playing their first gig together, Bob Weir and Phil Lesh would still care so much about their music? It would have been forgivable if after so much time, their live show had ground down to a well-rehearsed routine or nothing more than a workmanlike celebration of their greatest hits; there are plenty of classic rock acts on the road that give their audiences just that and still manage to send them home happy.

But, simple crowd-pleasing has never been the forte of anyone associated with the Grateful Dead. From the very beginning, they’ve asked more than that from their audience. Being a Deadhead has always been more of a back and forth two-way conversation between the artists and fans. It’s never been simply about consuming pre-digested entertainment that can be carelessly disposed of and forgotten as easily as a fast food wrapper. There’s always been lots of gristle to ruminate over and chew on as the music Bob Weir and Phil Lesh are conjuring these days continues to demand so much of the listener. In the public imagination, The Grateful Dead may always remain as little more than a psychedelic band – a throwback to the summer of love who lull their soft-headed fans with utopian ballads about peace and contentment. Fortunately, that’s only the tip of the iceberg as anyone who’s followed the music’s nearly fifty year history knows. Songs like ‘Trucking’, ‘Ripple’ and ‘Uncle John’s Band’ are classics of the hippie era and still figure prominently in Furthur’s repertoire, but if that’s all that Jerry Garcia and company contributed to the history of music, it wouldn’t account for the dedication and diversity of the crowds that continue to gather and follow the band as it selectively tours around North America.

A good show - Phil and Bob.A good show – Phil and Bob.By playing music that ranges from crass roadhouse boogie to covers of Marty Robbins country classics with generous doses of everything from techno to free jazz thrown into the mix, the Grateful Dead have always thrown a huge musical net. As risky and improbable as such a creative approach sounds, it’s paid off hugely over the years as their longevity certainly attests. When they’re on – as they were this last weekend in Eugene – it’s not much of a stretch to suggest that no one plays better than they do. To hear them navigate the elliptical twists and turns of “Estimated Prophet”, “Dark Star”, “Caution…” and “The Eleven” – some of the most challenging compositions in their repertoire – without flinching or hesitation should convince the most skeptical of music fans that the members of Furthur are at the absolute peak of their musical game. Furthur’s ferocious and eclectic approach to sound encourages the audience to listen – really listen – and engage with the hidden potential that rests inside of every song, no matter how many times they’ve heard them before.

Going to a Furthur show in 2011 might be more than a little overwhelming to the uninitiated because the Grateful Dead has never really been a band as much as it’s been a culture and an extended nomadic community of freaks and diverse individuals whose gatherings have a power and appeal that has to be experienced to be believed. A person parachuted into ground zero – the centre of the Furthur parking lot – during the band’s weekend stand in Eugene could be forgiven for wondering if they’d somehow been sent back in time to 1968 rather than the early fall of a year more than a decade into the new millennium. For to look around at the tie dyed buses, burrito kitchens, freak-out tents and spontaneous drum circles that were forming all over the property around the stadium, the atmosphere that was created felt more like Woodstock or a Rainbow gathering than anything one would expect to experience in contemporary America. Scantily clad young men and women wafted through the crowd holding huge kind buds, chocolate covered mushrooms and banners offering a variety of psychedelics and no one batted an eye. Baskets of hash brownies were passed through the throng of people gathering outside the gate. No one took more than their share. People who had taken too much of a substance were kindly escorted to a quiet place, supported by compassionate individuals who patiently talked them down. If there was another America somewhere outside of Eugene this weekend, it was a universe away and nobody here wanted to know about it.

It may have been many years since any of the members of the Grateful Dead took any acid themselves, but the imprinting of the thousands upon thousands of trips they took left its mark on them many years ago. No one anywhere – to this day – can create a more psychedelic soundscape and environment than the members of Furthur when they’re on a roll. It’s a power they came by early and honestly as in their most embryonic form, back when they were called ‘The Warlocks’, Jerry Garcia and company served as the house band for Ken Kesey’s acid tests. Those early gigs, that often stretched out to eight hours or more, essentially unhinged their conception of what a song had to be as the crude blues and Beatles covers that once formed their set took on extra dimensions and dissolved into huge exploratory jams that mirrored the stages of the psychedelic experience.

Acid and marijuana helped take down the gates imposed by the conformity of the fifties and the Grateful Dead – along with other Bay area outfits like Jefferson Airplane and Quicksilver Messenger Service – were happy to provide the soundtrack to the burgeoning Haight Ashbury scene that was influencing youth culture throughout the western world as the Sixties went on. A decade later, the hippie scene had all but faded as the culture moved into ‘the me decade’ and other musical forms from ‘prog rock’ to disco expressed the values of a new generation.

Whatever changes were afoot during the ensuing decades didn’t seem to faze the Grateful Dead in the least. They continued to tour and record at a regular pace as they, somewhat bafflingly, continued to increase in popularity the further away the Sixties became. Their concerts were more like tribal gatherings or meetings of counter cultural survivors than rock concerts. The campsites and parking lots around a venue were like hippie retreats where a person could eat great vegetarian food, learn about sustainable agriculture, trade high quality pot seeds and score great acid. It’s a scene that was cherished by thousands upon thousands of musicians, political visionaries, spiritual advocates and eccentrics of all descriptions before the Grateful Dead suddenly retired their freak flags in the late summer of 1995 after the death of Jerry Garcia in August of that year. For many, ‘the long strange trip’ was over and real life loomed threateningly around the bend. But, again, you’d never have any inkling of that if you happened to drop right into the middle of the crazy throng of humanity that gathered to hear Furthur unleash the psychedelic beast lurking in the heart of their music in Eugene last September.

At this moment in time, Furthur are undeniably on fire musically, and their loyal and sometimes long-suffering fans couldn’t be happier. Several times during Furthur’s weekend run in Eugene, people in the audience threw up their arms, hugged friends and wept with joy as if the band’s triumphs and redemptions mirrored their own.

The moment Lesh and Weir are experiencing now is one to savor as it hasn’t always been an easy ride being a member of the Grateful Dead. Since Garcia’s death, it’s safe to say that there have been a lot of bumpy patches and the moments of pure crystalline musical joy have at times seemed few and far between. The muse that channeled such sweet, complex and riveting sounds throughout a September weekend in Eugene has often been conspicuously absent in recent years, though it’s not been for lack of trying.

Since Garcia’s death, the surviving members of the Grateful Dead have continued to experiment with playing music in many permeations and formations of their former group. The whole ensemble – with a revolving set of keyboard and guitar players – have toured as ‘The Other Ones’ and ‘The Dead’ on several occasions, and while each tour has had its share of interesting musical moments, the magic that characterized the Grateful Dead for so many years has often been in short supply. It’s been said that Jerry Garcia was the glue that held the whole group together and that the transcendent musical conversations that morphed between songs during live sets were really conversations that each member was having with Garcia. His death created a huge emotional and musical void, so it’s not really surprising that it took years for the others to find new approaches and creative territory to explore with each other.

The Dead tour of 2003 shook things up by adding R and B singer Joan Osborne into the mix with some very interesting results, but many of the band’s older fans found the young singer’s wailing and rapping hard to take. For their 2004 tour, they ditched Osborne, having little to offer in her stead. Acrimony and accusations marred the tour and for several years it appeared that it was all over as Lesh and Weir toured constantly with their own groups (Phil Lesh and Friends and Ratdog respectively). Percussionists Mickey Hart and Bill Kreutzmann intermittently played together as The Rhythm Devils while each cultivated their own groups, Planet Drum and The Trichomes as additional side projects. The surviving members convened again in 2009 for the Dead 09 tour which unfortunately – despite some great shows late in the tour – failed to create any new chemistry or memorable innovations when it came to interpreting The Grateful Dead’s old material. The Dead 09 tour ended inauspiciously as Lesh, Weir, Kreutzmann and Hart took up with their own bands again to tour without indicating any desire to play together again.

Rumbles of change began to be heard later that year as the news leaked out that Lesh and Weir had had a pow wow and expressed a desire to play together again. Both were apparently discouraged by the ‘restrictive format’ imposed by touring under the banner of ‘The Dead.’ Hart and Kreutzmann were not invited to participate in the new venture as the ‘drums’ section of the show as well as the improvisational ‘space’ sequence were central to the predictability that Lesh and Weir wanted to sidestep.

Many in the Dead camp felt that the formation of Furthur was the last straw, the final coffin nail in what remained of the Sixties spirit and that their favourite musicians had finally lost the plot, plugging in their instruments to the twin amplifiers of greed and senility. Fans held their breath, a few gigs were played, and surprisingly the initial reports were good. By the time they swung through the northwest in the fall of 2010 for gigs in Oregon and Washington, the band was on fire. Focus and intensity had returned with a vengeance and skeptical listeners had to admit that the unmistakable Grateful Dead sound hadn’t been as robust and interesting in a long, long time.

By the fall of 2011, if the music they play during their three night stand in Eugene was any indication, Furthur sound even better than they did last year. Flashing back to the midway point of the first set of the second concert of their Oregon run, it was obvious to everyone that this was all about music and legacy and not about anything as trivial or transient as fame and lucre. To paraphrase an old Grateful Dead song, these days Weir and Lesh are not playing ‘for silver, but playing for life.’ The fans know it as they continue to be surprised by how Furthur’s band of grizzled veterans can find new ways to deconstruct and express songs and musical ideas they’ve toyed with, in some cases, for almost five decades.

The road can’t go on forever. Bob Weir appears healthy and consumed by creative fire, but he is in his late sixties and Phil Lesh tilted onto the septuagenarian scale a few years ago. But, for the time being, the Dead’s ‘overtime round’ in its latest incarnation is in full blossom. Furthur is charging forward at breakneck speed. There are plenty of twists and turns ahead. Time’s passing and there’s no better time than now to jump on the bus.

Essential Listening – A beginner’s guide to listening to the Grateful Dead

The Grateful Dead recorded several studio albums during their thirty year history, but if a person restricted their experience of the band’s music to listening to those records, they’d probably wonder what all the fuss was about. First and foremost, The Grateful Dead have always been a live band and it is their concert recordings that are most prized by their fans. In the old days, tapes were traded back and forth for free – without any money changing hands – but it can be difficult to track down music that way. For the curious, it’s never been easier to access high quality recordings of their music than it is today. To begin with, there are over 100 official Grateful Dead live shows for purchase to choose from. Check out the band’s official site at www.dead.netto start looking.

Here are some of my favourites:

Road Trips series is an inexpensive way to sample live shows from throughout the band’s career. Typically offers the best songs from a run of shows rather than complete shows (much to hardcore Deadhead’s dismay, but sometimes it’s nice to just hear the good stuff)

Dick’s Picks contains archival recordings of complete and near-complete shows. These warts-and-all sets are highly prized by collectors who want to hear the highs and lows of each show. Very reasonably priced and perhaps the best way to experience the whole spectrum of the Grateful Dead experience.

If you’re willing to splash out a little more money, there are several great box sets of complete runs of shows to choose from. My favourites are the bargain priced Winterland 1973 and Winterland 1977 box sets. Played to a hometown crowd, these nine-disc sets feature the band in all their ferocious, tender, psychedelic glory.

There are lots of Grateful Dead videos out there to watch, but for my money, the only one really worth buying is The Grateful Dead Movie. Filmed in 1974 and released in theatres two years later, it presents the Dead at the peak of their powers and offers lots of background into the band as well as great footage of Seventies Deadheads getting their freak on. If you really love watching straight up concert films (I personally find them quite boring) there are tons of vault releases of complete shows available on the Grateful Dead’s website.

Or, if you want to sample without buying, there are hundreds of Grateful Dead, Ratdog, Phil Lesh and Rhythm Devils shows that can be streamed for free online. Try Archive.org for a comprehensive list.

You can listen to the 9/24 Furthur show in Eugene (or the complete Eugene run and many more can be heard at Archive.org)

Happy Listening!

Express Your Inner Hippie;

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Express Your Inner Hippie;

Counterculture of the 1960’s

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Express Your Inner Hippie;

the Art, Fashion and Music of the 1960’s

The counterculture of the United States brought on a new sense and philosophy of life and along with this, different and new ways of expression. The counterculture youth of the nation utilized their first Amendment rights to their full advantage in terms of protest, music, literature and art. The freedom of expression was the main attribute to the carefree, hippie lifestyle. The youth expressed their beliefs through freedom of expression by dawning eccentric clothing, creating new artwork and literature, and expressing themselves through song.

With new ideas about life came new designs for clothing and trends in the 1960’s. Designers fashioned new clothing for the expanding hippie culture whom were attracted to the bright, psychedelic colors and patterns. The drug culture and massive quantities of LSD being consumed fed the appeal of such bizarre fashion. “‘With acid, there was an emergence of young people dressed to die for’ –Christopher Gibbs,” (Miles 255). Designers purposefully created patterns and colors that imitated an “acid trip”.

“The patterns, suitably enough, were created by the burning of acetate colored slides with acid…Colors and materials floated, crossed over into one another and seemed to expand and blur as the wearer danced,” (Miles 255).

People made statements with their outlandish attire and attitudes. The clothing was a way in which the youth could express themselves to the public as free individuals who had no regard for what people had to say about them or how they dressed. Some hippies did not feel the need for such expensive, outrageous clothing. Some were content with less expensive or home-made clothing.

“The 1960’s describes hippies wearing flowers in their hair, dressing in second-hand clothes from thrift and army surplus stores. They wore ponchos, bell-bottoms decorated with patches and embroidered tie-dye shirts, leather sandals, bright colors, and intricate patterns…Women wore men’s clothes and ‘granny dresses’ without bras because they found them too restricting,” (Hoy 1).

Some hippies did not feel the need to spend so much money on the highest and fashionable trends of the era. Instead, they kept their attire simple and used what money they made for essential living and most times drugs.

The fundamental origin of the 1960’s hippie culture was derived from the “Beat Generation” of the late 1950’s. Generally known as “Beatniks”, these people started to really experiment in the field of art, namely poetry.

“Beatniks frequently rejected middle-class American values, customs, and tastes in favor of radical politics and exotic jazz, art and literature,” (‘Beatnick’ 1).

The “New Beats” developed into the Hippie Generation in the 1960’s as the culture in popularity and exposure increased dramatically. Beatniks were struggling artists, trying to find new ways to express themselves and quickly found an outlet in poetry. Aside from new literature which fed the public alternate ways of life and philosophies, the psychedelic poster business took form and exploded onto the scene. Bold, fluorescent colors and intricate patterns were also reflected in the art of poster making. The fascination with such bizarre patterns and colors was apparent through both the clothing and the posters.

“1966 was the year that psychedelic posters really took off…The letters were often so distorted that they were very difficult to decipher-unless you were stoned. This made the posters and the events they were advertising more appealing,” (Miles 100).

People would design these posters such as fashion designers created clothes and outfits for the hippie generation to wear. People of the generation were highly attracted to them, just as much as they were attracted to the drug culture that was thriving in the nation. Andy Warhol, a famous artist of the era, designed album covers for bands as well as works of art. He is known for many works, among them the psychedelic four-frame portrait of Marylyn Monroe and the can of Campbell’s Tomato Soup. Busses that transported hippies to the West Coast, such as San Francisco, were painted with similar designs and plenty of bright colors. Bright colors and intricate patterns, as well as deep thought were methods of effective expression during the counterculture era.

Throughout the decades of the 20th century, each has had their own label in terms of musical revolution. For example, swing was popular in the 1920’s, jazz and blues through the next two and a half decades, and rock ‘n’ roll in the conservative 1950’s. The 1960’s era is known for the emergence of psychedelic rock, a genre which hippies listened to when high on drugs, believing they could reach a higher place. The “British Invasion” of bands from England contributed to the explosion of this new rock genre in the United States. “Then came the Beatles, followed rapidly by the Stones and a whole explosion of beat groups that transformed rock ‘n’ roll, if not overnight, then in a year or so,” (Miles 76). The Beatles were a crazed sensation in the United States; they gained a solid fan base in the country amongst the youth. Amongst the most popular groups were the individuals who spoke out against issues with their music. People such as Bob Dylan expressed his protest point of view through acoustic singing and song-writing. He soon became “an electrified spokesperson for a generation in 1965.” (Miles 50). Artists such as Dylan were able to express their views on current issues of the country because they had a right to do so, and because they wanted to be heard. Janis Joplin, a female artistic activist, both for anti-war protest and feminisms in this era because she was able to express herself through music, much like the rest of the counterculture in the United States. The new-wave genre of psychedelic rock took firm hold on the nation and grew more defined as its popularity expanded and the hippie generation found another effective way to freely express themselves.

With a completely worry and carefree lifestyle, the people of the Hippie generation and counterculture used their rights as citizens of the United States to their advantage. They could outright ridicule America’s involvement in the Vietnam War and make statements against the restrictive society that possessed the previous decade. Counterculture youth made statements with their fashion sense, their creative and appealing artwork and through their own voice, either through poetry and literature or song. It was never uncommon to see people of this generation dressing bizarrely, or even simply, painting the flowers and peace signs on the side of an old bus in neon colors, and never without a guitar or flute. Through each of these means, the hippie generation effectively defines their views and purpose, and in turn, positively share it with the rest of society.

Works Cited

“Beatnik.” RetroGalaxy.Com. 2007. Online. Internet. 06.06.07. Available:

http://www.retrogalaxy.com/culture/beatniks.asp

Hoy, Rosemary. “Flower Children Chose Alternative Lifestyle.” Borderlands.

Internet. 06.03.07.Available:

http://www.epcc.edu/nwlibrary/borderlands/14_flower_children.htm.

Miles, Barry. Hippy. New York. Sterling Publishing Co., Inc, 2003.

McCloud Has 30,000 Tabs of LSD in His House

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McCloud Has 30,000 Tabs of LSD in His House

Mark

By Julian MorgansApr 2 2014

 McCloud Has 30,000 Tabs of LSD in His House

By Julian Morgans

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want to trip? do it without drugs

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want  to trip?  do it without drugs

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JEFFERSON AIRPLANE “WHITE RABBIT” AND FEAR AND LOATHING

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TIMOTHY LEARY-HOW TO OPERATE YOUR BRAIN

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ROLLING STONE-JERRY GARCIA GETS ANIMATED OVER ACID TESTS

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acid tabs

 

 

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