How Do Hallucinogens Affect Music?
Rachael Campbell
Caitlin Martin
Eng 105
9 April 2014
Hallucinogenic Effects on Music
Hallucinogens have affected music for over 100 years-- whether it was interpreted by a listener, played by a musician, or studied by a psychologist. With that said, the history of hallucinogens is not exactly lengthy, but many musicians and artists have used these psychedelics for inspiration. A musician or composer’s work while under the influence of hallucinogens is directly related to why the music sounds very different compared to music that was not created by someone who was under the influence. It’s for certain that there are many different types of hallucinogens but LSD, magic mushrooms, ecstasy, and opium are the four main hallucinogens that changed …show more content…
the music industry. Although, musicians and composers have used psychedelics to influence their creations, many listeners of music hallucinate and have aural and visual sensations. Hallucinating has affected music for many years, but it is still now very prominent in this day and age. Hallucinogens have impacted society for over 100 years. Even in the romantic era of music, Hector Berlioz used opium to compose the piece Symphonie Fantastique (Jay n.pag). Berlioz structured his last two movements of this symphony to his dream. This dream was influenced by two large doses of opium. Opium is found from poppy seeds and is used as a chemical to produce heroin. But even before the drug that changed the music industry forever (LSD), there was still music that was being affected my hallucinogens. LSD, produced by Albert Hoffman, was said to have been an accident, but he claims that it was not an accident. The hallucinogen had been created five years before he tried it and the effects on his mind were outstanding (Hoffman n.pag). A few years after the release of LSD, a man named Timothy Leary, a psychology professor at Harvard, experimented with this hallucinogen and fell in love. He encouraged it to his students and claimed that LSD could change the world for the better. (Elcock 296-297) The psychedelic revolution started with Leary—he influenced people to try this mind-altering drug because of its “therapeutic” aspects. Whether or not, this psychedelic rotted the brains of many individuals, it changed the aspect of music as a whole. Even from the start of hallucinogens, many musicians have experimented with these mind-altering drugs.
Musicians like Jimi Hendrix have used psychedelics as a way of transforming their music into something almost indescribable. Jimi Hendrix was considered a legend at guitar, but what made his music stand out in comparison to other psychedelic rock bands? Hendrix used psychedelics as a way of coping with his past. His parents were always fighting, his father was abusive, and his mother passed away when he was at a young age. In a majority of Hendrix’s songs, they directly relate to some type of drug and usually mention a female figure. Not only did Hendrix write lyrics that dealt with hallucinogens, but the sound of the music was very progressive for that day and age. Whiteley stated that the sound of Jimi Hendrix’s music was effected by many components — “These include the manipulation of timbre (blurred, bright, overlapping), upward movement (and its comparison with psychedelic flight), harmonies (lurching, oscillating), rhythms (regular, irregular), relationships (foreground, background) and collages which provide a point of comparison with more conventionalized, i.e., normal treatment.” (Whiteley 45). This was very different in comparison to music that had been popular of that day and age. He used his guitar as a way of drastically changing the music industry of that era. His progressive sound is considered to mimic a tripping experience—which seems about right knowing Hendrix’s past and psychedelic use.
Another great example of a couple musicians who have experimented with hallucinogens to write music is Syd Barrett from Pink Floyd and Brian Wilson for The Beach Boys. Syd Barrett and Brian Wilson used psychedelics as a way of trying new unconventional methods of writing music. Although, both of these men are very different—even entirely different genres of music, both were known around the same time period to have taken LSD to experiment. A person under the influence of LSD obviously experiences things that aren’t in the ordinary. Reising stated in Melting Clocks and the Hallways of Always: Time in Psychedelic Music, “the perception of time is changed under the influence of acid. This perception is called “time dilation”. I believe this definitely coincides with psychedelic rock. This “time dilation” has definitely influenced music, literature, and film (Reising 524). Another main concept of hallucinating is that people have out of body experiences and “find themselves spiritually”. Carter stated in The vegetables turned: sifting the psychedelic subsoil of Brian Wilson and Syd Barrett “Alternative religions and belief structures, like astronomical visions and science fictions conjuring worlds beyond the optical, were also easily associated with the experience and vocabularies of transcendence-via outer and inner space—intrinsic to psychedelic drugs”. Sounds like a mouthful, but these visual and aural hallucinations influenced these men’s lives and music. From years of using psychedelics, Barrett and Wilson eventually became ‘vegetables’, their brains started to erode as an expansion of consciousness. These men used psychedelics for their personal and creative potentials (Carter 72).
The tripping experience of using psychedelics coincides with the sound of music. For the listener, just the volume of noise works towards the drowning of one’s personal consciousness. The simultaneous underlying pulsating rhythm and the heightened sensation of raw power rips through the distorted amplification of the guitar sound with its sinuous tripping around the basic note. At the same time, a great power rip on a guitar solo by Hendrix collects a hallucinating audience’s attention. This provoked the mass sexual ecstasy often associated with his concerts which moved towards a physical sense of tribal unity. At this point, Hendrix 's personal expansion of human consciousness would fuse with the collective experience of the hallucinogenic in the exploration of the self through mind- expanding drugs (Whiteley 45). Additionally, listeners that are under the influence of a hallucinogen experiences aural and visual hallucinations. Reising stated in Melting Clocks and the Hallways of Always: Time in Psychedelic Music, “Specific to the LSD trip or psychedelic trance, in general, are the aural synesthesia in which sounds seem to burst into vibrant colors, the buzz with which individual sounds seem to blend into pure sonic energy, the wash of sight and sound in which it is difficult to distinguish foreground from background and vice versa, and the elasticity of space and time which expand and contract seemingly to fit the mood or aura of the environment. Many of these effects can be evoked musically.” I believe this is why many people attend music festivals. Their hallucinations directly coincide with the music they are listening to. At music festivals, it is common for people to take hallucinogens while listening to a specific band. Woodstock in 1969 was a great example of this movement. Moreover, the use of LSD became very prominent in the 1960s after people noticed the hallucinatory effects (visual and aural).
The 1960s hallucinogen movement flood sparked the hippie counterculture and this was a prominent time for garage psychedelic bands. All of the bands and artists that performed at Woodstock were garage psychedelic bands. Their sound was so different and stood out to people who attended this festival. Artists like The Who, Jefferson Airplane, and Janis Joplin. The popularity of this sound would overshadow the contributions of the earliest garage-psychedelic songs. But before there was a popular framework of optimism and mind expansion to influence the meaning of psychedelic experience and psychedelic music, garage bands used the available technologies of the day to create a wide range of strange sounds and messages.(Johnson 412) In Janis Joplin’s work, her distinct voice is the most significant for her trippy music. The raspy effect of her voice entwined with the powerful lyrics blending with a psychedelic rock band formed as a comfort to people’s unconsciousness. Studies by Oliver Sacks from the Oxford Journals, say that people are very prone to non-psychotic music hallucinations. A person not under the influence of any hallucinogen already experiences the aural sensations of a hallucination with music. They have a line of music stuck in their head, and they counter act with thinking of another song to replace the last song. This is considered a musical hallucination. If people who are not even under the influence of a hallucinogen are experiencing hallucinations, then these visual and aural hallucinations while under the influence have to be very prominent and vivid.
Moreover, in this hippie movement, The Beatles were very prominent to the garage psychedelic band era. The Beatles wanted to turn away from the comfortable and reassuring familiarity that is the essence of pop music and stardom, and instead confront their audience with strangeness and a kind of depersonalization. Psychedelics gave them the vision and the energy for this effort.(Weiner 28) Paul McCartney in the song Taxman, Weiner said the song represents a decision to “explore and exploit the electrical essence”. I believe hallucinogens was a way for The Beatles to express themselves in different ways other than the societal norm. From their success, it seems like it definitely worked and hallucinogens were one factor that influenced these great hits from The Beatles. Although, the clash of hallucinogens with the 1960s hippie counterculture was huge, many people still use hallucinogens for the same purpose—music.
By 1966, garage bands were exposed to the first media coverage of LSD and, in some cases, may have had a band member who actually used LSD. Soon their song lyrics moved from passing references to more vivid descriptions of psychedelic experience (Johnson 414). Many of the garage psychedelic bands have admitted to using hallucinogens which influenced the songs they wrote. Moreover, Brian Wilson from The Beach Boys admitted to hallucinogenic experiences while trying LSD. This tripping experience influenced the song Smile by The Beach Boys. Brian Wilson turned into a psychedelic folklore—he used acid so often during his musician days and became an acid casualty. Although, the teenage love songs that the Beach Boys wrote were top hits and gave this group stardom, Brian Wilson is a ‘vegetable’ now according to “The vegetables turned: sifting the psychedelic subsoil of Brian Wilson and Syd Barrett”(Carter 59). There are still psychedelic bands today, but most are considered as progressive because of the different uses of sounds in their music.
An example of a more progressive psychedelic band today that has had influence by hallucinogens is Alt J. This band is considered a progressive indie electronic band. In their song Dissolve Me, the band admitted to taking LSD on a summer day. In the first verse of the lyrics, Alt J sings “two tabs on my tongue”—referring to acid tabs. This band uses distinct techniques in their music like fluctuating the frontman’s voice with the harmonies of the background singer. Their drummer plays a pulsating rhythm underneath which provides a comfort in the music. When attending Bonnaroo last summer, I attended an Alt J show and many of my friends were under the influence of LSD. They experienced many visual sensations including vibrant spotted color. Another person said they saw the vibrations of the music. It was very difficult to communicate with them—it was almost like they weren’t there mentally. I believe they’re spiritual experience with hallucinogens provided an environment for the music to takeover.
The newest forms of hallucinating while listening to music is still very common today.
The most common form nowadays are raves. Raves are all-night dances that feature music at very loud levels of volume and flashing lights. They’re basically huge parties for bored city youths. But for some, raves are a sensual "psychic voyage" next to a religious experience (Sillars n.pag.). The youths that attend these raves are known to be tripping on a hallucinogen, most commonly ecstasy while staying up all night and dancing to this loud music. Similar to music festivals, raves create an ambience to a listener. Youths usually use the loud music with pulsating rhythm to create a drowning personal unconsciousness. The music played at raves is techno, it has a steady beat. Sillars stated that the DJ was like a priest or shaman that controls the lighting and the volume in the rave to put youths in an altered state of consciousness. "A large part of the concept of raves is built upon sensory overload,"(Sillars n.pag.) This sensory overload involves the visual vibrant colors from the flashing lights and strobes, the music hallucinations that form just from listening to music, and the spiritual out-of-body experiences. This is very similar to people who attend music festivals, almost for that exact same purpose. Raves and music festivals are the most common forms of this modern youth and hallucinogens
counterculture.
Hallucinogens have been very common in society when music is involved. Albert Hoffman didn’t exactly know about the effects of LSD at first but when he experienced the mind altering drug, he used something life changing. Timothy Leary, all in all was the main advocator for LSD and encouraged it in everyday society to be used a therapeutic drug to enhance well-being. He knew that when one uses hallucinogens, they explore themselves mentally and spiritually. Music and psychedelics, he writes, “could help you make sense of the senselessness of it all by helping you come to your senses, heightening them” (Weiner 28). I believe this influenced the hippie-counterculture. In the 1960s, youths wanted to self-explore and to almost have a religious experience with their mind. Music set up a tripping experience for LSD. It is still very common for people to use hallucinogens like LSD today in society.
Works Cited
Carter, Dale. "The Vegetables Turned: Sifting The Psychedelic Subsoil Of Brian Wilson And
Barrett." Popular Music History 4.1 (2009): 57-75. RILM Abstracts of Music Literature.
Web. 12 Feb. 2014.
Johnson, Ann, and Mike, Stax. "From Psychotic To Psychedelic: The Garage Contribution To Psychedelia."Popular Music And Society 29.4 (2006): 411-425. RILM
Abstract of Music Literature. Web. 12 Feb. 2014.
Reising, Russell. "Melting Clocks And The Hallways Of Always: Time In Psychedelic Music."
Popular Music & Society 32.4 (2009): 523-547. Academic Search Complete. Web. 12 Feb. 2014
Sillars, Les. "Return Of The Hallucinogens." Alberta Report / Newsmagazine 23.5 (1996): 32.
Corporate ResourceNet. Web. 12 Feb. 2014.
Wiener, Jon. "Acid Rock: A Flashback." Nation 272.8 (2001): 28-30. Academic Search
Complete. Web. 12 Feb. 2014.
"Hallucinogenic health trip: LSD may not be bad for you, says study." The Independent
(London, England) 2013: General OneFile. Web. 12 Feb. 2014.
Wesson, Donald R. "Psychedelic Drugs, Hippie Counterculture, Speed And Phenobarbital
Treatment Sedative-Hypnotic Dependence: A Journey To The Haight Ashbury In The
Sixties." Journal Of Psychoactive Drugs 43.2 (2011): 153-164. Academic Search
Complete. Web. 12 Feb. 2014.
Caitlin Martin
Eng 105
9 April 2014
Hallucinogenic Effects on Music
Hallucinogens have affected music for over 100 years-- whether it was interpreted by a listener, played by a musician, or studied by a psychologist. With that said, the history of hallucinogens is not exactly lengthy, but many musicians and artists have used these psychedelics for inspiration. A musician or composer’s work while under the influence of hallucinogens is directly related to why the music sounds very different compared to music that was not created by someone who was under the influence. It’s for certain that there are many different types of hallucinogens but LSD, magic mushrooms, ecstasy, and opium are the four main hallucinogens that changed …show more content…
the music industry. Although, musicians and composers have used psychedelics to influence their creations, many listeners of music hallucinate and have aural and visual sensations. Hallucinating has affected music for many years, but it is still now very prominent in this day and age. Hallucinogens have impacted society for over 100 years. Even in the romantic era of music, Hector Berlioz used opium to compose the piece Symphonie Fantastique (Jay n.pag). Berlioz structured his last two movements of this symphony to his dream. This dream was influenced by two large doses of opium. Opium is found from poppy seeds and is used as a chemical to produce heroin. But even before the drug that changed the music industry forever (LSD), there was still music that was being affected my hallucinogens. LSD, produced by Albert Hoffman, was said to have been an accident, but he claims that it was not an accident. The hallucinogen had been created five years before he tried it and the effects on his mind were outstanding (Hoffman n.pag). A few years after the release of LSD, a man named Timothy Leary, a psychology professor at Harvard, experimented with this hallucinogen and fell in love. He encouraged it to his students and claimed that LSD could change the world for the better. (Elcock 296-297) The psychedelic revolution started with Leary—he influenced people to try this mind-altering drug because of its “therapeutic” aspects. Whether or not, this psychedelic rotted the brains of many individuals, it changed the aspect of music as a whole. Even from the start of hallucinogens, many musicians have experimented with these mind-altering drugs.
Musicians like Jimi Hendrix have used psychedelics as a way of transforming their music into something almost indescribable. Jimi Hendrix was considered a legend at guitar, but what made his music stand out in comparison to other psychedelic rock bands? Hendrix used psychedelics as a way of coping with his past. His parents were always fighting, his father was abusive, and his mother passed away when he was at a young age. In a majority of Hendrix’s songs, they directly relate to some type of drug and usually mention a female figure. Not only did Hendrix write lyrics that dealt with hallucinogens, but the sound of the music was very progressive for that day and age. Whiteley stated that the sound of Jimi Hendrix’s music was effected by many components — “These include the manipulation of timbre (blurred, bright, overlapping), upward movement (and its comparison with psychedelic flight), harmonies (lurching, oscillating), rhythms (regular, irregular), relationships (foreground, background) and collages which provide a point of comparison with more conventionalized, i.e., normal treatment.” (Whiteley 45). This was very different in comparison to music that had been popular of that day and age. He used his guitar as a way of drastically changing the music industry of that era. His progressive sound is considered to mimic a tripping experience—which seems about right knowing Hendrix’s past and psychedelic use.
Another great example of a couple musicians who have experimented with hallucinogens to write music is Syd Barrett from Pink Floyd and Brian Wilson for The Beach Boys. Syd Barrett and Brian Wilson used psychedelics as a way of trying new unconventional methods of writing music. Although, both of these men are very different—even entirely different genres of music, both were known around the same time period to have taken LSD to experiment. A person under the influence of LSD obviously experiences things that aren’t in the ordinary. Reising stated in Melting Clocks and the Hallways of Always: Time in Psychedelic Music, “the perception of time is changed under the influence of acid. This perception is called “time dilation”. I believe this definitely coincides with psychedelic rock. This “time dilation” has definitely influenced music, literature, and film (Reising 524). Another main concept of hallucinating is that people have out of body experiences and “find themselves spiritually”. Carter stated in The vegetables turned: sifting the psychedelic subsoil of Brian Wilson and Syd Barrett “Alternative religions and belief structures, like astronomical visions and science fictions conjuring worlds beyond the optical, were also easily associated with the experience and vocabularies of transcendence-via outer and inner space—intrinsic to psychedelic drugs”. Sounds like a mouthful, but these visual and aural hallucinations influenced these men’s lives and music. From years of using psychedelics, Barrett and Wilson eventually became ‘vegetables’, their brains started to erode as an expansion of consciousness. These men used psychedelics for their personal and creative potentials (Carter 72).
The tripping experience of using psychedelics coincides with the sound of music. For the listener, just the volume of noise works towards the drowning of one’s personal consciousness. The simultaneous underlying pulsating rhythm and the heightened sensation of raw power rips through the distorted amplification of the guitar sound with its sinuous tripping around the basic note. At the same time, a great power rip on a guitar solo by Hendrix collects a hallucinating audience’s attention. This provoked the mass sexual ecstasy often associated with his concerts which moved towards a physical sense of tribal unity. At this point, Hendrix 's personal expansion of human consciousness would fuse with the collective experience of the hallucinogenic in the exploration of the self through mind- expanding drugs (Whiteley 45). Additionally, listeners that are under the influence of a hallucinogen experiences aural and visual hallucinations. Reising stated in Melting Clocks and the Hallways of Always: Time in Psychedelic Music, “Specific to the LSD trip or psychedelic trance, in general, are the aural synesthesia in which sounds seem to burst into vibrant colors, the buzz with which individual sounds seem to blend into pure sonic energy, the wash of sight and sound in which it is difficult to distinguish foreground from background and vice versa, and the elasticity of space and time which expand and contract seemingly to fit the mood or aura of the environment. Many of these effects can be evoked musically.” I believe this is why many people attend music festivals. Their hallucinations directly coincide with the music they are listening to. At music festivals, it is common for people to take hallucinogens while listening to a specific band. Woodstock in 1969 was a great example of this movement. Moreover, the use of LSD became very prominent in the 1960s after people noticed the hallucinatory effects (visual and aural).
The 1960s hallucinogen movement flood sparked the hippie counterculture and this was a prominent time for garage psychedelic bands. All of the bands and artists that performed at Woodstock were garage psychedelic bands. Their sound was so different and stood out to people who attended this festival. Artists like The Who, Jefferson Airplane, and Janis Joplin. The popularity of this sound would overshadow the contributions of the earliest garage-psychedelic songs. But before there was a popular framework of optimism and mind expansion to influence the meaning of psychedelic experience and psychedelic music, garage bands used the available technologies of the day to create a wide range of strange sounds and messages.(Johnson 412) In Janis Joplin’s work, her distinct voice is the most significant for her trippy music. The raspy effect of her voice entwined with the powerful lyrics blending with a psychedelic rock band formed as a comfort to people’s unconsciousness. Studies by Oliver Sacks from the Oxford Journals, say that people are very prone to non-psychotic music hallucinations. A person not under the influence of any hallucinogen already experiences the aural sensations of a hallucination with music. They have a line of music stuck in their head, and they counter act with thinking of another song to replace the last song. This is considered a musical hallucination. If people who are not even under the influence of a hallucinogen are experiencing hallucinations, then these visual and aural hallucinations while under the influence have to be very prominent and vivid.
Moreover, in this hippie movement, The Beatles were very prominent to the garage psychedelic band era. The Beatles wanted to turn away from the comfortable and reassuring familiarity that is the essence of pop music and stardom, and instead confront their audience with strangeness and a kind of depersonalization. Psychedelics gave them the vision and the energy for this effort.(Weiner 28) Paul McCartney in the song Taxman, Weiner said the song represents a decision to “explore and exploit the electrical essence”. I believe hallucinogens was a way for The Beatles to express themselves in different ways other than the societal norm. From their success, it seems like it definitely worked and hallucinogens were one factor that influenced these great hits from The Beatles. Although, the clash of hallucinogens with the 1960s hippie counterculture was huge, many people still use hallucinogens for the same purpose—music.
By 1966, garage bands were exposed to the first media coverage of LSD and, in some cases, may have had a band member who actually used LSD. Soon their song lyrics moved from passing references to more vivid descriptions of psychedelic experience (Johnson 414). Many of the garage psychedelic bands have admitted to using hallucinogens which influenced the songs they wrote. Moreover, Brian Wilson from The Beach Boys admitted to hallucinogenic experiences while trying LSD. This tripping experience influenced the song Smile by The Beach Boys. Brian Wilson turned into a psychedelic folklore—he used acid so often during his musician days and became an acid casualty. Although, the teenage love songs that the Beach Boys wrote were top hits and gave this group stardom, Brian Wilson is a ‘vegetable’ now according to “The vegetables turned: sifting the psychedelic subsoil of Brian Wilson and Syd Barrett”(Carter 59). There are still psychedelic bands today, but most are considered as progressive because of the different uses of sounds in their music.
An example of a more progressive psychedelic band today that has had influence by hallucinogens is Alt J. This band is considered a progressive indie electronic band. In their song Dissolve Me, the band admitted to taking LSD on a summer day. In the first verse of the lyrics, Alt J sings “two tabs on my tongue”—referring to acid tabs. This band uses distinct techniques in their music like fluctuating the frontman’s voice with the harmonies of the background singer. Their drummer plays a pulsating rhythm underneath which provides a comfort in the music. When attending Bonnaroo last summer, I attended an Alt J show and many of my friends were under the influence of LSD. They experienced many visual sensations including vibrant spotted color. Another person said they saw the vibrations of the music. It was very difficult to communicate with them—it was almost like they weren’t there mentally. I believe they’re spiritual experience with hallucinogens provided an environment for the music to takeover.
The newest forms of hallucinating while listening to music is still very common today.
The most common form nowadays are raves. Raves are all-night dances that feature music at very loud levels of volume and flashing lights. They’re basically huge parties for bored city youths. But for some, raves are a sensual "psychic voyage" next to a religious experience (Sillars n.pag.). The youths that attend these raves are known to be tripping on a hallucinogen, most commonly ecstasy while staying up all night and dancing to this loud music. Similar to music festivals, raves create an ambience to a listener. Youths usually use the loud music with pulsating rhythm to create a drowning personal unconsciousness. The music played at raves is techno, it has a steady beat. Sillars stated that the DJ was like a priest or shaman that controls the lighting and the volume in the rave to put youths in an altered state of consciousness. "A large part of the concept of raves is built upon sensory overload,"(Sillars n.pag.) This sensory overload involves the visual vibrant colors from the flashing lights and strobes, the music hallucinations that form just from listening to music, and the spiritual out-of-body experiences. This is very similar to people who attend music festivals, almost for that exact same purpose. Raves and music festivals are the most common forms of this modern youth and hallucinogens
counterculture.
Hallucinogens have been very common in society when music is involved. Albert Hoffman didn’t exactly know about the effects of LSD at first but when he experienced the mind altering drug, he used something life changing. Timothy Leary, all in all was the main advocator for LSD and encouraged it in everyday society to be used a therapeutic drug to enhance well-being. He knew that when one uses hallucinogens, they explore themselves mentally and spiritually. Music and psychedelics, he writes, “could help you make sense of the senselessness of it all by helping you come to your senses, heightening them” (Weiner 28). I believe this influenced the hippie-counterculture. In the 1960s, youths wanted to self-explore and to almost have a religious experience with their mind. Music set up a tripping experience for LSD. It is still very common for people to use hallucinogens like LSD today in society.
Works Cited
Carter, Dale. "The Vegetables Turned: Sifting The Psychedelic Subsoil Of Brian Wilson And
Barrett." Popular Music History 4.1 (2009): 57-75. RILM Abstracts of Music Literature.
Web. 12 Feb. 2014.
Johnson, Ann, and Mike, Stax. "From Psychotic To Psychedelic: The Garage Contribution To Psychedelia."Popular Music And Society 29.4 (2006): 411-425. RILM
Abstract of Music Literature. Web. 12 Feb. 2014.
Reising, Russell. "Melting Clocks And The Hallways Of Always: Time In Psychedelic Music."
Popular Music & Society 32.4 (2009): 523-547. Academic Search Complete. Web. 12 Feb. 2014
Sillars, Les. "Return Of The Hallucinogens." Alberta Report / Newsmagazine 23.5 (1996): 32.
Corporate ResourceNet. Web. 12 Feb. 2014.
Wiener, Jon. "Acid Rock: A Flashback." Nation 272.8 (2001): 28-30. Academic Search
Complete. Web. 12 Feb. 2014.
"Hallucinogenic health trip: LSD may not be bad for you, says study." The Independent
(London, England) 2013: General OneFile. Web. 12 Feb. 2014.
Wesson, Donald R. "Psychedelic Drugs, Hippie Counterculture, Speed And Phenobarbital
Treatment Sedative-Hypnotic Dependence: A Journey To The Haight Ashbury In The
Sixties." Journal Of Psychoactive Drugs 43.2 (2011): 153-164. Academic Search
Complete. Web. 12 Feb. 2014.