1.
Irvine Welsh
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Irvine Welsh is a Scottish novelist, playwright and short story writer. He is recognised for his novel Trainspotting, which was made into a film of the same name. His work is characterised by a raw Scots dialect and brutal depiction of Edinburgh life and he has also written plays and screenplays, and directed several short films. Irvine Welsh was born in Leith, the area of the Scottish capital Edinburgh. He states that he was born in 1958, though according to the Glasgow police, when he was four, his family moved to Muirhouse, in Edinburgh, where they stayed in local housing schemes. His mother worked as a waitress and his father was a dock worker in Leith until bad health forced him to quit, after which he became a carpet salesman, he died when Welsh was 25. Welsh left Ainslie Park High School when he was 16 and then completed a City and he became an apprentice TV repairman until an electric shock persuaded him to move on to a series of other jobs. He left Edinburgh for the London punk scene in 1978, where he played guitar and sang in The Pubic Lice and Stairway 13, a series of arrests for petty crimes and finally a suspended sentence for trashing a North London community centre inspired Welsh to correct his ways. He worked for Hackney London Borough Council in London and studied computing with the support of the Manpower Services Commission, Welsh returned to Edinburgh in the late 1980s, where he worked for the city council in the housing department. He then studied for an MBA at Heriot Watt University, Welsh has made several reading tours around the world and has been involved with house music as a DJ, promoter and producer. Welsh has been an ambassador of the Homeless World Cup movement since 2014. In an interview with The Daily Mail on 7 August 2006, im very much a gentleman of leisure. I sit and look out of my window into the garden, I love the density and complexity of Jane Austen and George Eliot. I listen to music, I travel, I can go off to a film festival whenever I like. He also describes himself as monogamous, it sounds boring but its the way I am and he has lived in Chicago with his wife, Elizabeth, since 2009. Previously he lived in Dublin, Ireland, and regularly attended Bohemian Football Club games. To date, Welsh has published novels and four collections of short stories. His first novel, Trainspotting, was published in 1993 and it was adapted as a play, and a film adaptation, directed by Danny Boyle and written by John Hodge, was released in 1996. Welsh appeared in the film as Mikey Forrester, a minor character, the film was a worldwide success
2.
House music
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House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals. While house displayed several characteristics similar to music, it was more electronic and minimalistic. House music became popular in Chicago clubs in 1984 and it was pioneered by figures such as Frankie Knuckles, Phuture, Kym Mazelle, and Mr. Fingers, and was associated with African-American and gay subcultures. House music quickly spread to other American cities such as Detroit, New York City, Baltimore, in the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Since the early to mid-1990s, house music has been infused in mainstream pop, in the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a successful genre and a more mainstream pop-based variation grew increasingly popular. House music has also fused with other genres creating fusion subgenres, such as euro house, tech house, electro house. After enjoying significant success in the early to mid-90s, house music grew even larger during the wave of progressive house. The genre has remained popular and fused into other subgenres, for example, ghetto house, deep house. As of 2016, house music popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe. The song structure of music songs typically involves an intro, a chorus, various verse sections, a midsection. Some songs do not have a verse, taking a part from the chorus. The drum beat is one of the important elements within the genre and is almost always provided by an electronic drum machine rather than by a human drummer playing drumkit. The drum beats of house are four on the floor, with bass drums played on every beat, House music is often based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. The tempo of most house songs is between 118 and 135 beats per minute, soul music and disco influenced house music. These artists produced longer, more repetitive, and percussive arrangements of existing disco recordings, early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. Rachel Cain, co-founder of an influential Trax Records, was involved in the burgeoning punk scene and cites industrial
3.
Chicago house
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Chicago house refers to house music produced during the mid to late 1980s within Chicago. The term is used to refer to the first ever house music productions. Following Chicagos Disco Demolition Night in mid-1979, disco musics mainstream popularity fell into decline, in the early 1980s, fewer and fewer disco records were being released, but the genre remained popular in some Chicago nightclubs and on at least one radio station, WBMX-FM. Some of these DJs also made and played their own edits of their songs on reel-to-reel tape. Some even mixed in effects, drum machines, and other rhythmic electronic instrumentation in an effort to give songs more appeal and these edits and remixes were rarely released to the public, and even then were available only on privately pressed vinyl records or on mixtapes. One DJ, Jesse Saunders, ran a vanity record label through which he released original dance music productions which emulated various popular styles of the day, in 1984, the label released, on 12-inch single, a song called On and On. Saunders composed the track with Vince Lawrence in order to replace a record which had stolen from Saunders collection. Saunders success with the relatively unpolished On & On inspired other Chicago DJs to try their hand at producing and releasing songs in a similar style. These producers were aided in their efforts by the availability of affordable, mass-produced electronic music instruments, including synthesizers, compact sequencers, drum machines, although there are conflicting accounts of the terms etymology, by 1985, house music was synonymous with these homegrown dance music productions. Mainstream record stores often did not carry it, as the records were not available through the record distributors. In Chicago, only record stores such as Importes Etc, state Street Records, JR’s Music shop and Gramaphone Records were the primary suppliers of this music. The Hot Mix 5 shows started with the launch in 1981. Trends in house music soon became subgenres, such as the lush, slower-tempo deep house, deep houses origins can be traced to Chicago producer Mr Fingerss relatively jazzy, soulful recordings Mystery of Love and Can You Feel It. Which, according to author Richie Unterberger, moved house music away from its posthuman tendencies back towards the lush sound of early disco music. Acid house arose from Chicago artists experiments with the squelchy Roland TB-303 bass synthesizer, and the styles earliest release on vinyl is generally cited as Phutures Acid Tracks. Phuture, a group founded by Nathan DJ Pierre Jones, Earl Spanky Smith Jr. the groups 12-minute Acid Tracks was recorded to tape and was played by DJ Ron Hardy at the Music Box, where Hardy was resident DJ. Hardy once played it four times over the course of an evening until the crowd responded favorably, the track also utilized a Roland TR-707 drum machine. Several house tracks became #1 hits on the UK Singles Chart, at least three styles of dancing are associated with house music, Footwork, Jacking, and Lofting
4.
Psychedelic music
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Psychedelic music may also aim to enhance the experience of using these drugs. Numerous spiritual successors followed in the decades, including progressive rock, krautrock. Since the 1970s, revivals have included psychedelic funk, neo-psychedelia, psychedelic as an adjective is often misused, with many so-called acts playing in a variety of styles. Dechronicization permits the user to move outside of conventional perceptions of time. Depersonalization allows the user to lose the self and gain an awareness of undifferentiated unity, dynamization, as Leary wrote, makes everything from floors to lamps seem to bends, as familiar forms dissolve into moving, dancing structures. Music that is truly psychedelic mimics these three effects, a number of features are quintessential to psychedelic music. Exotic instrumentation, with a fondness for the sitar and tabla are common. Songs often have disjunctive song structures, key and time signature changes, surreal, whimsical, esoterically or literary-inspired, lyrics are often used. There is often an emphasis on extended instrumental segments or jams. There is a strong presence, in the 1960s this especially using electronic organs, harpsichords, or the Mellotron. In the 1960s there was a use of electronic instruments such as early synthesizers. Later forms of electronic psychedelia also employed repetitive computer-generated beats, R. Veysey, they profoundly influenced the thinking of the new generation of youth. The psychedelic lifestyle had already developed in California, particularly in San Francisco, by the mid-1960s, with the first major underground LSD factory established by Owsley Stanley. There was already a culture of use among jazz and blues musicians. One of the first musical uses of the term psychedelic in the scene was by the New York-based folk group The Holy Modal Rounders on their version of Lead Bellys Hesitation Blues in 1964. His nineteen-minute The Great San Bernardino Birthday Party anticipated elements of psychedelia with its nervy improvisations, similarly, folk guitarist Sandy Bulls early work incorporated elements of folk, jazz, and Indian and Arabic-influenced dronish modes. His 1963 album Fantasias for Guitar and Banjo explores various styles, soon musicians began to refer to the drug and attempted to recreate or reflect the experience of taking LSD in their music, just as it was reflected in psychedelic art, literature and film. This trend ran in parallel in both America and Britain and as part of the folk, folk rock and rock scenes
5.
Chicago
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Chicago, officially the City of Chicago, is the third-most populous city in the United States. With over 2.7 million residents, it is the most populous city in the state of Illinois, and it is the county seat of Cook County. In 2012, Chicago was listed as a global city by the Globalization and World Cities Research Network. Chicago has the third-largest gross metropolitan product in the United States—about $640 billion according to 2015 estimates, the city has one of the worlds largest and most diversified economies with no single industry employing more than 14% of the workforce. In 2016, Chicago hosted over 54 million domestic and international visitors, landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, Art Institute of Chicago, Museum Campus, the Willis Tower, Museum of Science and Industry, and Lincoln Park Zoo. Chicagos culture includes the arts, novels, film, theater, especially improvisational comedy. Chicago also has sports teams in each of the major professional leagues. The city has many nicknames, the best-known being the Windy City, the name Chicago is derived from a French rendering of the Native American word shikaakwa, known to botanists as Allium tricoccum, from the Miami-Illinois language. The first known reference to the site of the current city of Chicago as Checagou was by Robert de LaSalle around 1679 in a memoir, henri Joutel, in his journal of 1688, noted that the wild garlic, called chicagoua, grew abundantly in the area. In the mid-18th century, the area was inhabited by a Native American tribe known as the Potawatomi, the first known non-indigenous permanent settler in Chicago was Jean Baptiste Point du Sable. Du Sable was of African and French descent and arrived in the 1780s and he is commonly known as the Founder of Chicago. In 1803, the United States Army built Fort Dearborn, which was destroyed in 1812 in the Battle of Fort Dearborn, the Ottawa, Ojibwe, and Potawatomi tribes had ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the Treaty of Chicago in 1833, on August 12,1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 4,000 people, on June 15,1835, the first public land sales began with Edmund Dick Taylor as U. S. The City of Chicago was incorporated on Saturday, March 4,1837, as the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States. Chicagos first railway, Galena and Chicago Union Railroad, and the Illinois, the canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River. A flourishing economy brought residents from rural communities and immigrants from abroad, manufacturing and retail and finance sectors became dominant, influencing the American economy. The Chicago Board of Trade listed the first ever standardized exchange traded forward contracts and these issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage
6.
Psychedelic trance
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Psychedelic trance, psytrance or psy is a subgenre of trance music characterized by arrangements of synthetic rhythms and layered melodies created by high tempo riffs. By 1998 psytrance had become a form of music. Psytrance lies at the hardcore, underground end of the diverse trance spectrum, the genre offers variety in terms of mood, tempo, and style. Some examples include full on, darkpsy, Hi-Tech, progressive, suomi, psy-chill, psycore, psybient, psybreaks, Goa trance preceded psytrance, when digital media became more commonly used psytrance evolved. Goa continues to develop alongside the other genres, during the 1970s the first Goa DJs were generally playing psychedelic rock bands such as the Grateful Dead, Pink Floyd and The Doors. The music played in the 1980s was a blend of styles loosely defined as techno and various genres of computer music e. g. acid house, the music was brought on tape cassettes by fanatic traveler collectors and DJs. This material was shared and copied tape-to-tape by Goa DJs, in a scene that was not driven by music industry labels. The artists producing this special Goa music had no idea that their music was being played on the beaches of Goa by cyber hippies, the first techno played in Goa was by Kraftwerk in the late 1970s on the tape of a visiting DJ. At that time, music played at most parties was performed by live bands, in the early 1980s, sampling synth and midi music appeared globally, and DJs became the preferred format in Goa. Two tape decks would drive a party with music and continuous dancing. Cassette tapes were used by DJs until the 1990s, then DAT tapes were used. Among DJs playing in Goa during the 1980s were Fred Disko, Dr Bobby, Stephano, Paulino, Mackie, Babu, Laurent, Ray, Fred, Antaro, Lui, Rolf, Tilo, Pauli, Rudi, and Gil. Their music was eclectic in style but nuanced around instrument/dub spacey versions of tracks that evoked mystical, cosmic, psychedelic, political, DJs in Goa made special mixes by editing various versions of a track to make it longer, taking the stretch mix concept to new levels. Trip music for journeying to outdoors, trance dancing to mind-expanding music while high on hallucinogens was the Goa mantra, the night clubs were not fueled by alcohol, but by hash and acid. The result was an anarchistic, alternative counterculture of DIY psychedelic exploration driven by future rhythm machine music, by 1990–91 Goa was no longer under the radar and had become a hot destination for partying. As the scene grew bigger, Goa-style parties spread like an all over the world from 1993. Goa Trance as commercial scene began gaining traction in 1994. The golden age of the first wave of Goa Psy Trance as an agreed upon genre was between 1994–97
7.
Trance music
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Trance is a genre of electronic dance music that developed during the 1990s in Germany. Although trance is a genre of its own, it incorporates influences from other musical styles such as techno, house, pop, chill-out, classical music, tech house, ambient. A trance refers to a state of hypnotism and heightened consciousness and this is portrayed in trance music by the mixing of layers with distinctly foreshadowed build-up and release. Trance tracks are often lengthy to allow for such progression and commonly have sufficiently sparse opening and closing sections to facilitate mixing by DJs, Trance can be purely instrumental, although vocals are also a common feature. Typically they are performed by mezzo-soprano to soprano female soloists, often without verse/chorus structure, structured vocal form in trance music forms the basis of the vocal trance subgenre, which has been described as grand, soaring, and operatic and ethereal female leads floating amongst the synths. It was promoted by the well-known UK club-night megatripolis whose scene catapulted it to international fame, One writer traces the roots of trance to Paul van Dyks 1993 remix of Humates Love Stimulation. However, van Dyks trance origins can be traced back to his work with Visions Of Shiva. With film music also being influential, Trance was arguably at its commercial peak in the second part of 1990s and early 2000s. Classic trance employs a 4/4 time signature, a tempo of 125 to 150 BPM, a kick drum is usually placed on every downbeat and a regular open hi-hat is often placed on the upbeat or every 1/8th division of the bar. Rapid arpeggios and minor keys are common features of Trance, the latter being almost universal, instruments are added or removed every 4,8,16, or 32 bars. In the section before the breakdown, the motif is often introduced in a sliced up and simplified form. Then later, the climax is usually a culmination of the first part of the track mixed with the main melodic reprise. As is the case with many music tracks, trance tracks are usually built with sparser intros and outros in order to enable DJs to blend them together immediately. As trance is more melodic and harmonic than other dance music. More recent forms of trance music incorporate other styles and elements of music such as electro. It emphasizes harsher basslines and drum beats which decrease the importance of offbeats, the bpm of more recent styles tends to be on par with house music at 120 -135 beats per minute. However, unlike house music, recent forms of trance stay true to their melodic breakdowns, Trance music is broken into a large number of subgenres. Chronologically, the major subgenres are classic trance, acid trance, progressive trance, uplifting trance, closely related to Uplifting Trance is Euro-trance, which has become a general term for a wide variety of highly commercialized European dance music
8.
Electro house
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Electro house is a form of house music. Electro house is characterized by a prominent bassline and/or kick drum and its origins were influenced by electro, electroclash, electropop, synthpop, and tech house. The term has been used to describe the music of many DJ Mag Top 100 DJs, including Dimitri Vegas & Like Mike, Hardwell, Skrillex, electro-house is typified by its heavy bass. This is often in the form of buzzing basslines, such as those created with sawtooth waves and it is also often in the form of large bass drum sounds in a four-on-the-floor pattern. The tempo of electro house is usually around 130 beats per minute, electro house sometimes resembles tech house, but it can contain melodic elements and electro-influenced samples and synths. The genre has been described as a genre of house and electro, either in its original form or as fused with electropop and techno in its late-1990s revival. The word electro is now used as an adjective, such as electro-house. Early songs that have been labelled retroactively as electro-house include Dark Invader by Arrivers in 1996, mr. Oizos 1999 hit Flat Beat has also been considered an early example of the genre. Benny Benassi, with his track Satisfaction released in 2002, is seen as the forerunner of electro-house who brought it to the mainstream, by the mid 2000s, electro-house saw an increase in popularity. Since then, electro-house producers such as Feed Me, Knife Party, The M Machine, Porter Robinson, in the early 2010s, a type of electro-house known as big room began to develop, particularly gaining popularity through EDM-oriented events and festivals such as Tomorrowland. Big room now is beginning to subside from the classification of a subgenre of electro house, big room songs resemble Dutch house, often incorporating drops, minimalist percussion, regular beats, sub-bass layered kicks, simple melodies, and synth-driven breakdowns. The layout of a big room track is similar to the layout of a typical electro-house song. Big room is thought of as a subgenre of electro-house, complextro is typified by glitchy, intricate basslines and textures created by sharply cutting between instruments in quick succession. The term, a portmanteau of the complex and electro, was coined by Porter Robinson to describe the sound of the music he was making in 2010. He has cited video game sounds, or chiptunes, as an influence on his style of music along with 1980s analog synth music and it is primarily defined by complex rhythms made from Latin-influenced drum kits, a lower emphasis on basslines, and squeaky, high-pitched lead synths. Influences on the subgenre include Detroit techno, hip hop and other styles of music. It contains influences from Chicago house, Detroit techno, Baltimore club, Kuduro, Pimba, bassline, bouncy techno, dubstep, techstep, hip hop easy listening and world music. Purveyors of the genre include The Bloody Beetroots, AC Slater, Danger, Hervé, Sinden, Jack Beats, the term fidget house was coined by DJs/producers Jesse Rose and Switch, as a joke, which has now gone a little too far
9.
Techno
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Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s. The first recorded use of the word techno in reference to a genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built. Added to this is the influence of futuristic and fictional themes relevant to life in American late capitalist society, pioneering producer Juan Atkins cites Tofflers phrase techno rebels as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation, in this manner, techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness. Stylistically, techno is generally repetitive instrumental music, oftentimes produced for use in a continuous DJ set, the tempo tends to vary between approximately 120 to 150 beats per minute, depending on the style of techno. The creative use of production technology, such as drum machines, synthesizers. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound, drum machines from the 1980s such as Rolands TR-808 and TR-909 are highly prized, and software emulations of such retro technology are popular among techno producers. The Electrifying Mojo was the first radio DJ to play music by the Detroit techno producers Juan Atkins, Derrick May, Mojo refused to follow pre-established radio formats or playlists, and he promoted social and cultural awareness of the African American community. In exploring technos origins writer Kodwo Eshun maintains that Kraftwerk are to Techno what Muddy Waters is to the Rolling Stones, the authentic, the origin, the real. Juan Atkins has acknowledged that he had an enthusiasm for Kraftwerk and Giorgio Moroder, particularly Moroders work with Donna Summer. Atkins also mentions that around 1980 I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and Id ride around in my car playing it. Regarding his initial impression of Kraftwerk, Atkins notes that they were clean, Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty, everything is an ugly mess in Detroit, and so we were attracted to this music. May has commented that he considered his music a direct continuation of the European synthesizer tradition and he also identified Japanese synthpop act Yellow Magic Orchestra, particularly member Ryuichi Sakamoto, and British band Ultravox, as influences, along with Kraftwerk. In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year. These young promoters developed and nurtured the local music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs
10.
Psychedelia
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Psychedelia is a name given to the subculture of people, originating in the 1960s, who often use psychedelic drugs such as LSD, mescaline and psilocybin. The term is used to describe a style of psychedelic artwork. Psychedelic art and music typically try to recreate or reflect the experience of altered consciousness, the term psychedelic is derived from the Ancient Greek words psychē and dēloun, translating to soul-revealing. Psychedelic states may be elicited by various techniques, such as meditation, sensory stimulation or deprivation, when these psychoactive substances are used for religious, shamanic, or spiritual purposes, they are termed entheogens. The term was first coined as a noun in 1956 by psychiatrist Humphry Osmond as a descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy. Seeking a name for the experience induced by LSD, Osmond contacted Aldous Huxley, Huxley coined the term phanerothyme, from the Greek terms for manifest and spirit. This mongrel spelling of the word psychedelic was loathed by American ethnobotanist Richard Evans Schultes, but championed by Timothy Leary, who thought it sounded better. In the same period Lysergic acid diethylamide, better known as LSD, or acid, began to be used in the US and UK as an experimental treatment, initially promoted as a potential cure for mental illness. There had long been a culture of use among jazz and blues musicians, and use of drugs had begun to grow among folk and rock musicians. By the mid-1960s, the psychedelic life-style had already developed in California, and this was particularly true in San Francisco, due in part to the first major underground LSD factory, established there by Owsley Stanley. Leary was a proponent of the use of psychedelics, as was Aldous Huxley. However, both advanced widely different opinions on the use of psychedelics by state and civil society. Leary promulgated the idea of such substances as a panacea, while Huxley suggested that only the cultural and intellectual elite should partake of entheogens systematically, in the mid-1960s the use of psychedelic drugs became widespread in modern Western culture, particularly in the United States and Britain. The movement is credited to Michael Hollingshead who arrived in America from London in 1965 and he was sent to the U. S. by other members of the psychedelic movement to get their ideas exposure. Resurgences of the style are common in the modern era, in science, hallucinogen remains the standard term. Advances in printing and photographic technology in the 1960s saw the traditional lithography printing techniques rapidly superseded by the printing system. Many artists in the late 1960s and early 1970s attempted to illustrate the psychedelic experience in paintings, drawings, illustrations, in the modern era, computer graphics may be used to produce psychedelic effects for artwork. The counterculture music scene frequently used psychedelic designs on posters during the Summer of Love, many of these works are now regarded as classics of the poster genre, and original items by these artists command high prices on the collector market today
11.
Psychedelic art
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Psychedelic art is any art or visual displays inspired by psychedelic experiences and hallucinations known to follow the ingestion of psychoactive drugs such as LSD and psilocybin. The word psychedelic means mind manifesting, by that definition, all artistic efforts to depict the inner world of the psyche may be considered psychedelic. In common parlance psychedelic art refers above all to the art movement of the late 1960s counterculture, psychedelic visual arts were a counterpart to psychedelic rock music. Fantastic, metaphysical and surrealistic subject matter Kaleidoscopic, fractal or paisley patterns Bright and/or highly contrasting colors Extreme depth of detail or stylization of detail, also so called Horror vacui style. The psychedelic art movement is similar to the surrealist movement in that it prescribes a mechanism for obtaining inspiration, whereas the mechanism for surrealism is the observance of dreams, a psychedelic artist turns to drug induced hallucinations. Both movements have strong ties to important developments in science, whereas the surrealist was fascinated by Freuds theory of the unconscious, the psychedelic artist has been literally turned on by Albert Hofmanns discovery of LSD. The early examples of art are literary rather than visual, although there are some examples in the Surrealist art movement, such as Remedios Varo. It should also be noted that these came from writers involved in the Surrealist movement, antonin Artaud writes of his peyote experience in Voyage to the Land of the Tarahumara. Henri Michaux wrote Misérable Miracle, to describe his experiments with mescaline, aldous Huxleys The Doors of Perception and Heaven and Hell remain definitive statements on the psychedelic experience. Albert Hofmann and his colleagues at Sandoz Laboratories were convinced immediately after its discovery in 1943 of the power, for two decades following its discovery LSD was marketed by Sandoz as an important drug for psychological and neurological research. Hofmann saw the potential for poets and artists as well. Early artistic experimentation with LSD was conducted in a clinical context by Los Angeles–based psychiatrist Oscar Janiger, Janiger asked a group of 50 different artists to each do a painting from life of a subject of the artists choosing. They were subsequently asked to do the painting while under the influence of LSD. The two paintings were compared by Janiger and also the artist, the artists almost unanimously reported LSD to be an enhancement to their creativity. Ultimately it seems that psychedelics would be most warmly embraced by the American counterculture, beatnik poets Allen Ginsberg and William S. Burroughs became fascinated by psychedelic drugs as early as the 1950s as evidenced by The Yage Letters. They knew that altered states of consciousness played a role in Eastern Mysticism and they were hip to psychedelics as psychiatric medicine. LSD was the perfect catalyst to electrify the eclectic mix of ideas assembled by the Beats into a cathartic, mass-distributed panacea for the soul of the succeeding generation. Leading proponents of the 1960s psychedelic art movement were San Francisco poster artists such as, Rick Griffin, Victor Moscoso, Bonnie MacLean, Stanley Mouse & Alton Kelley and their psychedelic rock concert posters were inspired by Art Nouveau, Victoriana, Dada, and Pop Art
12.
Algorithmic art
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Algorithmic art, also known as algorithm art, is art, mostly visual art, of which the design is generated by an algorithm. Algorithmic artists are sometimes called algorists, algorithmic art, also known as computer-generated art, is a subset of generative art and is related to systems art. Fractal art is an example of algorithmic art, the final output is typically displayed on a computer monitor, printed with a raster-type printer, or drawn using a plotter. Variability can be introduced by using pseudo-random numbers, there is no consensus as to whether the product of an algorithm that operates on an existing image can still be considered computer-generated art, as opposed to computer-assisted art. Some of the earliest known examples of computer-generated algorithmic art were created by Georg Nees, Frieder Nake, A. Michael Noll, Manfred Mohr and these artworks were executed by a plotter controlled by a computer, and were therefore computer-generated art but not digital art. The act of creation lay in writing the program, which specified the sequence of actions to be performed by the plotter and her early work with copier and telematic art focused on the differences between the human hand and the algorithm. Aside from the work of Roman Verostko and his fellow algorists. These are important here because they use a different means of execution, whereas the earliest algorithmic art was drawn by a plotter, fractal art simply creates an image in computer memory, it is therefore digital art. The native form of an artwork is an image stored on a computer –this is also true of very nearly all equation art. However, in a stricter sense fractal art is not considered algorithmic art, from one point of view, for a work of art to be considered algorithmic art, its creation must include a process based on an algorithm devised by the artist. This input may be mathematical, computational, or generative in nature, inasmuch as algorithms tend to be deterministic, meaning that their repeated execution would always result in the production of identical artworks, some external factor is usually introduced. This can either be a number generator of some sort. By this definition, fractals made by a program are not art. However, defined differently, algorithmic art can be seen to include fractal art, the artist Kerry Mitchell stated in his 1999 Fractal Art Manifesto, Fractal Art is not. Computer Art, in the sense that the computer does all the work. The work is executed on a computer, but only at the direction of the artist, turn a computer on and leave it alone for an hour. When you come back, no art will have been generated, algorist is a term used for digital artists who create algorithmic art. Algorists formally began correspondence and establishing their identity as artists following a panel titled Art, the co-founders were Roman Verostko and Jean-Pierre Hébert. Fractal art consists of varieties of computer-generated fractals with colouring chosen to give an attractive effect, especially in the western world, it is not drawn or painted by hand
13.
Cyberdelic
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Cyberdelic is a term used to refer to either, Immersion in cyberspace as a psychedelic experience. The fusion of cyberculture and the subculture into a new counterculture of the 1980s and 1990s. Psychedelic art created by calculating fractal objects and representing the results as still images, animations, music. Rave dance parties where DJs and other performers play psychedelic trance music, with the accompaniment of laser light shows, projected images, Leary proclaimed that the PC is the LSD of the 1990s and admonished bohemians to turn on, boot up, jack in. In contrast to some of the hippies of the 1960s who were antiscience and antitechnology, the cyberpunks of the 1980s and 1990s ecstatically embraced technology and the hacker ethic. They believed that technology could help human beings overcome limits, that it could liberate them from authority and even enable them to transcend space, time. They often expressed their ethos and aesthetics through cyberart and reality hacking, in 1992, Billy Idol became influenced by the cyberdelic subculture and the cyberpunk fiction genre. Timothy Leary and other members of the movement were contacted by Idol. The album was a critical and financial failure, and polarized online cyberculture communities of the period, detractors viewed it as an act of co-optation and opportunistic commercialization. It was also seen as part of a process that saw the overuse of the term cyberpunk until the word lost meaning, alternatively, supporters saw Idols efforts as harmless and well-intentioned, and were encouraged by his new interest in cyberculture. After the dot-com bubble of the late 1990s burst in 2000, sirius condemned cyberdelic escapism, Anybody who doesnt believe that were trapped hasnt taken a good look around. Were trapped in a sort of mutating multinational corporate oligarchy thats not about to go away, were trapped by the limitations of our species. At the same identity, politics, and ethics have long turned liquid. Cyberculture has emerged as a gleeful apologist for this kill-the-poor trajectory of the Republican revolution, the result is a clear playing field for a mutating corporate oligarchy, which is what we have. I mean, people think its really liberating because the old ruling class has been liquefied. Maybe the wired elite think thats hip, but then dont go around crying about crime in the streets or pretending to be concerned with ethics. Algorave Cybergoth Demoscene Fractal art Immersive technology Postcyberpunk Virtual world Foster, the Souls of Cyberfolk, Posthumanism as Vernacular Theory. Minneapolis, Minnesota, University of Minnesota Press, mondo 2000, A Users Guide to the New Edge Rudy Rucker, R. U
14.
Diffraction
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Diffraction refers to various phenomena that occur when a wave encounters an obstacle or a slit. It is defined as the bending of light around the corners of an obstacle or aperture into the region of shadow of the obstacle. In classical physics, the phenomenon is described as the interference of waves according to the Huygens–Fresnel principle. These characteristic behaviors are exhibited when a wave encounters an obstacle or a slit that is comparable in size to its wavelength. Similar effects occur when a wave travels through a medium with a varying refractive index. Diffraction occurs with all waves, including sound waves, water waves, since physical objects have wave-like properties, diffraction also occurs with matter and can be studied according to the principles of quantum mechanics. Italian scientist Francesco Maria Grimaldi coined the word diffraction and was the first to record observations of the phenomenon in 1660. If the obstructing object provides multiple, closely spaced openings, a pattern of varying intensity can result. This is due to the addition, or interference, of different parts of a wave that travel to the observer by different paths, the formalism of diffraction can also describe the way in which waves of finite extent propagate in free space. For example, the profile of a laser beam, the beam shape of a radar antenna. The effects of diffraction are often seen in everyday life and this principle can be extended to engineer a grating with a structure such that it will produce any diffraction pattern desired, the hologram on a credit card is an example. Diffraction in the atmosphere by small particles can cause a ring to be visible around a bright light source like the sun or the moon. A shadow of an object, using light from a compact source. The speckle pattern which is observed when laser light falls on a rough surface is also a diffraction phenomenon. When deli meat appears to be iridescent, that is diffraction off the meat fibers, all these effects are a consequence of the fact that light propagates as a wave. Diffraction can occur with any kind of wave, ocean waves diffract around jetties and other obstacles. Sound waves can diffract around objects, which is why one can hear someone calling even when hiding behind a tree. Diffraction can also be a concern in some applications, it sets a fundamental limit to the resolution of a camera, telescope
15.
Fractal art
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Fractal art is a form of algorithmic art created by calculating fractal objects and representing the calculation results as still images, animations, and media. Fractal art developed from the mid-1980s onwards and it is a genre of computer art and digital art which are part of new media art. The Julia set and Mandelbrot sets can be considered as icons of fractal art, Fractal art is rarely drawn or painted by hand. In some cases, other programs are used to further modify the images produced. Non-fractal imagery may also be integrated into the artwork and it was assumed that fractal art could not have developed without computers because of the calculative capabilities they provide. Fractals are generated by applying iterative methods to solving non-linear equations or polynomial equations, Fractals are any of various extremely irregular curves or shapes for which any suitably chosen part is similar in shape to a given larger or smaller part when magnified or reduced to the same size. There are many different kinds of images and can be subdivided into several groups. Fractals derived from standard geometry by using iterative transformations on a common figure like a straight line. The first fractal figures invented near the end of the 19th, IFS Strange attractors Fractal flame L-system fractals Fractals created by the iteration of complex polynomials, perhaps the most famous fractals. Newton fractals, including Nova fractals Quaternionic and hypernionic fractals Fractal terrains generated by random fractal processes Mandelbulbs are a kind of three dimensional fractal, Fractal Expressionism is a term used to differentiate traditional visual art that incorporates fractal elements such as self-similarity for example. Perhaps the best example of fractal expressionism is found in Jackson Pollocks dripped patterns and they have been analysed and found to contain a fractal dimension which has been attributed to his technique. Fractals of all kinds have used as the basis for digital art. High resolution color graphics became available at scientific research labs in the mid-1980s. Scientific forms of art, including art, have developed separately from mainstream culture. Many fractal images are admired because of their perceived harmony and this is typically achieved by the patterns which emerge from the balance of order and chaos. Similar qualities have been described in Chinese painting and miniature trees and rockeries, Fractal rendering programs used to make fractal art include Ultra Fractal, Apophysis, Bryce and Sterling. Fractint was the first widely used fractal generating program, the first fractal image that was intended to be a work of art was probably the famous one on the cover of Scientific American, August 1985. This image showed a landscape formed from the function on the domain outside the Mandelbrot set
16.
Liquid light show
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Liquid light shows are a form of light art that surfaced in the early 1960s as accompaniment to electronic music and avant-garde theatre performances. They were later adapted for performances of rock or psychedelic music, Liquid light shows surfaced on both sides of the Atlantic around 1966 and were an integral part of the Progressive music scene well into the seventies. While the shows on both sides of the Atlantic had much in common they differed in two important ways, first, the American shows tended to be larger, with seven operators and over thirty projectors not being exceptional. In contrast, the shows in England seldom had more than three operators and ten or so projectors, second, American shows were generally built around the overhead projector with the liquids in large clock cover glasses. The surface tension of the liquids largely retained the mixtures, but the process was very messy indeed. A popular choice of colored liquids for light shows was Flo-Master ink, while this ink was very vivid it also had the problem of staining the operators hands very deeply. Light Sound Dimension was possibly the first psychedelic lightshow and was operated by the legendary Bill Ham, Bill pioneered kinetic lighting and actually used this technique at the Red Dog Saloon back in 1965. It was also at the Red Dog Saloon where Chet Helms first met Bill, the Joshua Light Show located in New York was founded by a filmmaker called Joshua White. The show was the ‘house lightshow’ at Bill Graham s Fillmore East for almost its entire existence, formed from a lighting company called Sensefex which had been started by Joshua White, Thomas Shoesmith and Bill Shwarzbach, they moved to the Fillmore and became the Joshua Lightshow. Cecily Jaffe had now joined the team, later they changed their name to Joes Lights having parted company with Joshua White. A video of Joshua White at work showing how some of the effects were achieved can be found here, brotherhood Of Light was formed in 1968 as a collective group of lighting and multimedia specialists. Brian Eppes, Brother Ed Langdon, Marcus Maximist and Bob Pullum gathered for the purpose of enhancing and augmenting the psychedelic music of the day. They also performed at the Grateful Dead New Years Eve shows at Winterland, the Heavy Water Light Show, did shows and album covers for Santana, the Jefferson Airplane and the Grateful Dead before moving into planetariums in the 1970s. The cover of the LP Santana III is an image from their show and their work is characterized by extensive use of photographs and film sequences in addition to psychedelic oil effects. Personnel, Mark Boyle, Joan Hills, Des Bonner, Cameron Hills and these events were groundbreaking in respect of projected lighting and consisted of chemical and physical reactions projected onto a screen whilst being surrounded by various taped sounds. Elements of this lightshow evolved and performances were made at the legendary UFO Club in London’s Tottenham Court Road, later that year he formed the Sensual Laboratory with Joan Hills, who would later become his wife. In 1967 the first of many collaborations started with The Soft Machine, with shows at the Edinburgh Festival and also in the Netherlands, also in 1967 Liquid Light Environments ran at the UFO throughout the year. Concerts with The Soft Machine followed in the Netherlands and again in France as well as work on the Structure of Dreams at the Arts Lab, if you were in Detroit, It was the Grande Ballroom and Eastown Theater
17.
Paisley (design)
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Paisley or Paisley pattern is a term in English for a design using the buta or boteh, a droplet-shaped vegetable motif of Persian origin. Some design scholars believe it is the convergence of a stylized floral spray and a cypress tree and it is a bent cedar, and the cedar is the tree Zarathustra planted in paradise. The heavenly tree was “bent” under the weight of the Arab invasion, the bent cedar is also the sign of strength and resistance but modesty. The floral motif was originated in the Sassanid Dynasty and later in the Safavid Dynasty of Persia, in these periods, the pattern was used to decorate royal regalia, crowns, and court garments, as well as textiles used by the general population. According to Azerbaijani historians, the design comes from ancient times of Zoroastrianism and is an expression of the essence of that religion and it subsequently became a decorative element widely used in Azerbaijani culture and architecture. The pattern is popular in Iran and South and Central Asian countries. It is woven using gold or silver threads on silk or other high quality textiles for gifts, for weddings and special occasions. In Iran and Uzbekistan its use goes beyond clothing – paintings, jewelry, frescoes, curtains, tablecloths, quilts, carpets, garden landscaping, in Uzbekistan the most frequently found item featuring the design is the traditional doppi headdress. In Tamil Nadu the manga maalai with matching earrings is a feature of bharathanatyam dance. It is a prominent design in Kanchipuram saris and it has sometimes been associated with Hinduism. In Chinese it is known as the Ham hock pattern, in Russia this ornament is known as cucumbers. Imports from the East India Company in the first half of the 17th century made paisley and other Indian patterns popular, and it was popular in the Baltic states between 1700 and 1800 and was thought to be used as a protective charm to ward off evil demons. Local manufacturers in Marseilles began to mass-produce the patterns via early textile printing processes at 1640, england, circa 1670, and Holland, in 1678, soon followed. This, in turn, provided Europes weavers with more competition than they could bear, however, enforcement near the end of that period was lax, and France had its own printed textile manufacturing industry in place as early at 1746 in some locales. Paisley was not the design produced by French textile printers. In the 19th century European production of paisley increased, particularly in the Scottish town from which the pattern takes its modern name, soldiers returning from the colonies brought home cashmere wool shawls from India, and the East India Company imported more. The design was copied from the silk and wool Kashmir shawls and adapted first for use on handlooms. From roughly 1800 to 1850, the weavers of the town of Paisley in Renfrewshire, Scotland, unique additions to their hand-looms and Jacquard looms allowed them to work in five colors when most weavers were producing paisley using only two
18.
Acid jazz
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Acid jazz, also known as club jazz, is a musical genre that combines elements of jazz, soul, funk, and disco. Acid jazz originated in the London club scene of the mid-1980s in the rare groove movement and spread to the US, Japan, Eastern Europe, and Brazil. Major acts included Brand New Heavies, Incognito, Us3, and Jamiroquai from the UK and Buckshot LeFonque and Digable Planets from the US. The rise of club music in the mid to late 1990s led to a decline in interest, and in the twenty-first century. Many acts that might have been defined as acid jazz are now seen as jazz-funk, neo soul, various origins have been attributed to the name of the genre, including claims to have coined the term by DJs Gilles Peterson and Chris Bangs. The name is a play on the house genre, which was flourishing in the UK club scene in the 1980s. Acid jazz consisted of two related movements, the second were groups influenced by these recordings and who emphasised a groove-based approach to music. Acid jazz uses elements of jazz, funk and hip-hop, the style is characterised by danceable grooves, and long, repetitive compositions. Typical ensembles include horns, a rhythm section, a vocalist that may sing and rap. Acid jazz originated in the London club scene of the mid-1980s, with DJs of the rare groove movement and their main interests were in the fringe of jazz fusion, jazz funk, and with lesser input from soul jazz of the 1950s and 1960s. Particularly significant were records from the Blue Note catalogue and these DJs included Gilles Peterson, who had residencies at several London clubs in the 1980s, began in his own small pirate radio station and then moved to the much larger Kiss-FM. In 1988 with producer Eddie Piller he formed the label Acid Jazz Records, the first release from the company was the compilation Totally Wired, which contained obscure jazz funk tracks from the 1970s with updated new tracks. In 1990 Peterson left to found his own label Talkin Loud at Phonogram, the company signed acts such as Galliano, Young Disciples and Urban Species. Another British record label, Fourth And Broadway Records, was formed in 1990, artists included Pharoah Sanders, Stereo MCs, the French rapper MC Solaar, Japanese production team United Future Organization and saxophonist Courtney Pine. In 1991 the genre broke into the mainstream with the success of Brand New Heavies, after one eponymous album with Acid Jazz Records the group moved on to FFRR Records for their hit singles Never Stop and Dreams Come True. Other bands included Incognito and Us3, whose Cantaloop was the biggest hit in the genre, other live acts included Stereo MCs and the James Taylor Quartet. The initial mainstream success of acid jazz was followed by a number of compilations that left the public confused as to the nature of. In the early 1990s local acid jazz scenes developed in the US, from this Groove Academy developed into a record label and media company
19.
Acid rock
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Acid rock is a loosely defined type of rock music that evolved out of the mid-1960s garage punk movement and helped launch the psychedelic subculture. Acid rock is defined by distorted guitars, lyrics with drug references. Distinctions between other genres can be tenuous, it may also encompass certain garage rock, 1960s punk, proto-metal and heavy, the style may distinguish itself from other psychedelic styles by having a harder, louder, or heavier sound. Developing mainly from the American West Coast, acid rock did not focus on novelty recording effects or whimsicalness as much as subsequent British psychedelia, rather, American groups emphasized the heavier qualities associated with both the positive and negative extremes of the psychedelic experience. Some of the bands in the genre include 13th Floor Elevators, the Charlatans, the Grateful Dead, Count Five, the Beatles. Of the last three groups, their 1966 songs Psychotic Reaction, Tomorrow Never Knows, and East-West were especially influential. As the movement progressed into the late 1960s and 1970s, elements of rock split into two directions, with hard rock and heavy metal on one side and progressive rock on the other. In the 1990s, the metal genre combined acid rock with other hard rock styles such as grunge, updating the heavy riffs and long jams found in acid rock. Rock journalist Nik Cohn called it a meaningless phrase that got applied to any group. It was originally used to describe the music for acid trips in underground parties in the 1960s. The term is regularly deployed interchangeably with psychedelic rock and this would mean psychedelic rock that is heavier, louder, or harder. As a hard rock variant of psychedelia, acid rock evolved from the 1960s garage punk movement, percussionist John Beck defines acid rock as synonymous with hard rock and heavy metal. The term eventually encompassed heavy, blues-based hard rock bands, musicologist Steve Waksman wrote that the distinction between acid rock, hard rock, and heavy metal can at some point never be more than tenuous. Many bands associated with acid rock aimed to create a movement based on love and peace. David P. Szatmary states, a legion of rock bands, playing what became known as acid rock, when played live at dance clubs, performances were accompanied by psychedelic-themed light shows in order to replicate the visual effects of the acid experience. Their stage performance involved the use of lights to reproduce LSDs surrealistic fragmenting or vivid isolating of caught moments. The Acid Test experiments subsequently launched the entire psychedelic subculture, other bands credited with creating or laying the foundation for acid rock include garage rock bands such as the 13th Floor Elevators and Count Five. According to Laura Diane Kuhn, the form of psychedelic rock known as acid rock developed from the late 1960s California music scene
20.
Neo-psychedelia
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Neo-psychedelia is a diverse style of music that originated in the 1970s as an outgrowth of the British post-punk scene. Its practitioners drew from the sounds of 1960s psychedelic music. After post-punk, neo-psychedelia flourished into a widespread and international movement of artists who applied the spirit of psychedelic rock to new sounds. Neo-psychedelia may also include forays into pop, jangly guitar rock, heavily distorted free-form jams. A wave of British alternative rock in the early 1990s spawned the subgenres dream pop, neo-psychedelic acts borrowed a variety of elements from 1960s psychedelic music. Some emulated the psychedelic pop of bands like the Beatles and early Pink Floyd, others adopted Byrds-influenced guitar rock, or distorted free-form jams and sonic experimentalism of the 1960s. Some neo-psychedelia has been focused on drug use and experiences, and like acid house of the same age, projects transitory, ephemeral. Other bands have used neo-psychedelia to accompany surreal or political lyrics, in the view of author Erik Morse, The distinctions between British and American neo-psychedelia were best described as the differences between primitivism and primalism. Psychedelic rock declined towards the end of the 1960s, as bands broke up or moved into new forms of music, including heavy metal music, like the psychedelic developments of the late 1960s, punk rock and new wave in the 1970s challenged the rock music establishment. At the time, new wave was a term used interchangeably with the nascent punk rock explosion, in 1978, journalist Greg Shaw categorized a subset of new wave music as neo-psychedelia, citing Devo, to an extent. The new darling of the new press and opion-makers, yet nothing about it is remotely punk. Shaw wrote that in England, neo-psychedelia was known as punk, noting self-advertised psychedelic punk band. By 1978–79, new wave was considered independent from punk and post-punk, author Clinton Heylin marks the second half of year 1977 and the first half of year 1978 as the true starting-point for English post-punk. Some of the bands, including the Soft Boys, the Teardrop Explodes. The early 1980s Paisley Underground movement followed neo-psychedelia, originating in Los Angeles, the movement saw a number of young bands who were influenced by the psychedelia of the late 1960s and all took different elements of it. The term Paisley Underground was later expanded to others from outside the city. The late 1980s would see the birth of shoegazing, which, among other influences, reynolds referred to this movement as a rash of blurry, neo-psychedelic bands in a 1992 article in The Observer. With loud walls of sound, where individual instruments and even vocals were often indistinguishable, major shoegaze acts included Ride, Lush, Chapterhouse, and The Boo Radleys, who enjoyed considerable attention in the UK but largely failed to break through in the US
21.
Psychedelic folk
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Psychedelic folk is a loosely defined form of psychedelia that originated in the 1960s. It retains the acoustic instrumentation of folk, but adds musical influences common to psychedelic music. Psychedelic folk generally favors acoustic instrumentation although it incorporates other instrumentation. Chanting, early music and various folk music influences are often found in psych folk. Much like its counterpart, psychedelic folk is often known for a peculiar, trance-like. Its lyrics are concerned with such subjects as the natural world, love and beauty. The first musical use of the term psychedelic is thought to have been by the New York-based folk group The Holy Modal Rounders on their version of Lead Bellys Hesitation Blues in 1964. Folk/avant-garde guitarist John Fahey recorded several songs in the early 1960s that experimented with recording techniques, including backward tapes. His nineteen-minute The Great San Bernardino Birthday Party anticipated elements of psychedelia with its nervy improvisations, Other songs from Faheys The Great San Bernardino Birthday Party & Other Excursions also used unsettling moods and dissonances that took them beyond the typical folk fare. In 1967, he performed with the rock band Red Krayola at the Berkeley Folk Festival which was recorded. Among other descriptions, their performance has been likened to the very weirdest parts of late-60s Pink Floyd pieces, similarly, folk guitarist Sandy Bulls early work incorporated elements of folk, jazz, and Indian and Arabic-influenced dronish modes. His 1963 album Fantasias for Guitar and Banjo explores various styles and instrumentation, later albums, such as 1968s E Pluribus Unum and his live album Still Valentines Day 1969, which use experimental recording techniques and extended improvisation, also have psychedelic elements. In the mid 1970s psychedelia began to fall out of fashion, in Britain folk groups also tended to electrify as did acoustic duo Tyrannosaurus Rex which became the electric combo T. Rex. This was a continuation of a process by which progressive folk had considerable impact on mainstream rock, anti-folk Freak folk Jam bands Neofolk Ptolemaic Terrascope – a psychedelic folk & rock magazine PsychedelicFolk
22.
Psychedelic rock
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Many psychedelic groups differ in style, and the label is often used indiscriminately. Musically, the effects may be represented via novelty studio tricks, electronic or non-Western instrumentation, disjunctive song structures, some of the earlier 1960s psychedelic rock musicians were based in folk, jazz, and the blues, while others showcased an explicit Indian classical influence called raga rock. In the 1960s, there existed two main variants of the genre, the whimsical British pop-psychedelia, and the harder American West Coast acid rock. While acid rock is often deployed interchangeably with the psychedelic rock, it can also refer more specifically to the heavier. The genre bridged the transition from early blues- and folk-based rock to rock and hard rock. Since the late 1970s it has revived in various forms of neo-psychedelia. The term psychedelic was first coined in 1956 by psychiatrist Humphry Osmond as a descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy. As the countercultural scene developed in San Francisco, the acid rock. In the popular music of the early 1960s, it was common for producers, songwriters, and engineers to freely experiment with form, arrangements, unnatural reverb. Some of the best known examples are Phil Spectors Wall of Sound production formula, there was no transition to be made. You go from things like Flying Purple People Eater to I Am the Walrus, music critic Richie Unterberger says that attempts to pin down the first psychedelic record are therefore nearly as elusive as trying to name the first rock & roll record. Some of the far-fetched claims include the instrumental Telstar and the Dave Clark Fives massively reverb-laden Any Way You Want It, the first mention of LSD on a rock record was the Gamblers 1960 surf instrumental LSD25. American folk singer Bob Dylan was an influence on mid 1960s rock music. He led directly to the creation of rock and the psychedelic rock musicians that followed. Molly Longman of mic. com writes that, in terms of bridging the relationship between music and hallucinogens, the Beatles and the Beach Boys were the eras most pivotal acts. The considerable success enjoyed by these two bands allowed them the freedom to experiment with new technology over entire albums. In Unterbergers opinion, the Byrds, emerging from the Californian folk scene, with their ominous minor key melodies, hyperactive instrumental breaks, and use of Gregorian chants. In the songs lyric, the requests, Take me on a trip upon your magic swirling ship
23.
Psychedelic soul
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It came to prominence in the late 1960s and continued into the 1970s, playing a major role in the development of funk and disco. Pioneering acts included Sly and the Family Stone, Jimi Hendrix, mainstream acts that developed a psychedelic sound included the Supremes and Stevie Wonder. Acts that achieved notability with the sound included the Chambers Brothers, the 5th Dimension, Edwin Starr, and George Clintons Funkadelic and Parliament ensembles. Following the lead of Jimi Hendrix in psychedelic rock, in the late 1960s psychedelia began to have a impact on African American musicians. Influenced by the civil movement, it had a darker. Other Motown acts soon followed into psychedelic territory, including established performers like the Supremes with Reflections, Love Child, psychedelic influences could also be heard in the work of Stevie Wonder and in Marvin Gayes socially conscious work from Whats Going On. George Clintons interdependent Funkadelic and Parliament ensembles and their various spin-offs, took the genre to its most extreme lengths, making funk almost a religion in the 1970s. And Your Ass Will Follow, and Maggot Brain, and Parliament album Osmium, producing over forty singles, including three in the US top ten, and three platinum albums. Acts like Earth, Wind & Fire, Kool & the Gang, and Ohio Players, who began as psychedelic soul artists, incorporated its sounds into funk music and eventually the disco which partly replaced it
24.
Stoner rock
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Stoner rock or stoner metal is a rock music fusion genre that combines elements of heavy metal and/or doom metal with psychedelic rock and acid rock. The term desert rock is used interchangeably with the term stoner rock to describe this genre, however. Stoner rock is typically slow-to-mid tempo and features a distorted, groove laden bass-heavy sound, melodic vocals. The genre emerged during the early 1990s and was pioneered foremost by the Californian bands Kyuss, the descriptor stoner rock may originate from the title of the 1997 Roadrunner Records compilation Burn One Up. Desert rock is used interchangeably as a descriptor, and was coined by a MeteorCity Records intern. Due to the similarities between stoner and sludge metal, there is often a crossover between the two genres and this hybrid has traits of both styles, but generally lacks stoner metals laid back atmosphere and its usage of psychedelia. Bands such as Weedeater, High on Fire and Electric Wizard creatively fuse both styles, the involvement of cannabis in the creation of stoner rock/metal can range between bands in the genre. Bands such as Sleep have involved the concept of cannabis to be part of the core of their albums, dopesmoker by Sleep received controversy because the 60-minute song is about cannabis, which resulted in conflict with Sleeps record company. Bands such as King Caravan and Sea of Green have come under terms with this statement. Similarly, Matt Pike from the band High on Fire stated, Its a very strong scene, I might use the word stoner in my lyrics, but I think were metal, dude. Id say I was crossover metal, actually, or progressive metal and its kind of a tough thing to lump into a category, but I guess we get the stoner-rock label because of the whole pot thing. Like most subgenres of music, the origins of rock are hard to trace. Nevertheless, several known progenitors and signature songs are credited with helping to shape the genre. Blue Cheer is considered one of the pioneers of the style, as AllMusic author Greg Prato puts it, When talks about stoner rock come up, one band that tends to get overlooked is Blue Cheer. Rolling Stone claims, What stoner rock delivers, slowed down and magnified, is the riff, led Zeppelin and Black Sabbath were the first to make a monolith of it. Sir Lord Baltimore have been called the godfathers of rock and Leaf Hound have been cited for influencing countless bands in the stoner rock movement, including Kyuss. Primevils album Smokin Bats at Camptons has been called a touchstone of stoner rock, jim DeRogatis has said that stoner rock bands are reaching back for inspiration to the psychedelic, proto-metallic jamming of bands like Cream, Black Sabbath, Deep Purple, and Hawkwind. Black Sabbaths Master of Reality is often cited as the first album of the genre, soundgarden, who released their first album in 1988, are typically associated with grunge, but have also been called the standard-bearers of stoner rock during the 1990s
25.
Trip hop
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Trip hop is a musical genre that originated in the early 1990s in the United Kingdom, especially Bristol. Trip hop can be highly experimental and it was pioneered by acts like Massive Attack, Tricky, and Portishead. Trip hop achieved commercial success in the 1990s, and has described as Europes alternative choice in the second half of the 90s. DJs, MCs, b-boys and graffiti artists grouped together into informal soundsystems, Bristols soundsystem DJs, drawing heavily on Jamaican dub music, typically used a laid-back, slow and heavy drum beat. Bristols Wild Bunch crew became one of the soundsystems to put a spin on the international phenomenon, helping to birth Bristols signature sound of trip hop. As the hip hop scene matured in Bristol and musical trends evolved further toward acid jazz and house in the late 1980s, another influence came from Gary Clails Tackhead soundsystem. Clail often worked with former The Pop Group singer Mark Stewart, produced by Adrian Sherwood, the music combined hiphop with experimental rock and dub and sounded like a premature version of what later became trip hop. In 1993, Kirsty MacColl released Angel, one of the first examples of the crossing over to pop. In the 1990s, Janet Jackson brought trip hop into the American charts with the song If, several songs on her Janet. and The Velvet Rope used this genre of music, Songs like Got Til Its Gone and You. Massive Attacks first album Blue Lines was released in 1991 to huge success in the UK, Massive Attack released their second album entitled Protection in 1994. The term trip hop was coined that year, but not in reference to anything on the Massive Attack albums, in 1993, Icelandic musician Björk released Debut, produced by Wild Bunch member Nellee Hooper. The album, although rooted in four-on-the-floor house music, contained elements of trip hop and is credited as one of the first albums to introduce electronic music into mainstream pop. She had been in contact with Londons underground electronic music scene and was involved with trip hop musician Tricky. Björk embraced trip hop even more with her 1995 album Post by collaborating with Tricky, homogenic, her 1997 album, has been described as a pinnacle of trip hop music. 1994 and 1995 saw trip hop near the peak of its popularity, with such as Howie B, Naked Funk. The period also marked the debut of two acts who, along with Massive Attack, would define the Bristol scene for years to come, in 1994 Portishead, a trio comprising singer Beth Gibbons, Geoff Barrow, and Adrian Utley, released their debut album Dummy. Their background differed from Massive Attack in many ways, one of Portisheads primary influences was 1960s and 1970s film soundtrack LPs, nevertheless, Portishead shared the scratchy, jazz-sample-based aesthetic of early Massive Attack, and the sullen, fragile vocals of Gibbons also brought them wide acclaim. In 1995, Dummy was awarded the Mercury Music Prize as the best British album of the year, Tricky also released his debut solo album Maxinquaye in 1995, to great critical acclaim
26.
Counterculture
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A counterculture is a subculture whose values and norms of behavior differ substantially from those of mainstream society, often in opposition to mainstream cultural mores. A countercultural movement expresses the ethos and aspirations of a population during a well-defined era. When oppositional forces reach critical mass, countercultures can trigger dramatic cultural changes, John Milton Yinger originated the term contraculture in his 1960 article in American Sociological Review. Some scholars have attributed the counterculture to Theodore Roszak, author of The Making of a Counter Culture and it became prominent in the news media amid the social revolution that swept the Americas, Western Europe, Japan, Australia, and New Zealand during the 1960s. Scholars differ in the characteristics and specificity they attribute to counterculture, mainstream culture is of course also difficult to define, and in some ways becomes identified and understood through contrast with counterculture. Counterculture might oppose mass culture, or middle-class culture and values, Counterculture is sometimes conceptualized in terms of generational conflict and rejection of older or adult values. Counterculture may or may not be explicitly political and it typically involves criticism or rejection of currently powerful institutions, with accompanying hope for a better life or a new society. It does not look favorably on party politics or authoritarianism, typically, a fringe culture expands and grows into a counterculture by defining its own values in opposition to mainstream norms. Countercultures tend to peak, then go into decline, leaving an impact on mainstream cultural values. Their life cycles include phases of rejection, growth, partial acceptance, during the late 1960s, hippies became the largest and most visible countercultural group in the United States. The cultural shadows left by the Romantics, Bohemians, Beats, the counterculture of the 1960s and early 1970s generated its own unique brand of notable literature, including comics and cartoons, and sometimes referred to as the underground press. In the United States, this includes the work of Robert Crumb and Gilbert Shelton, another such hippie/anarchist bookshop was Mushroom Books, tucked away in the Lace Market area of Nottingham. Some genres tend to challenge societies with their content that is meant to question the norms within cultures. More often than not, sources of these controversies can be found in art such as Marcel Duchamp whose piece Fountain was meant to be an attack on the most basic conventions of art in 1917. Instead of being a topic to fear, they have initiated subtle trends that other artists, in order to achieve such liberation, consciousness raising and direct action were employed. At the outset of the 20th century, homosexual acts were punishable offenses in these countries, the prevailing public attitude was that homosexuality was a moral failing that should be punished, as exemplified by Oscar Wildes 1895 trial and imprisonment for gross indecency. But even then, there were dissenting views, according to Charles Kaisers The Gay Metropolis, there were already semi-public gay-themed gatherings by the mid-1930s in the United States. There were also bars and bathhouses that catered to gay clientele, but homosexuality was typically subsumed into bohemian culture, and was not a significant movement in itself
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Entheogen
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An entheogen, from Greek, literally meaning generating the divine within, is any psychoactive substance that induces a spiritual experience and is aimed at spiritual development. This terminology is often chosen to contrast with use of the same drugs. The use of entheogens was kept secret by native societies to the Western world until the 1950s, later clinical trials have shown that these substances have helped people with such mental disorders as OCD, PTSD, alcoholism, depression, and cluster headaches. In the 1960s the hippie movement escalated its use to psychedelic art and binaural beats, sensory deprivation tank, music, entheogens have been used by native tribes for hundreds of years. Some countries have legislation that allows for traditional entheogen use, entheogens have been used in a ritualized context for thousands of years. R. Gordon Wasson and Giorgio Samorini have proposed several examples of the use of entheogens that are found in the archaeological record. Evidence for the first use of entheogens may come from Tassili, Algeria, with a painting of a mushroom-man. Hemp seeds discovered by archaeologists at Pazyryk suggest early ceremonial practices by the Scythians occurred during the 5th to 2nd century BC, with the advent of organic chemistry, there now exist many synthetic drugs with similar psychoactive properties, many derived from the aforementioned plants. Semi-synthetic (e. g. LSD and synthetic drugs have also been developed, alexander Shulgin developed hundreds of entheogens in PiHKAL and TiHKAL. Most of the drugs in PiHKAL are synthetic, entheogens used by movements includes biotas like peyote, extracts like Ayahuasca, the semi-synthetic drug LSD, and synthetic drugs like DPT and 2C-B. Both Santo Daime and União do Vegetal now have members and churches throughout the world, MAPS has pursued a number of other research studies examining the effects of psychedelics administered to human subjects. In essence, all drugs that are biosynthesized in nature by cytota. To exclude non-psychoactive drugs that also are used in spiritual context. Toxicity does not affect a drugs inclusion, nor does effectiveness or potency, the substances vary from psychoactive drugs, and less often physical painful or dangerous venoms. High coffee consumption has been linked to an increase in the likelihood of experiencing auditory hallucinations, a study conducted by the La Trobe University School of Psychological Sciences revealed that as few as five cups of coffee a day could trigger the phenomenon. This is similar to how pure THC is very different than an extract that retains the many cannabinoids of the plant such as cannabidiol and cannabinol. L. E. Drugs, including some that cause physical dependence, have used with entheogenic intention, mostly in ancient times. Common recreational drugs that cause chemical dependence have a history of entheogenic use, perhaps because they could not access traditional entheogens as shamans were very secret with their sacraments who regarded non-visioning sacraments as hedonistic
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Smart shop
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A smart shop is a retail establishment that specializes in the sales of psychoactive substances, usually including psychedelics, as well as related literature and paraphernalia. The name derives from the name smart drugs, a class of drugs, some governments do not tolerate smart shops in any form as a part of their crime prevention. Smart shops offer prescription-free pharmacy products sold as Ritalin, Adderall, smart shops are best known in practice for selling whatever psychedelics, dissociatives, entactogens and deliriants local law permits. As of 1 December 2008, magic mushrooms are under control in the Netherlands. Those new controls are quite controversial, because the list of banned mushrooms also contains species that have no psychoactive substances, Magic Mushroom spore prints and grow boxes are still available over the counter in the Netherlands. Psilocybin is not included in the ban and continues to be sold in smart shops nationwide in truffle form, smart shops in various countries have been known in the past to sell designer drugs, that is, synthetic substances that were not illegal. The sale of synthetic drugs not explicitly approved as food, supplements or medicines is illegal in some of them. For example, in the Netherlands it is dealt with by the relatively benign machinery of the Warenautoriteit rather than in criminal law, yet, this has made it effectively impossible to sell them in a formal retail setting, even if their production and possession is entirely legitimate. Smart shops sell products that can be seen as complement goods to psychoactive drugs. In the Netherlands, which has no drug paraphernalia laws, this is entirely legal, many of the paraphernalia and complements sold in smart shops reduce, in one way or another, the harm associated with illegal drugs. Supplements of vitamins and amino acids have been developed to specifically the damage of certain illegal drugs. Vitamin B12 is depleted by use of nitrous oxide, and is thereby useful. Smart shop is distinguished from head shops found in many countries, head shops provide only paraphernalia, whereas smart shops usually sell at least some actual drugs. Many of the British head shops still sell a range of legal highs. Smart shops have become a source of information about the drugs they sell. There are some shops from the Netherlands that operate as both a shop and a head shop on an international level. As of December 1,2008, the sale of magic mushrooms was subject to control in the Netherlands. This legal regime is markedly different from the one that applies to cannabis products and those are formally illegal under the Opium Act and international law, which after all explicitly bans the plant rather than the cannabinoids in it
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Trip sitter
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This practice can be qualified as a means of harm reduction. Guides are more common among spiritual users of entheogens, Psychedelic guides were strongly encouraged by Timothy Leary and the other authors of The Psychedelic Experience, A Manual Based on the Tibetan Book of the Dead. Trip sitters are also mentioned in the Responsible Drug Users Oath, some sources recommend a sitter be present when certain drugs are used, regardless of the users experience or comfort with the substance. A sitter may be necessary for users of Salvia divinorum for example because the drug can cause both disorientation and a desire to move about. In some cases, a trip sitter may be a medical professional, sometimes, a tripper will ask another, more experienced user to sit for them. However, the most common trip sitter is a friend or family member whom the user trusts. A sitter should be willing to research the substance in question and they may have first hand experience of the drug before hand, but this is not required, with a number of sitters choosing to the culture but not the chemical. A trip sitter will also help a drug user create a healthy set. A sitter typically remains present for the entire experience, in some cases, they may actively guide the experience of the user by adjusting their environment or through guided meditation or visualization. In other cases, they stay uninvolved except when the user has questions, fears, assistance in facing fears may be especially necessary if the experience turns into a bad trip. A sitter may help the user to integrate or understand their experiences when the experience is complete. Just as they did before, and during the trip, they may reassure the user about any fears or worries that have occurred and this discussion may take place immediately after the drugs effects have worn off, or they may wait until a later date. ^ b c d e f EmmanuelGuide, ^ Erowid and Salvia Authors, 2002-2005. ^ b Berg, Laura, RN-C, MSN, notes From a Psychedelic Research Nurse. ^ b c d e Alpert, Richard, Ph. D, metzner, Ralph, Ph. D. and Karma-Glin-Pa Bar Do Thos Grol. The Psychedelic Experience, A Manual Based on the Tibetan Book of the Dead, guides and Sitters Vault from Erowid My Father Takes A Trip - a sons experience trip sitting for his fathers first LSD trip
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Psychedelic drug
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A psychedelic drug is a drug whose primary action is to alter cognition and perception, typically by agonising serotonin receptors. The psychedelic experience is often compared to forms of consciousness such as trance, meditation, yoga, religious ecstasy, dreaming. With a few exceptions, most psychedelic drugs fall into one of the three following families of compounds, tryptamines, phenethylamines, and lysergamides. Many psychedelic drugs are illegal worldwide under the UN conventions unless used in a medical or religious context, despite these regulations, recreational use of psychedelics is common. The word was coined in 1956 by British psychiatrist, Humphry Osmond, the spelling loathed by American ethnobotanist, Richard Schultes, aldous Huxley had suggested to Humphry Osmond in 1956 his own coinage phanerothyme. Recently, the term entheogenic has come into use to denote the use of drugs in a religious/spiritual/mystical context. Psychedelics have a history of traditional use in medicine and religion. In this context, they are known as entheogens. Native American practitioners using mescaline-containing cacti have reported success against alcoholism, ayahuasca, which contains the powerful psychedelic DMT, is used in Peru and other parts of South America for spiritual and physical healing as well as in religious festivals. Classical or serotonergic psychedelics include LSD, psilocin, mescaline, and this class of psychedelics includes the classical hallucinogens, including the lysergamides like LSD and LSA, tryptamines like psilocybin and DMT, and phenethylamines like mescaline and 2C-B. Many of these psychedelics cause remarkably similar effects, despite their different chemical structure, however, many users report that the three families have subjectively different qualities in the feel of the experience, which are difficult to describe. At lower doses, these include sensory alterations, such as the warping of surfaces, shape suggestibility, users often report intense colors that they have not previously experienced, and repetitive geometric shapes are common. Higher doses often cause intense and fundamental alterations of sensory perception, some compounds, such as 2C-B, have extremely tight dose curves, meaning the difference between a non-event and an overwhelming disconnection from reality can be very slight. There can be substantial differences between the drugs, however. The empathogen-entactogens are phenethylamines of the MDxx class such as MDMA, MDEA and their effects are characterized by feelings of openness, euphoria, empathy, love, heightened self-awareness, and by mild audio and visual distortions. Their adoption by the subculture is probably due to the enhancement of the overall social and musical experience. Certain dissociative drugs acting via NMDA antagonism are known to produce what some might consider psychedelic effects, the main differences between dissociative psychedelics and serotonergic hallucinogens are that the dissociatives cause more intense derealization and depersonalization. For example, ketamine produces sensations of being disconnected from ones body, salvia divinorum is a dissociative that is sometimes classified as an atypical psychedelic
