Reason for Warning: This article discusses substances and their effects. Reader discretion is advised.
Psychedelia denotes a countercultural movement originating in the 1960s, characterized by visual and auditory representations of altered consciousness, known as the "psychedelic experience." This aesthetic draws heavily from the subjective experiences induced by psychoactive substances, including LSD, mescaline, and psilocybin.
The subculture included both users of these substances and non-users who participated in and appreciated the associated art, music, and fashion. Psychedelic art employs distorted, surreal imagery, vivid colors, and animation to replicate or evoke altered states of perception. Psychedelic music, which encompasses various genres such as psychedelic rock, utilizes techniques such as electric guitar distortion, elements of Indian music including the sitar and tabla, electronic effects, sound manipulation, and studio effects such as tape manipulation and stereo panning.
The psychedelic experience, as a phenomenon, involves perceived alterations in consciousness. These alterations encompass hallucinations, synesthesia, shifts in awareness, changes in thought processes, trance-like states, and mystical experiences. These altered states can prompt individuals to experience shifts in self-perception, leading to feelings of revelation, confusion, or psychosis. People who experience altered states of consciousness, particularly with the use of psychedelic substances for spiritual or self-exploratory purposes, are sometimes referred to as "psychonauts."
Etymology[]
The term "psychedelic" originated in a 1957 letter from British psychiatrist Humphry Osmond to Aldous Huxley.[1] Osmond created the word from the Greek words "psychḗ," meaning "mind" or "soul," and "dēleín," meaning "to reveal" or "manifest." Therefore, "psychedelic" translates to "mind manifesting" or "soul manifesting." This term gained prominence during the 1960s counterculture and remains the most prevalent descriptor.
Prior to psychedelic, "hallucinogen" was the more common term, referring to substances that induce hallucinations, but it does not encompass the full range of effects produced by these substances. Many of these substances do not consistently produce full hallucinations at typical dosages. Additionally, "hallucination" can be associated with negative mental states, such as certain disorders or sleep deprivation.
"Entheogen," a more recent term, emphasizes the spiritual dimensions of these substances and their potential for facilitating spiritual development. Derived from Greek, "entheogen" means "generating the divine within." This term was popularized in 1979 by ethnobotanists and mythologists including Richard Evans Schultes, R. Gordon Wasson, Jonathan Ott, and Carl Ruck. "Entheogen" is meant to represent the capacity of these substances to induce experiences of the divine and acknowledges their historical use in religious ceremonies.
History[]
The history of psychedelia unfolded through distinct phases, beginning in the mid-1950s. Beat Generation writers, including William Burroughs, Jack Kerouac, and Allen Ginsberg, documented their drug use, which included cannabis and Benzedrine, thus popularizing those substances. Simultaneously, LSD, a legal substance at the time, was used in experimental psychiatric treatments in the United States and United Kingdom. In the early 1960s, advocates of expanded consciousness, such as Timothy Leary, Alan Watts, Aldous Huxley, and Arthur Koestler, promoted LSD and other hallucinogens, influencing a new generation of youth. Drug use was already present among jazz and blues musicians, and it began to spread among folk and rock musicians, who incorporated drug references into their music. The Rolling Stones, the Beatles, and the Moody Blues were among the British rock groups known for their drug use.
By the mid-1960s, a psychedelic lifestyle had developed in California, particularly in San Francisco, spurred in part by Owsley Stanley's underground LSD factory. Ken Kesey and the Merry Pranksters organized "Acid Tests" from 1964, events featuring LSD, light shows, and improvised music. The Pranksters also undertook road trips across America, distributing LSD and engaging with Beat Generation figures, as documented in Tom Wolfe's "The Electric Kool-Aid Acid Test." San Francisco's music scene, with its folk clubs, coffee houses, and independent radio stations, catered to students and free thinkers.
Timothy Leary and Aldous Huxley held differing views on the public use of psychedelics. Leary advocated for their widespread use, while Huxley suggested limiting their use to an intellectual elite. Michael Hollingshead's arrival in the US from London in 1965 contributed to the movement's spread. The 1967 Summer of Love and the rise of hippie culture popularized psychedelia in mainstream culture, where it remained influential into the 1970s.
Many acid rock bands aimed to create a youth movement based on love and peace, rejecting capitalist society. David P. Szatmary noted that acid rock bands were at the forefront of cultural change, and the San Francisco Oracle highlighted rock music's regenerative and revolutionary potential. Live performances in dance clubs featured psychedelic light shows to replicate the effects of LSD. Kevin T. McEneaney credited the Grateful Dead with "inventing" acid rock at a 1965 Acid Test. Steve Turner recognized the Beatles' 1966 album "Revolver" as a key influence on acid rock. Phillip Rauls identified the Beach Boys' "Good Vibrations" as an early example of acid rock's influence.
Laura Diane Kuhn traced the development of acid rock to the late 1960s California music scene. The Charlatans and Jefferson Airplane were early Bay Area acid rock bands. Time magazine and Life magazine acknowledged the prominence of bands like Jefferson Airplane and the Doors. Garage rock bands such as the 13th Floor Elevators and Count Five, as well as the Paul Butterfield Blues Band, contributed to the development of acid rock. The Beatles' "Sgt. Pepper's Lonely Hearts Club Band" also influenced American acid rock.
Research on psychedelics, much of it conducted at institutions like Harvard University, gained attention in the 1960s. Timothy Leary's Harvard Psilocybin Project included the Concord Prison Experiment, which explored psilocybin's effect on recidivism. Leary and his colleagues believed psychedelics could promote peace, but their research faced skepticism. Leary also advocated for college courses on psychedelics.
Ken Kesey and the Merry Pranksters, who had participated in CIA-funded drug trials, popularized LSD through their cross-country trips and "Acid Tests." Their activities, documented in Tom Wolfe's book, linked the Beat Generation to the psychedelic scene. Experimentation with various psychedelic drugs became a significant aspect of 1960s counterculture.
Musical precursors to psychedelic rock included the Ventures and the Beatles, who experimented with guitar effects and studio techniques. The emergence of psychedelic rock in the mid-1960s stemmed from British Invasion bands and folk rock artists. Bob Dylan and Ravi Shankar influenced the development of folk rock and raga rock. The Holy Modal Rounders and John Fahey were among the early folk musicians who incorporated psychedelic elements.
In 1965, the US West Coast and London saw the emergence of psychedelic scenes. The Beatles and the Byrds were pivotal in the development of psychedelic rock. The Beatles' "Norwegian Wood" and the Byrds' "Eight Miles High" were important early examples of the genre. San Francisco became a center for psychedelic music, with bands like Jefferson Airplane and the Grateful Dead gaining prominence. The Grateful Dead's performances at Acid Tests contributed to the growth of the psychedelic subculture.
By 1966, psychedelic rock gained mainstream popularity. The Yardbirds, the Byrds, the Beach Boys, and the Beatles released influential psychedelic records. The 13th Floor Elevators and Donovan also contributed to the genre's growth.
In 1967, psychedelic rock reached its peak, with bands like the Doors and Pink Floyd achieving widespread success. The Beatles' "Sgt. Pepper's Lonely Hearts Club Band" and the Monterey Pop Festival were significant events. The Summer of Love drew large numbers of people to San Francisco. British and international variants of psychedelic rock also emerged.
By the end of the 1960s, psychedelic rock began to decline. LSD was illegalized in the United Kingdom and United States, and events like the Manson Family murders and the Altamont Free Concert contributed to a negative perception of the counterculture. Musicians moved away from psychedelic styles, and record labels began to suppress the genre.
Visual Arts[]
Psychedelic art, distinct from graphic design, broadly encompasses artistic expressions that reflect altered states of consciousness, often influenced by hallucinogenic substances such as LSD. While graphic design focused on communicative forms like posters and album covers, visual art explored more expansive and immersive creative avenues.
This art form is characterized by its anti-naturalistic and day-glo color palettes, featuring swirling patterns, hidden messages, and sometimes erotic imagery. Its origins are deeply intertwined with the hippie counterculture in San Francisco, where artists aimed to translate the subjective experiences of a "trip" into visual forms.
Where the 1960s "psychedelic" look came from
Vox video tracing back the origins of psychedelic art to Art Nouveau.
The visual motifs common in psychedelic art often draw from Art Nouveau, incorporating curvilinear forms, floral elements, and natural themes. However, psychedelic art intensifies these elements with bold, high-contrast colors chosen to be dazzling and even unsettling, reflecting the overwhelming sensory experience of a psychedelic state. The artwork tends to be rich in detail, often exhibiting horror vacui, a tendency to fill every available space with intricate elements, symbolizing the hyperactivity of the mind under the influence of psychedelics. This richness can also be achieved through repetition of colors, motifs, or images, mirroring the recurring patterns seen during altered perceptions.
Freedom of expression is a fundamental aspect, with artists having no strict rules regarding composition or medium. The goal is to convey the flow of consciousness, leading to improvisation and a mixture of symbols, abstract geometric figures, and distorted imagery. Optical illusions are frequently employed, creating a sense of movement or misperception, such as parallel lines appearing curved or immobile elements seeming to shift. Fractals, which are geometric shapes repeating at different scales, are also commonly depicted, reflecting patterns often experienced during psychedelic states and conveying a sense of underlying harmony.
Other recurring visual themes include "melting" effects, where objects, beings, or colors appear to liquefy, symbolizing the fluidity of consciousness or the dematerialization of identity. Symmetry is often used to establish balance and harmony, whether bilateral, translational, or rotational. Distortion is perhaps the most prevalent technique, representing the mind's inability to perceive reality clearly and often serving to aestheticize visual errors. Collage, the superimposition of disparate images, and glitches, simulated electronic distortions, are also utilized to create fragmented or disrupted visuals. More modern techniques, like DeepDream, use neural networks to enhance patterns, producing hallucinogenic, dream-like imagery. Kaleidoscope-like effects, creating continuously changing symmetrical patterns, are used to induce a sense of perpetual motion. Negative color inversions can create a macabre or melancholic mood, inviting deeper viewer engagement.
Historically, the connection to drug use initially led to psychedelic art being "purged" from official art history, often relegated to applied art or dismissed as stylistic aberration to avoid controversy. Despite this, exhibitions in the mid-1960s, notably "LSD ART" covered by LIFE Magazine in 1966, brought it into the mainstream. Early monographs, like Robert Masters and Jean Houston's Psychedelic Art (1968), sought to define the subject and even linked it to earlier "visionary" art to provide a historical precedent. This period saw a belief that psychedelic experiences could offer therapeutic benefit or mystical insight, with the best art expressing a harmonious universe. However, as LSD became illegal and the counterculture faced negative perceptions, the "psychedelic" label became detrimental to artists' reputations, leading to its decline from mainstream visibility by 1970. Critics also argued that the art often favored sensuousness over depth and became monotonous or commercially co-opted, further contributing to its diminished status in art discourse.
Beyond static images, psychedelic visual art found a significant outlet in light shows. Pioneering groups like the Joshua Light Show, founded by Joshua White in 1967, created improvisational liquid light shows using overhead projectors and colored oils. These dynamic visual spectacles served as backdrops for live music performances, particularly at venues like Bill Graham's Fillmore East, accompanying artists such as Jimi Hendrix, The Grateful Dead, and The Doors. These light shows were an immersive, multi-sensory experience, designed to complement the music and enhance the audience's altered state of perception, effectively fusing high and low art, and blurring the lines between life and art. The Joshua Light Show's work, which is now in the permanent collection of the Museum of Modern Art in New York, influenced subsequent visual music and continues to be exhibited.
Graphic Design[]
Psychedelic graphic design emerged in the mid-1960s, reflecting the counterculture and its interest in altered states of consciousness. This visual style aimed to translate the experience of psychedelic drugs into a tangible form, influencing popular culture beyond music. The design language was characterized by specific visual motifs derived from various artistic movements.
Key characteristics of psychedelic graphic design included curvilinear shapes, often inspired by Art Nouveau. Typography frequently featured illegible, hand-drawn letters that appeared to melt or undulate, creating a sense of motion. Intense optical color vibration, drawing from the Pop Art movement, was also a defining element. This effect was achieved by juxtaposing colors from opposite ends of the color wheel with equal value and intensity.
A Wes Wilson poster promoting the 13th Floor Elevators, Great Society, Sopwith Camel at the Fillmore Auditorium on August 26 and 27, 1966.
San Francisco was a focal point for psychedelic graphic design, particularly in the creation of rock concert posters and album covers. Influential designers, often referred to as the "Big Five," included Wes Wilson, Victor Moscoso, Rick Griffin, Alton Kelley, and Stanley Mouse. These artists were instrumental in defining the look of the era. Wes Wilson, known for his work for The Fillmore, popularized the melting, moving psychedelic font around 1966. Victor Moscoso, with a formal graphic design background, consistently used vibrating colors to create psychedelic effects, blending influences from comic books, Victorian imagery, Art Nouveau, and Pop Art. In 1967, several of these designers formed the "Berkeley-Bonaparte" studio.
The influence of Op Art, a style of abstraction that utilized geometric shapes, lines, and color juxtapositions to create optical illusions, was evident in psychedelic design. Pop Art also played a significant role by blurring the lines between "high" art and popular culture. Pop artists like Roy Lichtenstein and Andy Warhol, who incorporated commercial imagery and bold visual techniques, contributed to a broader acceptance of unconventional aesthetics that characterized the psychedelic movement.
Album covers became prominent canvases for psychedelic graphic design. The cover for The Beatles' "Sgt. Pepper's Lonely Hearts Club Band" (1967), designed by Peter Blake and Jann Haworth, combined psychedelic elements with Pop Art. Jimi Hendrix's "Axis: Bold as Love" (1967), illustrated by Roger Law, featured rich ornaments, vivid colors, and imagery reflecting a symbiotic coexistence of people and animals, intended to evoke narcotic visions.
The Joshua Light Show
Psychedelic graphic design broke established conventions, offering a visual representation of the counterculture's rule-breaking and freedom of expression. The movement also inspired experimental live visuals, such as the liquid light shows pioneered by groups like The Joshua Light Show, which used overhead projectors and colored oil as backdrops for musical performances. Underground comics like "Zap Comix," published in San Francisco starting in 1968, also served as an outlet for psychedelic illustration, featuring distorted styles and countercultural content.
Cover Art[]
Fashion[]
Vogue fashion shoot starring Pattie Boyd.
Psychedelic fashion emerged in the 1960s as a direct reflection of the era's social and political shifts, heavily influenced by the "LSD trip" experience that heightened the appreciation for line, texture, and color. This aesthetic was characterized by bold patterns and vibrant hues, designed to enhance and externalize altered states of consciousness. It began in urban youth enclaves and quickly gained media attention, influencing both mass-market manufacturers and haute couture designers. Early examples included go-go boots, culottes, mini-skirts, and more experimental items like PVC clothing and box-shaped dresses, though these were less common in daily wear.[2]
The visual language of psychedelic fashion drew inspiration from Pop Art, which challenged traditional fine art by blurring the lines between high and low culture. San Francisco psychedelic poster artists such as Wes Wilson, Alton Kelley, Stanley Mouse, Bonnie Maclean, Victor Moscoso, and Rick Griffin were central to the movement, incorporating bizarre iconography, rubber-like distortions, collage elements, symmetrical compositions, and bright, ornate lettering into their designs for rock concerts. These designs were also influenced by Dadaism, Victoriana, and Art Nouveau.
Psychedelic fashion served as a means to express an internal, dream-like reality projected onto external appearances. It became a defining movement of the 1960s, with its vocabulary permeating the decade's fashion industry. The clothing itself was often described as owing something to the phantasmagoria of acid visions. A common characteristic was the combination of psychedelic and tribal patterns with mottled Indonesian and African textures, frequently seen alongside tie-dye showers and phosphorescent splotches. This was a grassroots movement that achieved widespread recognition; for instance, custom-made tie-dye outfits were available in New York City at locations like Halston's Salon and The Fur Ballon. Psychedelic fashion transcended mere style, fostering a sense of community and shared identity.
Collina Strada wearing psychedelic print for her SS21 RTW collection.
In contemporary fashion, psychedelic patterns have seen a resurgence. Designers have incorporated these prints, notable for their sinuous lines, organic shapes, and bold colors, into collections. Tie-dye remains a prominent related trend. For the Spring/Summer 2021 season, designers such as Raf Simons, Paloma Wool, Lecavalier, Collina Strada, and Dries Van Noten featured psychedelic prints in their collections, often embracing a "funky" aesthetic. Raf Simons' Spring/Summer 2021 "Teenage Dreams" collection, for instance, used color-blocked, well-defined swirls inspired by the 1979 film "Hair," reflecting themes of youth revolt. Dries Van Noten drew inspiration from early 20th-century films, incorporating "psychedelic sun, sunshine and moons, light bars, and palm trees" into fluid silhouettes and balloon-sleeved garments.[3]
This contemporary return to psychedelic fashion is often seen as mirroring chaotic and confusing times, similar to the socio-political upheaval of the 1960s. The "magic-eye" trend, featuring confounding prints that deny an immediate sense of order, can be interpreted as a reflection of current societal uncertainty or a surge of hedonistic energy and release. Designers like Marine Serre have featured complex, fragmented geometric prints that contribute to this disorienting aesthetic. This movement towards more free and less traditional approaches in dressing, including the tie-dye boom, suggests a rebuke against restrictions and a desire for excitement and engagement beyond daily confines. Fashion historians and psychologists suggest that such designs offer optimism, break down fashion rules, and evoke nostalgic feelings of freedom, community, and sensory experiences, particularly after periods of isolation.
Music[]
Psychedelic Rock[]
Psychedelic Rock is a rock music style that emerged in the mid-1960s. Its aim is to replicate or enhance the auditory experience of music under the influence of psychedelic drugs. Typical characteristics include heavily distorted and reverbed electric guitars, extended instrumental sections with prominent guitar solos, augmented vocals, and lyrics influenced by drug experiences. The genre also commonly uses keyboards and elaborate studio effects like backwards recording. Psychedelic rock often incorporates elements from other genres such as folk, blues, jazz, and traditional South Asian music.
The inception of psychedelic rock is generally placed around 1966, marked by releases such as The Byrds' "Eight Miles High" from Fifth Dimension, The Beatles' B-side "Rain," and The 13th Floor Elevators' The Psychedelic Sounds of The 13th Floor Elevators. This genre often developed in parallel with psychedelic pop. Early psychedelic records, especially in the UK, frequently combined elements of both genres, as seen in The Beatles' Revolver.
By 1967, psychedelic rock's popularity surged, particularly in the US, where it began to differentiate itself more clearly from psychedelic pop. This distinction involved moving away from pop-oriented song structures and integrating elements of garage rock and blues rock, alongside the emergence of the "wah"-heavy acid rock sub-style. Notable artists showcasing these fusions include Jimi Hendrix, The Doors, Cream, and Jefferson Airplane. Although psychedelic rock saw a significant decline in popularity transitioning into the 1970s, it substantially influenced later genres like progressive rock and hard rock.
Acid Rock[]
Acid Rock is a subgenre of psychedelic rock that developed in the mid to late 1960s, primarily in the United States. It was conceived as music for psychedelic experiences, specifically LSD trips. This style pushed experimentation further than earlier psychedelic music, moving beyond its blues and rock foundations without fully adopting the heavier characteristics of heavy psych. Acid rock maintains the extended instrumental jamming and improvisation common to the psychedelic era. It often emphasizes "wah" effects more than the distorted "fuzz" found in hard psych, and incorporates more subdued textures. The term largely fell out of favor after the mid-1970s as bands either dissolved or integrated into heavy psych.
Neo-Psychedelia[]
Neo-Psychedelia is a broad musical term encompassing developments in psychedelia since the early 1980s, building upon the drug-inspired styles of the 1960s. Initially, the term referred to post-punk and jangle pop artists such as The Soft Boys and The Church, who blended clean electric guitars and pop songwriting with effects like reverb and distortion. Throughout the 1980s, neo-psychedelia evolved alongside alternative rock, including the mid-1980s California scene known as the Paisley Underground, and a space rock revival led by bands like Spacemen 3 and Loop. In the late 1980s, it contributed to the psychedelic sound of the Baggy scene, which combined surreal sonic environments with alternative dance rhythms and rave culture influences, notably on Primal Scream's 1991 album Screamadelica.
The 1990s featured various forms of neo-psychedelia, generally rooted in its rock origins. In the UK, shoegaze developed from neo-psychedelic techniques, dream pop, and noise pop, forming its own distinct genre. Artists like Spiritualized and The Verve pursued a more purely neo-psychedelic sound, focusing on studio effects and elaborate arrangements. In the American underground, neo-psychedelia was significant through interrelated styles. The Elephant 6 collective and The Brian Jonestown Massacre's 1960s pop worship coexisted with Mercury Rev and The Flaming Lips, whose psychedelic sound initially embraced noise before shifting to more orchestrated and experimental styles akin to their British counterparts.
The focus of neo-psychedelia shifted in the 2000s, incorporating more electronic instruments, synthesizers, and effects, as exemplified by artists like Broadcast and, later in the decade, Fuck Buttons. Simultaneously, Ariel Pink's Haunted Graffiti and James Ferraro established hypnagogic pop, a lo-fi offshoot of neo-psychedelia with a grimy sound referencing the 1980s. Animal Collective also became a key figure in 2000s and 2010s neo-psychedelia, drawing from psychedelic folk before moving towards more experimental and electronic-infused directions, pushing the genre beyond its pop and rock foundations.
In the 2010s, neo-psychedelia remained influential in alternative and popular music, with artists like MGMT and Tame Impala achieving significant success. The electronic aspect of the genre also influenced the rise of chillwave, which in turn contributed to the dreamy, reverb-laden sound of cloud rap. Presently, neo-psychedelia encompasses a diverse range of styles unified by their shared origin and the use of instruments and effects to create a psychedelic sound.
Other Genres[]
- Heavy Psych (also known as Hard Psych) developed in the late 1960s from the psychedelic rock era, taking cues from blues rock. It introduced crushing levels of heaviness with thick, fuzzy guitars, creating a doomy and often morose atmosphere. Songs are typically long, sometimes instrumental, with slow or mid-paced tempos and improvised sections featuring long solos. Cream and The Jimi Hendrix Experience's Are You Experienced are considered direct origins, with early bands like Blue Cheer and Vanilla Fudge known for their sheer heaviness. Heavy psych is seen by some as a bridge to heavy metal and traditional doom metal.
- Psychedelic Pop is a subgenre that combines the melodic and song-structured approach of pop music with the sonic experimentation and lyrical themes of psychedelia.
- Psychedelic Folk incorporates acoustic instrumentation and folk song structures with psychedelic elements, such as abstract lyrics, ethereal vocal harmonies, and sometimes exotic instrumentation.
- Psychedelic Folk Rock merges the amplified sound of folk rock with psychedelic themes and experimental production techniques.
- Space Rock often features prolonged, atmospheric soundscapes with ethereal vocals, repetitive structures, and textural improvisation, aiming to evoke a sense of outer space or otherworldly journeys.
- Stoner Rock is a genre that emerged later, heavily influenced by the thick, distorted, and often blues-infused sound of heavy psych, usually characterized by slow-to-mid tempos and a "groovy" feel.
- Stoner Metal is a heavier variant of stoner rock, often incorporating doom metal influences while maintaining the psychedelic and bluesy characteristics.
Musical Artists[]
- The 13th Floor Elevators (Psychedelic Rock / Garage Rock)
- The Animals (Psychedelic Rock)
- The Beach Boys (Psychedelic Pop / Psychedelic Rock)
- The Beatles (Psychedelic Pop / Psychedelic Rock)
- Big Brother and the Holding Company (Acid Rock / Psychedelic Rock)
- Bob Dylan (Psychedelic Folk Rock)
- The Byrds (Psychedelic Folk Rock / Psychedelic Rock)
- The Charlatans (Psychedelic Rock)
- Count Five (Garage Rock / Psychedelic Rock)
- Cream (Psychedelic Rock / Blues Rock)
- The Doors (Psychedelic Rock)
- Donovan (Psychedelic Folk)
- The Grateful Dead (Acid Rock / Psychedelic Rock)
- The Holy Modal Rounders (Psychedelic Folk)
- Iron Butterfly (Psychedelic Rock / Acid Rock)
- Janis Joplin (Acid Rock / Psychedelic Rock)
- Jefferson Airplane (Acid Rock / Psychedelic Rock)
- Jimi Hendrix Experience (Psychedelic Rock / Acid Rock)
- John Fahey (Psychedelic Folk)
- The Moody Blues (Psychedelic Pop / Progressive Rock)
- Pink Floyd (Psychedelic Rock / Progressive Rock)
- The Paul Butterfield Blues Band (Blues Rock / Psychedelic Rock)
- The Rolling Stones (Psychedelic Rock)
- The Ventures (Surf Rock / Instrumental Rock with early psychedelic elements)
- The Who (Psychedelic Rock / Hard Rock)
- The Yardbirds (Psychedelic Rock / Blues Rock)
Albums[]
- Revolver by The Beatles (1966)
- Sgt. Pepper's Lonely Hearts Club Band by The Beatles (1967)
- The Piper at the Gates of Dawn by Pink Floyd (1967)
- Are You Experienced by The Jimi Hendrix Experience (1967)
- Surrealistic Pillow by Jefferson Airplane (1967)
- The Doors by The Doors (1967)
- Disraeli Gears by Cream (1967)
- The Grateful Dead by The Grateful Dead (1967)
- Their Satanic Majesties Request by The Rolling Stones (1967)
- Sunshine Superman by Donovan (1966)
- Forever Changes by Love (1967)
- Strange Days by The Doors (1967)
- After Bathing at Baxter's by Jefferson Airplane (1967)
- Axis: Bold as Love by The Jimi Hendrix Experience (1967)
- In-A-Gadda-Da-Vida by Iron Butterfly (1968)
- Electric Ladyland by The Jimi Hendrix Experience (1968)
- The Zodiac: Cosmic Sounds (1967)
Media[]
Literature[]
- The Electric Kool-Aid Acid Test by Tom Wolfe (1968)
Film[]
- The Trip (1967)
- Easy Rider (1969)
- 2001: A Space Odyssey (1968)
- Yellow Submarine (1968)
- Fear and Loathing in Las Vegas (1998)
- Across the Universe (2007)
- Alice in Wonderland (1951, 2010)
Television[]
- The Monkees (1966-1968)
- H.R. Pufnstuf (1969-1970)
- The Midnight Gospel (2020)
Video Games[]
- LSD: Dream Emulator (1998)
- Rez (2001)
- Thumper (2016)
- Sayonara Wild Hearts (2019)
Gallery[]
References[]
- ↑ "Introduction to Psychedelics and Psychedelic Culture" on realitysandwich.com
- ↑ "How Psychedelic Fashion Began" on theheadspace.net
- ↑ "Winter 2021: A continuity of psychedelic patterns in fashion" on heuritech.com
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