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Lsd in the 60s
Lsd in the 60s
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The CIA’s clandestine operation known as Project MKUltra, inadvertently transformed the use of LSD from being a highly classified method of mind control into a massively popular drug that, in part, defined the counterculture movement of the 1960’s. While the CIA had no intention to supply the American public with the most potent hallucinogen known at the time , their poorly ran mission to create a foolproof truth-drug created an LSD following and changed it into a prominent entheogen. At that time, issues like the threat of an apocalyptic war with the USSR to the horrifying reports from the Vietnam War to the struggle for civil rights pervaded the minds of many young, disillusioned Americans who then sought an escape from their harsh reality. When they discovered a new and legal (until 1968) psychedelic drug thanks to public advocates like Ken Kesey or Timothy Leary, a massive demand was created, with roughly 2,000,000 individuals admitting to have tried it by the end of 1970 .
In the early 1950’s, prior to Project MKUltra, the groundwork for underhanded scientific research was being laid. Immediately after World War II, the United States’ Office of Strategic Services - the predecessor to the Central Intelligence Agency - launched Operation Paperclip, a mission to prevent the Soviet Union from obtaining any wartime German scientific research or expertise, while exploiting those sources of information to directly benefit American programs. Over 700 German scientists were recruited by the US, both voluntarily and by force . These scientists were employed in various government programs depending on the focus of their research, but the OSS took special interest in the men who had pursued brainwashing and other controversial interrog...
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...presence of LSD in the US that was completely unaffiliated with the government, there is clear evidence that because of MKUltra’s experiments, the drug was propelled from a niche market to a national – even global – stage. In addition to the many subjects of the drug trials, thousands of people were exposed to LSD when they read Leary’s published works and attended his public lectures, participated in Kesey’s Acid Tests and listened to his endorsements, attended Robert Hunters concerts, and witnessed the extensive work done by many others – all influenced by MKUltra in some fashion. Ultimately, the alterations in its use gave the emergence of LSD a sense of irony that truly reflected that era – instead of becoming the government’s secret chemical weapon, LSD became a sacrament that shaped a generation, epitomizing the counterculture’s belief of “make love, not war.”
The 1960’s was a radical decade filled with political tensions, social strife, and overall cultural intrigue. The beginning of the decade allowed for the transition from President Eisenhower to President Kennedy, the youngest President to take office, and the first Roman Catholic. The move represented a shift from a Republican to Democratic administration in the Oval Office. Kennedy became a symbol for the young vibrancy of the American populous, as he was quickly accepted by the grand majority. After Kennedy was assassinated and Lyndon B. Johnson took office, the nation was further engulfed in the war that would come to define America for years to come. The Republican Party regained office as Richard Nixon was elected in his second attempt to run as the decade came to a close. Activists such as Martin Luther King Jr. and Malcom X paved the way for the civil rights movement that swept the nation and captivated the spirit of not only black Americans, but white Americans as well. The race between the United States of America and The Union of Soviet Socialist Republics for domination of space escalated as Kennedy pushed for a man on the moon by the close of the decade, achieved in 1969. The possibility of nuclear war became all too real in 1962 as the launch of nuclear missiles became an abundantly clear possibility. The drug culture emerged in the 1960’s in large part due to the newfound accessibility of illegal drugs, such as marijuana and Lysergic Acid Diethylamide, or LSD. American society was entrenched in the chaotic desire for new, improved highs. The profound ascent of the drug culture was truly realized when the 3-day music festival, Woodstock, took place in 1969, as “sex, drugs and rock n’ roll” symbolized America’s...
In 1967 the Beatles were in Abbey Road Studios putting the finishing touches on their album Sgt. Pepper's Lonely Hearts Club Band. At one point Paul McCartney wandered down the corridor and heard what was then a new young band called Pink Floyd working on their hypnotic debut, The Piper at the Gates of Dawn. He listened for a moment, then came rushing back. "Hey guys," he reputedly said, "There's a new band in there and they're gonna steal our thunder." With their mix of blues, music hall influences, Lewis Carroll references, and dissonant experimentation, Pink Floyd was one of the key bands of the 1960s psychedelic revolution, a pop culture movement that emerged with American and British rock, before sweeping through film, literature, and the visual arts. The music was largely inspired by hallucinogens, or so-called "mind-expanding" drugs such as marijuana and LSD (lysergic acid diethylamide; "acid"), and attempted to recreate drug-induced states through the use of overdriven guitar, amplified feedback, and droning guitar motifs influenced by Eastern music. This psychedelic consciousness was seeded, in the United States, by countercultural gurus such as Dr. Timothy Leary, a Harvard University professor who began researching LSD as a tool of self-discovery from 1960, and writer Ken Kesey who with his Merry Pranksters staged Acid Tests--multimedia "happenings" set to the music of the Warlocks (later the Grateful Dead) and documented by novelist Tom Wolfe in the literary classic The Electric Kool-Aid Acid Test (1968)--and traversed the country during the mid-1960s on a kaleidoscope-colored school bus. "Everybody felt the '60s were a breakthrough. There was exploration of sexual freedom and [...
Psychedelic drugs were an icon of the 1960s, its role embedded within the rising counterculture in response to the economic, social, and political turmoil throughout the United States. As a means to impose a central power and control social order, federal authorities were quick to ban the recreational and medical use of psychedelic drugs without consideration of its potential benefits. The recent state laws on the legalization of marijuana in Oregon and Colorado with others soon to follow, is a sure sign of an eventual collective shift in the perceptions of psychedelic drugs. Not only does Daniel Pinchbeck document his reflections on the personal consumption of psychedelic drugs in his unconventional novel Breaking Open the Head, he also advances several assertions on modern Western society in his exploration of polarized attitudes on this controversial topic.
Despite the negative portrayal in mainstream 1960s media, justifications expressed by counterculture activists for further investigation, education and experimentation under government control of LSD were rational and valid arguments. Sex, drugs, protests, war, political upheaval, cultural chaos, and social rebellion; the many comforts TV dinner eating, republican voting, church going, suburbia conformists tried to escape through conservative ideals, town meetings, and The Andy Williams Family Hour. National consciousness in 1960s United States was alive, but existed differently in every mind it dwelled, and stirred uninterrupted in every life to which it was introduced. A dream of money, success, and a house with a white picket fence still existed within the pandemonium of the nation and many still relished in the idea of “Americanism.” Television was a base for a magnitude of world news and national information. Television situation comedies created ideal families and contenting distractions from unsettling national realities. Mainstream media, both fact and fiction, influenced the nation’s minds resulting in the effect of political change and further media influence over the government. The new decade, along with the effects of the Vietnam War and the strong influence of television, began to leak from the cracks of the nation a new counterculture of rebellious teenagers, unfamiliar narcotics, and a wave of promiscuity. Among the many issues and events molding our nation into a new decade, came the question of government and mind control. For some it was the next step into human evolution, a potential tool for mind control, a liberator of human kind, but for most LSD helped define 1960s counterculture, in which it was deeply rooted.
It all started with the “Hungarian conspiracy” it had everyone convinced that the creation of a nuclear bomb possible, but that the German government was already doing research in this field of study and on such a weapon. To the rest of the world, the thought of Adolf Hitler might be the first to gain control of a weapon this destructiveness would be terrifying to the United States. Right, then they decided that the administration of President Franklin D. Roosevelt must be warned about the dangers and that the United States must begin its research department.As the planned gave way, Einstein was to write a letter to President Franklin D. Roosevelt about the possibilities and dangers of the atomic weapons, and later was taken to the president.Einsteins appointment was easy to get in te late summer of 1939. Hitler had just invaded Poland .and the war had just begun in Europe.After speaking with the President, he gathered his cabinet. and wanted to speak with his chief aide, after talking with him a small committee was set up called ...
In 1960 professor Timothy Leary urged people to try the drug LSD. Leary thought that it could help people therapeutically and he saw many benefits in the usage of the drug. LSD was first available in tablet form but when it became illegal people began to use it in other forms such as liquid acid which was taken orally, through the eyes or mucous membrane or mixed with other drugs such as marijuana.
Art influenced by drugs faces a unique challenge from the mainstream: prove its legitimacy despite its "tainted" origins. The established judges of culture tend to look down upon drug-related art and artists, as though it is the drug and not the artist that is doing the creating. This conflict, less intense but still with us today, has its foundations in the 1960s. As the Beatnik, Hippie, and psychedelic movements grew increasing amounts of national attention, the influence of drugs on culture could no longer be ignored by the mainstream. In an age where once-prolific drugs like marijuana and cocaine had become prohibited and sensationalized, the renewed influence of drugs both old and new sent shockwaves through the culture base. The instinctual response of the non-drug-using majority was to simply write drug-influenced art off as little more than the ramblings of madmen. Some drug-influenced artists tried to ignore this preconception, and others tried to downplay their drug use in the face of negative public scrutiny. For some drug-influenced artists, however, it was imperative to gain popular acceptance by publicly challenging the perception and preconceptions of mainstream America.
The Milgram experiment of the 1960s was designed to ascertain why so many Germans decided to support the Nazi cause. It sought to determine if people would be willing to contradict their conscience if they were commanded to do so by someone in authority. This was done with a psychologist commanding a teacher to administer an electric shock to a student each time a question was answered incorrectly. The results of the Milgram experiment help to explain why so many men in Nazi Germany were recruited to support the Nazi cause and serve as a warning against the use of “enhanced interrogation” techniques by the United States government.
Drugs are used to escape the real and move into the surreal world of one’s own imaginations, where the pain is gone and one believes one can be happy. People look on their life, their world, their own reality, and feel sickened by the uncaringly blunt vision. Those too weak to stand up to this hard life seek their escape. They believe this escape may be found in chemicals that can alter the mind, placing a delusional peace in the place of their own depression: “Euphoric, narcotic, pleasantly halucinant,” (52). They do this with alcohol, acid, crack, cocaine, heroine, opium, even marijuana for the commoner economy. These people would rather hide behind the haze than deal with real problems. “...A gramme is better than a damn.” (55).
Wesson, Donald R. "Psychedelic Drugs, Hippie Counterculture, Speed And Phenobarbital Treatment Of Sedative-Hypnotic Dependence: A Journey To The Haight Ashbury In The Sixties." Journal Of Psychoactive Drugs 2 (2011): 153. Academic OneFile. Web. 23 Mar. 2014.
There were leaders such as Timothy Leary, Harvard Professor, who was helped spread the hippies drug use. He recommended the use of LSD and used his famous slogan, “tune in, ten on, and drop out”, to inspire the American youth. Later during his career, he was fired for being unreliable to showing up to his classes. Leary had a belief that LSD showed improvements for therapy, that the human mind would expand and there would be personal truth. During the hippie movement he was constantly arrested and was known as “-in the words of president Richard Nixon - “the most dangerous man in America”” (Bliss Jim, “The death of Timothy Leary, ‘The most dangerous man in America’”). Later in 1995, Leary was diagnosed with inoperable prostate cancer. And then in 1996, he died lying in bed with his
With a country in shambles as a result of the Vietnam War, thousands of young men and women took their stand through rallies, protests, and concerts. A large number of young Americans opposed the war; with a common feeling of anti-war, thousands of youths united as one. This new culture of opposition spread like wild fire with alternative lifestyles blossoming, people coming together and reviving their communal efforts, demonstrated in the Woodstock Art and Music festival. The use of drugs, mainly marijuana, became a staple in the community of anti-war youths. The countercultures’ radical views and actions caused American society to turn its head and look to the young. They set themselves out as a group and were going to stand up for their rights as well as the rights of mankind.
...these tests ensured a long, relative peace between the U.S. and Soviet Bloc and greatly benefited the scientific community.
Beginning with the late 1960’s counterculture in San Francisco, music and drugs will forever be inter-linked. Hippie bands such as the Grateful Dead, the Allman Brothers, and Phish are associated with marijuana, mushrooms, and LSD. Modern electronic “rave” , or club music is associated with MDMA or Ecstasy. When one thinks of rock and roll, sex and drugs immediately come to mind. While the use of drugs is not essential for the creation or performance of all new music, it was certainly in important factor for the counterculture music of the late 1960’s. While some of the most important and influential music was made with the help of psychoactive drugs, it was often to the detriment of the artist. Janis Joplin, Jimi Hendrix, Jim Morrison, and countless other tremendously talented artists had their lives cut short due to drug use. Drugs were most often good for the music, but deadly for the music makers.