Download Free The Romantic Psychedelic Revolutionary Book in PDF and EPUB Free Download. You can read online The Romantic Psychedelic Revolutionary and write the review.

A barefoot hippie on probation encounters a debutante on a streetcar in New Orleans and falls in love. Thus begins an amazing adventure. There are miraculous escapes, incredible coincidences, and the story of one young man's journey for Goldwater conservative to radical LSD revolutionary - from rational materialism to mysticism - from fast food to natural food. If you have ever been curious about what it was really like to be a hippie, and what motivated the movement," The Romantic Psychedelic Revolutionary" is for you. And it is all completely true.
Though more than a generation has passed since the revolutionary fervor of the Summer of Love of 1967, the 1960s in many ways seem with us still. From recurring debates over the war in Vietnam to the perpetually appealing music of the Beatles and the Rolling Stone to the concern about youth drug use, the legacy of the 1960s is ubiquitous in contemporary life. The Summer of Love brings together an impressive group of historians, artists, and cultural critics to present a rich and varied interpretation of this seminal decade and its continuing influence on politics, society, and culture. The Summer of Love, which accompanies an exhibition at Tate Liverpool, pays particular attention to the wildly creative psychedelic art of the era. Perceptive essays on psychedelic comics, graphic design and typography, light shows, and film successfully rescue psychedelic art from the fog of nostalgia and unjust critical neglect. Distinguished contributors also explore the role of 1960s fashion and architecture, and they consider anew the central influence of hallucinogenic drugs on the art of the era. Running throughout the essays are the elements of epochal change—from sexual liberation to student revolutions—that still form the backdrop of our collective consciousness of the 1960s. An incisive collection of writings on all aspects of 1960s art and culture, tempered by time and critical distance, The Summer of Love will be indispensable for those who wish they had been there—or for those who were, but can't remember it.
A bold exploration of modern psychedelic culture, its history, and future • Examines 3 modern psy-culture architects: chemist Alexander “Sasha” Shulgin, mycologist-philosopher Terence McKenna, and visionary artist Alex Grey • Investigates the use of microdosing in extreme sports, the psy-trance festival experience, and the relationship between the ego, entheogens, and toxicity • Presents a “History of Visionary Art,” from its roots in prehistory, to Ernst Fuchs and the Vienna School of the Fantastic, to contemporary psychedelic art After the dismantling of a major acid laboratory in 2001 dramatically reduced the world supply of LSD, the psychedelic revolution of the 1960s appeared to have finally run its course. But the opposite has actually proven to be true, and a psychedelic renaissance is rapidly emerging with the rise in popularity of transformational festivals like Burning Man and BOOM!, the return to positive media coverage of the potential benefits of entheogens, and the growing number of celebrities willing to admit the benefits of their own personal use. Along with the return of university research, the revival of psychedelic philosophy, and the increasing popularity of visionary art, these new developments signify the beginning of a worldwide psychedelic cultural revolution more integrated into the mainstream than the counterculture uprising of the 1960s. In his latest book, James Oroc defines the borders of 21st-century psychedelic culture through the influence of its three main architects-- chemist Alexander Shulgin, mycologist Terence McKenna, and visionary artist Alex Grey--before illustrating a number of facets of this “Second Psychedelic Revolution,” including the use of microdosing in extreme sports, the tech-savvy psychedelic community that has arisen around transformational festivals, and the relationship between the ego, entheogens, and toxicity. This volume also presents for the first time a “History of Visionary Art” that explains its importance to the emergence of visionary culture. Exploring the practical role of entheogens in our selfish and fast-paced modern world, the author explains how psychedelics are powerful tools to examine the ego and the shadow via the transpersonal experience. Asserting that a cultural adoption of the entheogenic perspective is the best chance that our society has to survive, he then proposes that our ongoing psychedelic revolution--now a century old since the first synthesis of a psychedelic in 1918--offers the potential for the birth of a new Visionary Age.
A memoir by one of the original female psychedelic pioneers of the 1960s • Shares Rosemary’s early experimentation with psychedelics in the 1950s, her development through the psychedelic revolution of the 1960s, and her involvement, at first exciting but then heartbreaking, with Dr. Timothy Leary • Describes her LSD trips with Leary, their time at the famous Millbrook estate, their experiences as fugitives abroad, including their captivity by the Black Panthers in Algeria, and Rosemary’s years on the run after she and Timothy separated One of the original female psychedelic pioneers, Rosemary Woodruff Leary (1935-2002) began her psychedelic journey long before her relationship with Dr. Timothy Leary. In the 1950s, she moved to New York City where she became part of the city’s most advanced music, art, and literary circles and expanded her consciousness with psilocybin mushrooms and peyote. In 1964 she met two former Harvard professors who were experimenting with LSD, Timothy Leary and Ralph Metzner, who invited her to join them at the Millbrook estate in upstate New York. Once at Millbrook, Rosemary went on to become the wife--and accomplice--of the man Richard Nixon called “the most dangerous man in America.” In this intimate memoir, Rosemary describes her LSD experiences and insights, her decades as a fugitive hiding both abroad and underground in America, and her encounters with many leaders of the cultural and psychedelic milieu of the 1960s. Compiled from Rosemary’s own letters and autobiographical writings archived among her papers at the New York Public Library, the memoir details Rosemary’s imprisonment for contempt of court, the Millbrook raid by G. Gordon Liddy, the tours with Timothy before his own arrest and imprisonment, and their time in exile following his sensational escape from a California prison. She describes their surreal and frightening captivity by the Black Panther Party in Algeria and their experiences as fugitives in Switzerland. She recounts her adventures and fears as a fugitive on five continents after her separation from Timothy in 1971. While most accounts of the psychedelic revolution of the 1960s have been told by men, with this memoir we can now experience these events from the perspective of a woman who was at the center of the seismic cultural changes of that time.
In Psychedelia and Other Colours, acclaimed author Rob Chapman explores in crystalline detail the history, precedents and cultural impact of LSD, from the earliest experiments in painting with light and immersive environments to the thriving avant-garde scene that existed in San Francisco even before the Grateful Dead and the Fillmore Auditorium. In the UK, he documents an entirely different history, and one that has never been told before. It has its roots in fairy tales and fairgrounds, the music hall and the dead of Flanders fields, in the Festival of Britain and that peculiarly British strand of surrealism that culminated in the Magical Mystery Tour. Sitars and Sergeant Pepper, surfadelica and the Soft Machine, light shows and love-ins - the mind-expanding effects of acid were to redefine popular culture as we know it. Psychedelia and Other Colours documents these utopian reverberations - and the dark side of their moon - in a perfect portrait.
As we look toward the beginning of a new century, new ideas, new perspectives, and new approaches to our society need and deserve careful attention. I know how difficult writing can be, and I commend you for the time and effort you have invested in your book. Former Vice President, Nobel Peace Prize recipient, Al Gore In these times we need hope and vision more than anything else. This is a book that offers both. It is a story about John, who time travels one hundred years into the future to witness some of the positive changes that will occur in society and the world. At heart, the tale is a sweet, spiritual, environmental story, but its real power is the authors ability to involve the readers imagination in the exploration of the world as it could evolve. There is a Tomorrow made me think about what it will take to break out of our selfish, me-first, consumer and greed-oriented society, and about how we can replace it with a more spiritual, creative, Earth-sensitive and community-oriented future. In visualization, one of the first rules involves creating an ideal future scene, as realistic and believable in your minds eye as possible. David Nazars prose does just that, providing a wealth of details that leaves just enough space for the readers imagination to spark them into life. I believe the message in this book is a tremendous gift to the planet, a tool that can act as a catalyst to bring about positive social change. With so much focus on the problems of our present, it is a joy and a relief to be taken by the hand and shown an alternative vision of society, where humanitys best instincts rise to the occasion. The telling and retelling of such stories may be the first step in achieving that reality. Sophia Zilla
Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries.
The Kamasutra is best known in the West for its scandalous celebration of unbridled sensuality. Yet, there is much, much more to it; embedded in the text is a vision of the city founded on art and aesthetic pleasure. In Foucault and the "Kamasutra", Sanjay K. Gautam lays out the nature and origin of this iconic Indian text and engages in the first serious reading of its relationship with Foucault. Gautam shows how closely intertwined the history of erotics in Indian culture is with the history of theater-aesthetics grounded in the discourse of love, and Foucault provides the framework for opening up an intellectual horizon of Indian thought. To do this, Gautam looks to the history of three inglorious characters in classical India: the courtesan and her two closest male companions—her patron, the dandy consort; and her teacher and advisor, the dandy guru. Foucault’s distinction between erotic arts and the science of sexuality drives Gautam’s exploration of the courtesan as a symbol of both sexual-erotic and aesthetic pleasure. In the end, by entwining together Foucault’s works on the history of sexuality in the West and the classical Indian texts on eros, Gautam transforms our understanding of both, even as he opens up new ways of investigating erotics, aesthetics, gender relations, and subjectivity.
". . . a great blow-by-blow account of an exciting and still-legendary scene." ---Marshall Crenshaw From the early days of John Lee Hooker to the heyday of Motown and beyond, Detroit has enjoyed a long reputation as one of the crucibles of American pop music. In Grit, Noise, and Revolution, David Carson turns the spotlight on those hard-rocking, long-haired musicians-influenced by Detroit's R&B heritage-who ultimately helped change the face of rock 'n' roll. Carson tells the story of some of the great garage-inspired, blue-collar Motor City rock 'n' roll bands that exemplified the Detroit rock sound: The MC5, Iggy Pop and the Stooges, Mitch Ryder and the Detroit Wheels, SRC, the Bob Seger System, Ted Nugent and the Amboy Dukes, and Grand Funk Railroad. An indispensable guide for rock aficionados, Grit, Noise, and Revolution features stories of these groundbreaking groups and is the first book to survey Detroit music of the 1960s and 70s-a pivotal era in rock music history.
In the late 1960s, student protests broke out throughout much of the world, and while Britain’s anti-Vietnam protestors and China’s Red Guards were clearly radically different, these movements at times shared inspirations, aspirations, and aesthetics. Within Western popular media, Mao’s China was portrayed as a danger to world peace, but at the same time, for some on the counter-cultural left, the Cultural Revolution (1966–1976) contained ideas worthy of exploration. Moreover, because of Britain’s continued colonial possession of Hong Kong, Britain had a specific interest in ongoing events in China, and information was highly sought after. Thus, the objects that China exported—propaganda posters, paintings, Mao badges, periodicals, ceramics, etc.—became a crucial avenue through which China was known at this time, and interest in them crossed the political divide. Collecting the Revolution uses the objects that the Chinese government sent abroad and that visitors brought back with them to open up the stories of diplomats, journalists, activists, students, and others and how they imagined, engaged with, and later remembered Mao’s China through its objects. It chronicles the story of how these objects were later incorporated into the collections of some of Britain’s most prominent museums, thus allowing later generations to continue to engage with one of the most controversial and important periods of China’s recent history.