Psychedelic Rock and Self Destruction

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Psychedelic Rock and Self Destruction|
Conceptual Framework|
Mallory Jacob Pacheco|
3YR – Aristotle ~ Future Generation Phil. Int’l School|


This paper describes the conceptual framework that underlies my research paper ‘Psychedelic Rock and Self-Destruction’, whose mission is to measure the psychosocial and behavioral impact of Psychedelic Rock among people. It also aims to measure what Psychedelic Rock does to the human psyche, and why it causes self-destruction to most people who listen to it and to the people who made or played it, this includes drinking alcohol, taking drugs, smoking, sex, hallucination, high brain activity, being high, and etc., which causes an early death and self-destruction. Psychedelic rock is a style of rock music that is inspired or influenced by psychedelic culture and attempts to replicate and enhance the mind-altering experiences of psychedelic drugs. It emerged during the mid 1960s among folk rock and blues rock bands in United States and the United Kingdom. It often used new recording techniques and effects and drew on non-Western sources such the ragas and drones of Indian music. Psychedelic rock bridged the transition from early blues- and folk music-based rock to progressive rock, glam rock, hard rock and as a result influenced the development of sub-genres such as heavy metal. Since the late 1970s it has been revived in various forms of neo-psychedelia. As a musical style psychedelic rock often contains some of the following features: * electric guitars, often used with feedback, wah wah and fuzzboxes; * elaborate studio effects, such as backwards tapes, panning, phasing, long delay loops, and extreme reverb; * exotic instrumentation, with a particular fondness for the sitar and tabla; * a strong keyboard presence, especially organs, harpsichords, or the Mellotron (an early tape-driven 'sampler'); * a strong emphasis on extended instrumental solos or jams; * complex song structures, key and time signature changes, modal melodies and drones; * primitive electronic instruments such as synthesizers and the theremin; * surreal, whimsical, esoterically or literary-inspired, lyrics; In the 1960s, in the tradition of jazz and blues, many folk and rock musicians began to take drugs and included drug references in their songs. Beat Generation writers like William Burroughs, Jack Kerouac, Allen Ginsberg and especially the new proponents of consciousness expansion such as Timothy Leary, Alan Watts, Aldous Huxley and Arthur Koestler, profoundly influenced the thinking of the new generation, helping to popularise the use of LSD. Psychedelic music's LSD-inspired vibe began in the folk scene, with the New York-based Holy Modal Rounders using the term in their 1964 recording of "Hesitation Blues". The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas, at the end of 1965. The term was first used in print in the Austin American Statesman in an article about the band titled "Unique Elevators shine with psychedelic rock", dated 10 February 1966, and theirs was the first album to use the term as part of its title, in The Psychedelic Sounds of the 13th Floor Elevators, released in August that year. After being introduced to cannabis by Bob Dylan, members of the Beatles began experimenting with LSD from 1965 and the group introduced many of the major elements of the psychedelic sound to audiences in this period, with "I Feel Fine" (1964) using guitar feedback; "Norwegian Wood" from their 1965Rubber Soul album using a sitar, and the employment of backwards spooling on their 1966 single B-side "Rain". Drug references began to appear in their songs from "Day Tripper" (1965) and more explicitly from "Tomorrow Never Knows" (1966) from their 1966 album Revolver. The Byrds, emerging from the Californian folk scene, and the Yardbirds from the British blues scene, have been seen as particularly...
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