By Andy Roberts
Opposite to well known trust, LSD is way extra hooked up to Britain than it really is to america. This attractive e-book appears to be like on the use of LSD in British society, from its arrival in 1952 to the current day. It offers a hidden historical past of a arguable drug and the way it permeated British culture.The writer explores LSD’s use by means of the scientific occupation in treating quite a few mental and psychological difficulties. while, The Ministry of Defence believed they have been near to harnessing LSD as a battlefield incapacitation drug which might allow wars to be received with out dying. yet LSD’s recognition rose with its use one of the British counterculture, from the Fifties beatniks via to the past due 80s acid residence events. At its peak, whilst it was once criminal, LSD affected the lives and philosophies of important members (politicians, scientists, writers, educators, entertainers, artists, reporters) in addition to traditional humans for sturdy and undesirable. This booklet is the 1st to discover LSD’s impressive impact on British tradition and society.
Andy Roberts is a function author for the Fortean occasions journal. he's the writer of thirteen books and is a specialist to the BBC. He lives in Flintshire, North Wales.
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Additional info for Albion Dreaming: A Popular History of LSD in Britain
While these issues have been explored thoroughly in relation to ‘subculture’, largely through the critical work of post-subcultural theorists such as Bennett (1999), Miles (2000) and Muggleton (2000), there has been far less engagement with the limitations of counterculture when used as a rigid concept for denoting relatively narrow forms of style-based social action at the expense of a detailed consideration of the impact of local circumstances on the nature of countercultural practices and processes.
In this sense, there are some parallels between ‘counterculture’ and ‘subculture’ in that both concepts have been taken up and used in academic writing as a means of addressing the inequalities underpinning class relations and the potential for social change. The application of both counterculture and subculture presupposes a classbased ownership of a specific mode of style-based youth identity in which music, fashion, drugs and associated resources are deployed homologically in the pursuit of a singly defined expression of counter-hegemonic action against the institutions of the ruling hegemony.
Building on generations of protest song, artists such as Bob Dylan, the Beatles and the Rolling Stones infused rock music with a level of social and cultural critique that was quickly acknowledged, emulated and developed by other emergent artists of the late 1960s (Bennett 2001). As Frith (1981, 1983) observes, such was the power of rock music in this respect that it came to bespeak notions of an alternative community that the hippies believed could be experienced and realised through the music itself.