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Counterculture

The American counterculture refers to the flow between 1964-1972 when the norms of the 1950s were largely rejected by youth.

Learning Objectives

Interpret the countercultural movement of the 1960s

Key Takeaways

Fundamental Points

• A counterculture adult in the United States in the belatedly 1960s, lasting from approximately 1964 to 1972, and coinciding with America's involvement in Vietnam. Counterculture youth rejected the cultural standards of their parents, specially with respect to racial segregation, the Vietnam War, sexual mores, women's rights, and materialism.
• Hippies were the largest countercultural nomenclature, and were comprised of mostly white members of the middle class.
• The counterculture movement divided the land. To some, information technology reflected American ethics of costless voice communication, equality, and earth peace; while to others, information technology reflected a self-indulgent and unpatriotic assail on America's moral order.
• In an effort to quell the movement, government regime banned the psychedelic drug LSD, restricted political gatherings, and tried to enforce bans on what they considered obscenity in books, music, theater, and other media.
• Several things caused the reject of the movement in the early 1970s, including pregnant progress on the goals of the motility and ascension economic troubles that forced many former hippies to rely on mainstream institutions.

Key Terms

• quash: To defeat forcibly.
• mores: A term used to refer to social norms that are widely observed and are considered to have greater moral significance than others.
• counterculture: Any culture whose values and lifestyles are opposed to those of the established mainstream culture.
• stagflation: Inflation accompanied by brackish growth, unemployment, or recession.

The Emergence of the Counterculture

A counterculture developed in the United States in the late 1960s, lasting from approximately 1964 to 1972, and coinciding with America'due south involvement in Vietnam. It was characterized by the rejection of conventional social norms—in this case, the norms of the 1950s. The counterculture youth rejected the cultural standards of their parents, specifically regarding racial segregation and initial widespread support for the Vietnam War.

Woodstock Youth: This photo was taken virtually the Woodstock Music Festival in Baronial, 1969. The counterculture in the 1960s was characterized by young people breaking away from the traditional culture of the 1950s.

As the 1960s progressed, widespread tensions developed in American club that tended to menses along generational lines regarding the war in Vietnam, race relations, sexual mores, women's rights, traditional modes of authority, and a materialist interpretation of the American Dream. Thank you to widespread economical prosperity, white, eye-class youth—who made up the bulk of the counterculture—had sufficient leisure time to turn their attention to social issues.

Vietnam War Protestation: The counterculture of the 1960s was marked by a growing distrust of authorities, which included anti-war protests, such every bit the i shown in this flick.

Ideals and Interests

Unconventional appearance, music, drugs, communitarian experiments, and sexual liberation were hallmarks of the 1960s counterculture, nearly of whose members were white, middle-class, immature Americans. Hippies became the largest countercultural group in the United States. The counterculture reached its superlative in the 1967 "Summer of Love," when thousands of young people flocked to the Haight-Ashbury commune of San Francisco. The counterculture lifestyle integrated many of the ideals of the fourth dimension, including peace, love, harmony, music, and mysticism. Meditation, yoga, and psychedelic drugs were often embraced as routes to expanding one'due south consciousness. Spiritually, the counterculture included involvement in astrology, the term "Age of Aquarius," and knowing people's astrological signs.

The Peace Sign: The peace sign became a major symbol of the counterculture of the 1960s.

Music

Rejection of mainstream culture was all-time embodied in the new genres of psychedelic rock music, popular-art, and new explorations in spirituality. Musicians who exemplified this era include The Beatles, The Grateful Expressionless, Jefferson Airplane, Jimi Hendrix, The Doors, The Rolling Stones, Neil Immature, Bob Dylan, Janis Joplin, and Pink Floyd. New forms of musical presentation also played a primal part in spreading the counterculture, mainly large outdoor rock festivals. The climactic alive statement of this occurred from August xv-eighteen, 1969, with the Woodstock Music Festival held in Bethel, New York. During this weekend festival, 32 of rock and psychedelic stone's virtually popular acts performed live outdoors to an audience of one-half a million people. Countercultural sentiments were expressed in vocal lyrics and popular sayings of the period, such equally "do your ain thing"; "turn on, tune in, driblet out"; "any turns you lot on"; "eight miles high"; "sex, drugs, and rock 'n' roll"; and "light my burn down."

Cultural Divisions and the Collapse of the Movement

The counterculture motility divided the country. To some Americans, the move reflected American ideals of free speech, equality, earth peace, and the pursuit of happiness. To others, it reflected a self-indulgent, pointlessly rebellious, unpatriotic, and destructive assault on America's traditional moral social club. In an effort to quash the movement, government authorities banned the psychedelic drug LSD, restricted political gatherings, and tried to enforce bans on what they considered obscenity in books, music, theater, and other media.

Ultimately, the counterculture collapsed on its own around 1973. Ii primary reasons are cited for the collapse. First, the most popular of the motion's political goals (civil rights, civil liberties, gender equality, environmentalism, and the end of the Vietnam War) had made meaning gains, and its most popular social attributes (particularly a "live-and-let-alive" mentality in personal lifestyles; i.e., the "sexual revolution") were largely co-opted by mainstream order. Second, a decline of idealism and hedonism occurred equally many notable counterculture figures died, and the residual settled into mainstream society to showtime their own families. The "magic economy" of the 1960s gave way to the stagflation of the 1970s, and many center-class Americans no longer had the luxury of living outside of conventional social institutions.

The counterculture, however, continues to influence social movements, art, music, and order today, and the post-1973 mainstream society has been in many ways a hybrid of the 1960s institution and counterculture—seen every bit the best (or the worst) of both worlds.

Theatre and Novels

The counterculture of the 1960s gave rise to new forms of media, such as underground newspapers, literature, theatre, and cinema.

Learning Objectives

Examine the expression of countercultural values in media, such every bit newspapers and theatre

Key Takeaways

Primal Points

• The counterculture of the 1960s gave rise to several independent or underground newspapers whose publishers were frequently harassed by constabulary. The term "underground newspaper" generally refers to an independent newspaper focusing on unpopular themes or counterculture issues. Typically, these tend to exist politically to the left or far left.
• The boom in the undercover press was made practical by the availability of inexpensive offset press, which made it possible to print a few g copies of a small tabloid paper for a few hundred dollars.
• The Beats were a group of post-Earth War Ii American writers who came to prominence in the 1950s.
• Primal elements of Beat culture included experimentation with drugs, alternative forms of sexuality, an interest in Eastern religion, a rejection of materialism, and the idealizing of exuberant means of expression and being.
• Musical theatre in the 1960s started to diverge from the relatively narrow confines of the 1950s; for example, the musical Hair was the offset of many musicals to employ stone music.
• Like newspapers and theatre, the movie theater of the time as well reflected the attributes of the counterculture.

Fundamental Terms

• The Establishment: A term used to refer to a visible dominant grouping or elite that holds power or potency in a nation.
• counterculture: Any culture whose values and lifestyles are opposed to those of the established mainstream civilization, especially to Western civilisation.
• Commencement Printing: A commonly used printing technique in which the inked prototype is transferred from a plate to a rubber coating, then to the printing surface.

Counterculture in Literature: Underground Printing in the 1960s

In the U.S., the term "underground paper" mostly refers to an independent newspaper focusing on unpopular themes or counterculture problems. Typically, these tend to be politically to the left or far left. The term about often refers to publications of the period 1965-1973, when an secret newspaper craze swept the land. These publications became the vox of the rising New Left and the hippie/psychedelic/rock and whorl counterculture of the 1960s in America; they were also a focal indicate of opposition to the Vietnam State of war and the typhoon. Underground newspapers sprang up in nigh cities and college towns, serving to define and communicate the range of phenomena that defined the counterculture: radical political opposition to "The Institution"; colorful experimental (and ofttimes explicitly drug-influenced) approaches to art, music, and cinema; and uninhibited indulgence in sex and drugs as a symbol of freedom.

The nail in the clandestine printing was made practical by the availability of cheap starting time printing, which fabricated it possible to print a few grand copies of a pocket-sized tabloid newspaper for a few hundred dollars. Paper was cheap, and many press firms effectually the state had over-expanded during the 1950s, leaving them with excess capacity on their offset spider web presses, which could be negotiated at bargain rates.

One of the outset underground newspapers of the 1960s was the Los Angeles Free Printing, founded in 1964 and kickoff published in 1965. The Rag, founded in Austin, Texas in 1966, was an especially influential underground paper every bit, according to historian Abe Peck, information technology was the "starting time undergrounder to represent the participatory democracy, community organizing and synthesis of politics and culture that the New Left of the midsixties was trying to develop."

The Rag: A Rag staffer selling the paper in Austin, Texas, in 1966.

The Underground Printing Syndicate

In mid-1966, the cooperative Clandestine Press Syndicate (UPS) was formed. The UPS allowed member papers to freely reprint content from any of the other member papers. By 1969, most every sizable city or college town in North America boasted at least one surreptitious paper. During the acme years of the underground printing phenomenon, almost 100 papers were publishing at any given time. A UPS roster published in November 1966 listed 14 underground papers, xi of them in the Us.

Underground Papers in the Military

There too existed an surreptitious press network within the U.S. military machine. The GI cloak-and-dagger printing produced a few hundred titles during the Vietnam War. Some were produced by anti-war GI coffeehouses, and many of them were small-scale, crudely produced, and low-circulation papers. Iii or four GI underground papers had large-scale, national distribution of more than 20,000 copies, including thousands of copies mailed to GIs overseas. These papers were produced with the support of noncombatant anti-war activists, and had to exist bearded to exist sent through the mail into Vietnam. Soldiers distributing or even possessing them might exist subject to harassment, disciplinary action, or abort.

Many of the papers faced official harassment on a regular basis; local law repeatedly raided offices, charged editors or writers with drug charges or obscenity, arrested street vendors, and pressured local printers not to impress undercover papers.

The Vanquish Generation

The Vanquish Generation was a group of American post-World War Ii writers who came to prominence in the 1950s, including the cultural phenomena they documented and inspired. Central elements of Shell culture included the experimentation with drugs, alternative forms of sexuality, interest in Eastern religions (such as Buddhism), rejection of materialism, and idealizing exuberant means of expression and existence.

Allen Ginsberg'due south Howl (1956), William S. Burroughs's Naked Tiffin (1959), and Jack Kerouac's On the Road (1957) are among the best known examples of Beat literature. Both Howl and Naked Lunch became the focus of obscenity trials. The publishers won the trials, however, and publishing in the The states became more than liberalized. The members of the Beat Generation adult a reputation as new bohemian hedonists who celebrated not-conformity and spontaneous creativity.

Origin of the Beats

Jack Kerouac introduced the phrase "Beat out Generation" in 1948 to characterize a perceived hugger-mugger, anti-conformist youth move in New York. The adjective "beat" could colloquially hateful tired or browbeaten downward, but Kerouac expanded the meaning to include the connotations upbeat, beatific, and the musical association of being on the beat.

The origins of the Beat Generation can exist traced to Columbia University, where Kerouac, Ginsberg, Lucien Carr, Hal Chase, and others first met. Classmates Carr and Ginsberg discussed the need for a new vision to counteract what they perceived as their teachers' conservative, formalistic literary ideals. Subsequently, in the mid-1950s, the central figures of the Beat out Generation (with the exception of Burroughs) ended up living in San Francisco together.

Beatniks and the Beat Generation

The term "beatnik" was coined to correspond the Shell Generation and was a play on words referring to both the name of the recent Russian satellite, Sputnik, and the Trounce Generation. The term suggested that beatniks were far out of the mainstream of club and possibly pro-Communist. The beatnik term stuck and became the pop characterization associated with a new stereotype and fifty-fifty caricature of the Beats. While some of the original Beats embraced the beatnik identity, or at to the lowest degree found the parodies humorous (Ginsberg, for example, appreciated the parody), others criticized the beatniks as inauthentic posers. Kerouac feared that the spiritual aspect of his message had been lost and that many were using the Beat Generation equally an excuse to be senselessly wild.

The Beat Generation Lifestyle

The original members of the Beat Generation experimented with a number of different drugs, from alcohol and marijuana to LSD and peyote. Many were inspired by intellectual interest, believing these drugs could enhance creativity, insight, and productivity. Many of the primal Beat Generation figures were openly homosexual or bisexual, including two of the virtually prominent writers, Ginsberg and Burroughs. Both Ginsberg's Howl and Burroughs' Naked Lunch contain explicit homosexuality, sexual content, and drug use.

The Beats' Influences on Western Civilisation

The phenomenon of the Beat Generation had a pervasive influence on Western culture. It was influenced by, and in turn influenced, the sexual revolution, bug around censorship, the demystification of cannabis and other drugs, the musical evolution of stone and scroll, the spread of ecological consciousness, and opposition to the military machine-industrial auto civilization.

The Finish of the Beats and the First of the Hippies

The 1950s Beat movement beliefs and ideologies metamorphosed into the counterculture of the 1960s, accompanied past a shift in terminology from "beatnik" to "hippie." Many of the original Beats remained agile participants, notably Allen Ginsberg, who became a fixture of the anti-war motion. Notably, however, Jack Kerouac broke with Ginsberg and criticized the politically radical protest movements of the 1960s equally an excuse to exist spiteful.

There were stylistic differences betwixt beatniks and hippies—for case, somber colors, dark sunglasses, and goatees gave manner to colorful psychedelic clothing and long hair. The Beats were known for playing information technology cool (keeping a low profile), only the hippies became known for being absurd (displaying their individuality). Beyond style, there were as well changes in substance: the Beats tended to be substantially apolitical, but the hippies became actively engaged with the civil rights and anti-war movements.

Counterculture in Theatre

Musical theatre in the 1960s started to diverge from the relatively narrow confines of the 1950s. For instance, rock music was used in several Broadway musicals. This trend began with the musical Hair, which featured non only stone music, only besides nudity and controversial opinions virtually the Vietnam State of war, race relations, and other social issues. Hair is often said to be a product of the hippie counterculture and sexual revolution of the 1960s.

As the struggle for minorities' civil rights progressed, musical writers were emboldened to write more musicals and operas that aimed to expand mainstream societal tolerance and racial harmony. Early works that focused on racial tolerance, though now recognized to accept many problematic elements, included Finian's Rainbow, Due south Pacific, and The Male monarch and I. The musical W Side Story also spoke a bulletin of racial tolerance. Afterwards on, several shows tackled Jewish subjects and bug, such as Fiddler on the Roof. Past the end of the 1960s, musicals became racially integrated, with black and white cast members even roofing each others' roles.

Counterculture in Picture

Like newspapers, literature, and theatre, the picture palace of the time besides reflected the attributes of the counterculture. Dennis Hopper'southward Easy Passenger (1969) focused on the changes happening in the earth. The picture Medium Cool portrayed the 1968 Democratic Convention and Chicago constabulary riots, which has led to information technology being labeled as "a fusion of cinema-vérité and political radicalism." Ane studio endeavor to greenbacks in on the hippie trend was the 1968 motion picture Psych-Out, which portrayed the hippie lifestyle. The music of the era was represented past films such as 1970's Woodstock, a documentary of the music festival of the same name.

Art and Music

Forms of fine art and music in the 1960s, ranging from rock and roll to psychedelic fine art, reflected the characteristics of the counterculture motility.

Learning Objectives

Examine the expression of countercultural values through music and art

Key Takeaways

Fundamental Points

• During the early on 1960s, British rock become popular in the United States; 1 of the most influential groups of the era was the Beatles.
• In the United States, the Westward Declension more often than not promoted hippie music, such equally the Grateful Expressionless, while the Due east Coast produced edgier artists, such equally the Velvet Underground.
• The 60s also saw an emergence of big-scale music festivals. The Monterey Popular Festival was the first modern music festival, while Woodstock became the most famous.
• As with film, press, and music, art in the 1960s responded to the new counterculture, primarily in pop fine art (which integrated elements from popular culture) and psychedelic fine art (often inspired by drug-induced creativity).

Cardinal Terms

• counterculture: Any culture whose values and lifestyles are opposed to those of the established mainstream culture, especially to Western civilization.
• Woodstock: A music festival in the town of Bethel, New York, from August 15 to August 18, 1969; it is widely regarded as a pivotal moment in popular music history.

Counterculture in Music

The music of the 1960s moved towards an electric, psychedelic version of stone, reflecting the off-beat out, psychedelic characteristics of the counterculture itself. The Embankment Boys' 1966 album, Pet Sounds, paved the way for later hippie acts, with Brian Wilson's writing interpreted as a "plea for beloved and understanding." Pet Sounds served every bit a major source of inspiration for other contemporary acts, virtually notably directly inspiring The Beatles' Sgt. Pepper's Solitary Hearts Club Band.

The Rise of Stone Music

Rock music is a genre of popular music that developed during the 1960s, specially in the United kingdom of great britain and northern ireland and the United states. It has its roots in 1940s and 1950s rock and roll. Rock music also drew strongly from other genres, such as dejection and folk, and was influenced by jazz, classical, and other musical sources. Like popular music, lyrics often stressed romantic love merely also addressed a wide variety of social and political themes. Rock placed more accent on musicianship, live performance, and an ideology of authenticity than did pop music.

By the late 1960s, a number of distinct rock music sub-genres emerged, including hybrids like dejection rock, folk rock, country rock, and jazz-rock fusion. Other genres that emerged from this scene included progressive rock, which extended the artistic elements; glam rock, which highlighted showmanship and visual style; and the diverse and enduring major sub-genre of heavy metal, which emphasized volume, power, and speed.

The British Invasion

In 1964, the Beatles achieved a breakthrough to mainstream popularity in the The states. Their first appearance on the Ed Sullivan Show drew an estimated 73 1000000 viewers (an all-time record for an American television program) and is oftentimes considered a milestone in American popular civilisation. They went on to become the biggest-selling rock ring of all time. Over the next 2 years, British acts dominated both U.Grand. and U.S. charts with Peter and Gordon, The Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Herman's Hermits, The Rolling Stones, The Troggs, and Donovan all having one or more than number 1 hit singles.

The Beatles themselves were influenced by many artists, among them American vocalizer/songwriter Bob Dylan, who was a lyrical inspiration as well as their introduction to marijuana. Other folksingers, similar Joan Baez and Peter, Paul and Mary, took the songs of the era to new audiences and public recognition. The Beatles went on to become the most prominent commercial exponents of the "psychedelic revolution" in the late 1960s.

U.South. Bands

Meanwhile in the United States, bands that exemplified the counterculture were condign mainstream commercial successes. These included The Mamas & the Papas (If You Can Believe Your Eyes and Ears), Big Brother and the Holding Company (Inexpensive Thrills), Jimi Hendrix (Are You Experienced?), Jefferson Airplane (Surrealistic Pillow), The Doors, and Sly and the Family unit Rock (Stand!). Other bands and musicians, such as The Grateful Dead, Phil Ochs, Quicksilver Messenger Service, Melanie, Frank Zappa, Santana, and the Blues Project did non achieve such commercial success, but are nevertheless considered key to the counterculture movement.

While the hippie music scene was built-in in California, an edgier scene emerged in New York City that put more accent on avant-garde and art music. Bands such as The Velvet Underground came out of this hugger-mugger music scene and were predominantly centered at artist Andy Warhol's legendary Manufacturing plant. The Velvet Underground supplied the music for the Exploding Plastic Inevitable, a series of multi-media events staged by Warhol and his collaborators in 1966 and 1967. The Velvet Hole-and-corner'southward lyrics were considered risque for the era because they discussed sexual fetishism, transgender identities, and the employ of drugs.

The 1960s as well saw the rise in protest songs, with Phil Ochs's "I Ain't Marching Anymore" and State Joe and the Fish's "I-Feel-Like-I'm-Fixin'-to-Dice-Rag" among the many anti-war anthems that were important to the era.

Music Festivals

The 1960s was an era of rock festivals, which played an important office in spreading the counterculture beyond America. The Monterey Pop Festival, which launched Janis Joplin and Jimi Hendrix'south careers, was i of the kickoff of these. This festival was held in 1967 and had an estimated 55,000 to 90,000 attendees. The Monterey Popular Festival embodied the themes of California every bit a focal point for the counterculture, and is generally regarded as the start of the "Summer of Honey." This festival became the template for future festivals, about notably Woodstock.

Woodstock: The crowd and stage at Woodstock, ane of the most important music festivals of the 1960s counterculture.

In August 1969, the Woodstock Festival was held in Bethel, New York, and chop-chop became a symbol of the hippie movement. During this festival, 32 rock acts performed outdoors in front of 500,000 people. It is widely regarded as a pivotal moment in popular music history and has been regarded every bit a cultural touchstone of the 1960s.

Counterculture in Art

As with film, printing, and music, art in the 1960s responded to the new counterculture, primarily in pop art and psychedelic art. For example, pop art challenged traditional fine art by including imagery from popular civilization, such as advertizing and news. The concept of popular fine art refers every bit much to the art itself as to the attitudes that it led to, and Andy Warhol is often considered representative of this type of art.

Psychedelic fine art besides emerged in response to the counterculture, and is defined as any kind of visual artwork inspired by psychedelic experiences induced by drugs, such equally LSD. During the 1960s, psychedelic visual arts were oft a analogue to psychedelic rock music. This psychedelic art likewise represented the revolutionary political, social, and spiritual sentiments that were derived from these drug-induced, psychedelic states of consciousness.

Youth Civilisation and Delinquency

Youth culture during the 1960s counterculture was characterized by the "Summertime of Love," and the coincidental use of LSD and other psychedelic drugs.

Learning Objectives

Examine the role of drug use in the counterculture of the 1960s

Key Takeaways

Key Points

• During the summer of 1967, San Francicsco became a melting pot of music, psychedelic drugs, sexual freedom, artistic expression, new forms of dress, and politics.
• The unprecedented gathering of young people, known equally the "Summer of Love" is often considered to take been a social experiment because of the alternative lifestyles that became common.
• As members of the hippie move grew older and moderated their lives and their views, and especially after U.S. involvement in the Vietnam War concluded in the mid-1970s, the counterculture was largely absorbed by the mainstream.
• During the 1960s, casual LSD users expanded into a subculture that extolled the mystical and religious symbolism often engendered by the drug's powerful effects, advocating its utilise as a method of raising consciousness.

Key Terms

• commune: A small community, often rural, whose members share in the ownership of property and the division of labor; the members of such a community.
• "Summer of Love": A season in 1967 noted for the flourishing of the hippie movement.
• free love: The practice of sexual intercourse without the restraints of marriage or commitment.

Hippies and the Summer of Love

In 1967, musician Scott McKenzie'due south rendition of the song "San Francisco (Be Sure to Habiliment Flowers in Your Hair)" brought as many as 100,000 immature people from all over the world to celebrate a "Summer of Love" in San Francisco's Haight-Ashbury neighborhood. The Summer of Love became a defining moment in the 1960s every bit the hippie counterculture motion came into public awareness.

San Francisco was the center of the hippie revolution; during the Summertime of Love, it became a melting pot of music, psychedelic drugs, sexual freedom, creative expression, new forms of dress, and politics. This unprecedented gathering of young people is often considered to take been a social experiment considering of the alternative lifestyles that became mutual. These lifestyles included communal living, the free and communal sharing of resources (often amidst total strangers), and the idea of free love. When people returned home from the Summer of Dearest, these styles and behaviors spread quickly from San Francisco and Berkeley to many U.S., Canadian, and even European cities.

Some hippies formed communes to live every bit far outside of the established system as possible. This aspect of the counterculture rejected active political engagement with the mainstream; following the dictate of a Harvard LSD proponent, Dr. Timothy Leary, to "Plow on, tune in, driblet out," many hippies hoped to change society by dropping out of it. Every bit members of the hippie movement grew older and chastened their lives and their views, and especially after U.S. interest in the Vietnam War ended in the mid-1970s, the counterculture was largely absorbed by the mainstream, leaving a lasting touch on philosophy, morality, music, fine art, alternative health and diet, lifestyle, and mode.

Drug Use in the Hippie Counterculture

Experimentation with LSD, peyote, psilocybin mushrooms, MDA, marijuana, and other psychedelic drugs became a major component of 1960s counterculture, influencing philosophy, art, music, and styles of dress. Coincidental LSD users expanded into a subculture that extolled the mystical and religious symbolism often engendered past the drug'south powerful effects, advocating its use as a method of raising consciousness. The personalities associated with the subculture—including Dr. Leary too as psychedelic rock musicians such every bit the Grateful Expressionless, Jimi Hendrix, the Doors, and the Beatles—soon attracted a great bargain of publicity, generating further interest in LSD.

Ken Kesey and the Merry Pranksters

The popularization of LSD outside of the medical world was hastened when individuals, such as Ken Kesey, participated in drug trials. Ken Kesey and his Merry Pranksters helped shape the developing character of the 1960s counterculture during the summertime of 1964 when they embarked on a cantankerous-country voyage in a psychedelic schoolhouse motorcoach named "Further."

Beginning in 1959, Kesey had volunteered equally a research subject for medical trials that tested the effects of LSD, psilocybin, mescaline, and other psychedelic drugs. After the medical trials, Kesey continued experimenting on his own and involved many close friends; collectively they became known as "The Merry Pranksters." The Pranksters visited Dr. Leary at his Millbrook, New York retreat. Experimentation with LSD and other psychedelic drugs, primarily as a means for internal reflection and personal growth, became a constant during the Prankster trip.

The Pranksters created a direct link between the 1950s Beat Generation and the 1960s psychedelic scene. The autobus was driven by Beat icon Neal Cassady; Beat poet Allen Ginsberg was onboard for a time; and they dropped in on Cassady's friend, Beat author Jack Kerouac.

"Further": The famous omnibus that Ken Kesey and the Merry Pranksters used to travel across the state.

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Source: https://courses.lumenlearning.com/boundless-ushistory/chapter/counterculture/

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