Youth Counterculture
Psychedelic music first emerged in the mid-1960s as a social and cultural response to the rising Counterculture and hippie movement. In this era, it became more common for teenagers to work, making disposable income available to the youth generation for the first time. As a result, America saw an increase in a distinct “youth culture,” and therefore marketing efforts to appeal to teens. With this new economic power, the youth culture was inherently empowered to develop its own ideology, often deviant from traditional social norms. Many young people aligned themselves with hippie values of enlightenment and open-mindedness, ultimately creating the Counterculture, in which the use of psychedelic drugs became increasingly prevalent.
Psychedelic Music and Culture
The 1960s youth culture was heavily characterized by a turn away from popular radio and towards a new genre of “underground music,” with a popular ’60s radio host citing the reason to be a “plateau” in American popular music.1 More so than ever before, younger generations sought new and exciting styles of music, turning to music that opposed mainstream culture. Now known as psychedelic rock, “underground music” was unique in its ground-breaking creativity and experimentalism. The genre offered youth the experimentation and exploration that matched their lifestyle, in contrast with the older styles of music that youth viewed as antiquated.2
Popular psychedelic rock musicians of the time included The Beatles, The Grateful Dead, The Who, Pink Floyd, Janis Joplin, Led Zeppelin, and Jimi Hendrix.3 Though these artists grew to be very popular during the 60s, and still have lasting popularity today, they were a fundamental part of what was then labelled as underground culture. At the time when this music was first released, it was largely enjoyed by the youth who proclaimed themselves as members of the counterculture movement. This music strongly contrasted the mainstream popular American music from before, so it was deemed “underground.” American music had previously been very formulaic, cheerful, and polished, and underground music was none of these things.
Wiley Housewright, an American music educator, commented in 1969, that “Church choirs, marching bands, choruses, and orchestras do not fully satisfy the musical appetites of the young. Hundreds of thousands of American youth want more. Their drive, their enthusiasm, their creativity, and their enormous fund of talent have produced new music – vibrant, original, and honest.”4 The rising genre of underground music satisfied a demand of the youth; psychedelic rock marked a shift in the values of the new generation with a rebellious pivot from traditional styles. The new youth culture sought music that was more reflective of their experiences, and characterized by innovation, creativity, and fearlessness, rather than the overly formal and uniform music of the generations before.
Psychedelic rock was extraordinarily exciting and provocative for the time, as it explored taboo topics, like sex and drugs. Lyrical styles often ranged from nonsensical and fantastical, like the Beatles, to simple and direct, but also imaginative, like Jimi Hendrix.5 Underground music also featured a range of profound and experimental sounds, created through new types of studio techniques and instrumentation, which were often used to mimic the otherworldly experience of drug trips.6
Along with a new underground music style, the psychedelic movement also featured intense creativity and inspiration taken from psychedelic drugs such as LSD. These drugs were used as tools to open the mind to new ideas, and many musicians of the time referenced their drug “trips” in their music.7 Their lyrics often promoted drug use as a form of liberation and expression to younger generations, who constituted a large portion of the fan base. Marijuana, LSD, and even heroin were depicted as socially acceptable and desirable.8
Drug References in Lyrics
The Beatles
The famous Beatles’ song, “With a Little Help from My Friends,” includes the line, “I get high with a little help from my friends,” as a reference to the band members’ psychedelic drug use.
The Beatles, “With a Little Help from My Friends,” track 2 on Sgt. Pepper’s Lonely Hearts Club Band, 1967.
Although the Beatles never performed “With A Little Help From My Friends” live, dozens of notable musicians came together to perform it with Ringo Starr and Paul McCartney to celebrate their initiation into the Rock & Roll Hall of Fame in 2015.
Jimi Hendrix
The Jimi Hendrix song “Purple Haze” was understood as a reference to the psychedelic drug culture of the 1960s. He sings, “Purple haze, all in my brain / Lately things just don’t seem the same / Actin’ funny, but I don’t know why.”
Hendrix, “Purple Haze,” track 1 on Are You Experienced, May 12, 1967.
Jimi Hendrix donned psychedelic-inspired clothing for his live performance of “Purple Haze” in 1970. Hendrix is frequently cited as the greatest guitarist of all time.
The Grateful Dead
The Grateful Dead references drug use in “The Golden Road.” They say, “Take a vacation, fall out for a while / Summer’s coming in, and it’s going out of style / Well, light up smoking honey, have yourself a ball.”
The Grateful Dead, “The Golden Road (To Unlimited Devotion),” track 1 on Grateful Dead, 1967.
The Grateful Dead performed “The Golden Road” live on the TV series Whicker’s World in 1967, equipped with psychedelic imagery. *Strobe Warning*.
Psychedelic culture connected music to drugs through a network of signs. In music, signs elicit a certain reaction or effect from the audience, and musicians do this through their lyrics, sounds, and instrument use.9 Psychedelic artists created intentional experiences for their audience to interpret, often referencing the otherworldliness of drug trips through sound effects and lyrics. This music was often made under the influence of drugs, so many of the musical features intentionally mimic an altered consciousness characterized by intense sensory feelings. These songs had complex and layered background tracks, commonly featuring electronically created sounds, distortion, and extended instrumental improvisation that played with a sense of time. Through these shared sensory and symbolic experiences, audiences were able to connect deeply with the artists’ visions, blurring the line between listening and experiencing.
Additionally, musicians often deliberately created their music to be listened to during drug trips. Psychedelic music was intended to be appreciated in a new way that had not been popularized before. Fans were offered an interactive experience with this type of music, and much of the youth culture was characterized by an intersection of drug use and music appreciation.
Though the rising popularity of psychedelic music culture was accepted by young generations, critics had concerns about this cultural shift. Drug use of musicians and the promotion of it in rock music was not subtle, and drugs were often portrayed to young audiences as ways to escape the pressures of life.10 David Noebel, an American religious leader and writer, describes the Beatles as “gods to millions of our teenagers today,” so, “if drugs are ‘in’ (or considered ‘in’) by the Beatles, they will be considered ‘in’ by the teenagers.”11 Adults saw a dangerous risk in the normalization of heavy drug use, fearing consequences such as death, addiction, and mental health issues. Therefore, older adults held musicians accountable for the messages through their lyrics. Many people critiqued the psychedelic movement’s influence on the youth, but some criticized the merits of psychedelic music as a legitimate form of art. North Carolina state music educator Fred Shehdan called it a “loss of discipline and morality in music,” signifying a belief that elders were seeing this new type of music as a regression of art.12
Student Perspective at UMD
At UMD, students followed national trends. In line with the habits of hippies, open discussions about psychedelic drugs became normalized. A 1969 article in The Diamondback details the experiences of drug dealers on campus, who saw potential for entrepreneurial opportunities.13 David, a UMD student drug dealer, shares that LSD was the most profitable of his commodities, indicating the drug’s popularity as a symbol of the counterculture, and its prevalence among experienced users.14 David notes that drug sales dip in colder seasons, as students prefer to “trip” outdoors, where they can get the full experience outside in nature, rather than in their dorms.15 This indicates that psychedelic drugs were not about addiction; rather, they were meant to provide users with an enlightening experience. In fact, a scientist who studied psychedelics attested that LSD stimulates creative minds and provides an outlet for the uniqueness that society stifles.16
Another student journalist notes that all different types of students could be found dealing drugs, asserting that “[drug dealers] are far too diverse to be stereotyped”.17 The idea that psychedelic culture was not exclusive to one group of youth is consistent with hippie values of peace, love, and togetherness.
Not all students agreed with the rapid rise of illegal drugs on campus. Opposers to the psychedelic movement found LSD enthusiasts to be out of touch with reality, relying on drugs to cope. A student journalist for The Diamondback named Joe Policy wrote a column in which he claims that hippies are avoidant of reality who use drugs to escape real world problems.18 Policy claims that individuals who use acid actively destroy their connection to reality by residing in an “electric-colored, music-filled, fantasy world” that ultimately is their “own self-made hell”.19 Policy’s specific mention of music suggests a strong association between drugs and underground music, characterizing the youth culture.
In response to Policy’s judgement, a student named Loren Lavidson authored a fiery response that was published in a subsequent issue of The Diamondback.20 Lavidson describes herself as a “realist” who uses drugs recreationally as a hobby, but pursues goals that Policy judged hippies incapable of achieving.21 She defends the value of an acid trip by arguing that “the LSD ‘trip’ is a profound and often enlightening experience which can lead to a deeper involvement with life and a greater appreciation for the reality and value of human fellowship and endeavor.”22 Lavidson’s description of a drug trip directly and drastically contrasts Policy’s idea. In their exchange, it becomes clear that although the youth counterculture intended to be unifying, not all young people agreed, and more conservative values continued to prevail in all generations.
This disconnect among students created a strong polarization that created a distinction between “hippies” and the rest of society. Despite shame from their peers, students of the counterculture continued to identify with their values of open-mindedness and peace.
Administrative Perspective at UMD
Older generations often disapprove of the new trends, styles, and movements of the youth. This creates a tense “generation gap,” in which two generations fail to understand one another. In a time of such rapid cultural enlightenment, the generation gap of the 1960s grew wide and difficult to bridge.
The first subject of division was rock music in general. Elders raised on music that followed established song forms (such as crooners) or chord progressions (such as jazz) found the emerging experimental sounds of rock music to be distasteful and an insult to their concept of music. One music educator expressed his revulsion in a letter, describing rock music to be “uninhibited, undisciplined, and musically filthy,” dismissing the evolution of popular art.23 He affirms his definition of music to be artful expression from the soul, which ironically also aligns with the thematic intentions behind much of rock music.
Specifically, psychedelic rock music became a scapegoat for increasingly polarized oppositions to popular music. A 1969 issue of The Evening Sun details the tragic death of a television star’s 20-year-old daughter, who leapt from a building during an LSD trip.24 The father blamed “secret messages in rock music lyrics” for the death of his daughter, ultimately placing blame on artists who simply had the intention of creating meaningful, exciting new music.25 This negative perception of rock music was dangerous because it was an attempt to prohibit the evolution of musical styles, and villainize musicians.
With so much controversy surrounding psychedelic culture already in the air, many adults vehemently opposed it, and UMD was not excluded from widespread panic surrounding drugs. Communications between the President, Housing Director, and other UMD officials detail the administration’s uncertainty about how to address such a sensitive topic.26 Ultimately, they concluded that drug education would be the best course of action, distributing a pamphlet entitled “Psychedelics and the College Student” to residence hall staff to help them properly combat the issue.27 The Health Center also wrote a report detailing the medical consequences of psychedelic drugs in an attempt to educate students and the administration.28
The Beatles were especially under fire, given their intensely obsessed fanbase. As their style transitioned towards popular psychedelic sounds, they faced backlash and blame for their artistry. Religious writer David A. Noebel specifically pointed out the drug undertones in the Beatles’ music, such as the initials of the song “Lucy in the Sky with Diamonds” spelling out LSD, or the drug jargon present in “Yellow Submarine.”29 Urging parents to listen closer to the undertones of the music consumed by their children, Noebel warned that rock & roll “drowns [listeners] in noise,” as well as sex, drugs, and promiscuity.30 The normalization of innuendos in popular media occurred alongside the normalization of drugs, drawing negative attention from those who opposed the counterculture.
However, consistent with the generation gap, students felt an overall distrust of authority. A Baltimore Sun article interviewed both staff and students at UMD after the administration warned students that they would allow the police to carry out drug raids on campus.31 Students expressed feelings of confusion, unsure if the administration was trying to protect themselves, scare the students, or had genuine intentions.32 Neither group had full trust in the other, creating feelings of unease reinforced by the conflict surrounding drug culture.
These issues were not unique to UMD; universities across the nation experienced similar difficulties with the emergence of drug culture. The administration used letters distributed by other universities as inspiration for how to address the issue in College Park, proving that drugs and the counterculture were a nationwide problem.33
Normalization of Drug Culture
Looking back, it is easy to see how psychedelic music as a genre helped to popularize and normalize drug culture in the 1960s that still affects current society. The youth who saw psychedelic rock and drugs as a means of escape and individual expression were not a monolith.34 Many tried to distinguish themselves beyond the stereotypes placed upon them and break away from group majority sentiments. Because of the shared ideals of individuality and freedom, the way that they went about exploring youth and drug culture that would differ greatly from person to person. Participation in drug culture was also not set in stone; many who used to participate later condemn it, or if they previously condemned it they become more open to the idea of drugs later in life.35 The increased talk about drugs during the 60s increased exposure in itself, creating a new standard of normal in society where having and using it recreationally becomes no different than drinking a beer. Culture can be defined by repeated behavior by a shared group of individuals that reinforces the norm, the same was done with the creation of psychedelic music.36
The exposure of discussion and the music itself became a habit that normalized drugs in common society. This culture affects adjacent branches of society and business; in local papers, businesses began to advertise weed enhancements such as flavorings for the smoke.37 This spread to products that were aimed to be entertainment and used with drugs specifically, such as decorative pipes. One such ad displayed a pipe named “Crosspipe” that used the Christian cross imagery as its model.38 Hammocks were advertised as a place to “take your trip,” relating non-drug products to drug-related activities.39 At the time, even despite general public discouragement, people sold books on how to grow your own weed.40
Whereas psychedelic rock was once known as underground music that would never be played on the radio, it has now grown to be a staple genre in the world of popular music. Through this popular music, the printed press, innuendos in media, or word of mouth, the modes of communication of the psychedelic rock genre still prevail. With the continued influence, the ideals of creativity and individuality will also continue to flourish and influence society.
Bibliography
Archival Sources
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Lloyd, Margaret C. Letter to Counseling Center. March 13, 1968. Box 5, Folder 6: Drug Abuse 1968–1969. Series 1: Administration, 1947–1970. Division of Student Affairs Records. Special Collections and University Archives, Hornbake Library, University of Maryland Libraries.
Hammock Master. “far out hammocks” Advertisement. Rolling Stone no. 96. November 25, 1971. Box 4, Folder 1. Series 4: Periodicals, 1969–1996, undated. Hugo Keesing Collection on Popular Music and Culture. Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
Miller, Larry. “Drug Sales Abound on Campus.” The Diamondback. December 19, 1969. Digital Collections, University of Maryland Libraries. https://digital.lib.umd.edu/student-newspapers-old/id/f595ca6b-11f0-4d11-8499-59df61a8796f?relpath=pcdm&query=psychedelic
Merikangas, U. Robert. “Medical Effects of Certain Abused Drugs.” October 27, 1969. Box 5, Folder 6: Drug Abuse 1968-1969. Series 1: Administration, 1947–1970. Division of Student Affairs Records. Special Collections and University Archives, Hornbake Library, University of Maryland Libraries.
Music Educators Journal. “Youth Music Development and Style.” Youth Music. 1969. Box 139, Folder 7: Maryland Meeting- 10/17/69 Rock- Youth Music. Series 3. Series 3: Writings. Charles Fowler Papers. Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
Noebel, David. “The Beatles and Drugs,” In The Beatles: A Study in Drugs, Sex and Revolution. Christian Crusade Publications, October 1969. Box 3: Keesing Beatles 3, Folder 52: “The Beatles: A Study in Drugs, Sex and Revolution” by David A. Noebel, 1969, Series 5: Books, 1963–1982 and undated, Hugo Keesing Collection on the Beatles, Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
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Panders, Anne. “Don’t Have Fun If It’s Illegal.” The Georgia Straight. June 28, 1967. Folder: Georgia Straight – June 28, 1967. SCPA Serials Collection. Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
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Policy, Joe. “Hippies I Have Known.” The Diamondback. March 19, 1967. Digital Collections, University of Maryland Libraries. https://digital.lib.umd.edu/student-newspapers-old/id/ae4d1033-0d5d-42d7-9ae4-49290e27ea1relpath=pcdm&query=psychedelic
Sander, Ellen. “The Case of the Cock-Sure Groupies.” The Realist, no. 84. November 1968. SCPA Serials Collection. Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
Shefford, Peter, interview regarding LSD with Bob Karen. September 2, 1970. National Federation of Community Broadcasters (U.S.). Series 8: Audio Materials 1975–1986. National Federation of Community Broadcasters (NFCB) Records. Special Collections and University Archives, Hornbake Library, University of Maryland Libraries.
Shehdan, Fred. Letter to Music Education Department. May 21, 1969. Box 139, Folder 7: Maryland Meeting–10/17/69 Rock-Youth Music. Series 3: Writings. Charles Fowler Papers. Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
Smith, Terry. “Turn in Freaks.” The Georgia Straight. June 28, 1967. Folder: Georgia Straight – June 28, 1967. SCPA Serials Collection. Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
Toole, Bob, Michael Copeland, Patrick McBride, Ray Graffia, Deborah Willis, and Anonymous Students. “The Hip Trippers.” Youth Music. 1969. Box 139, Folder 7: Maryland Meeting – 10/17/69 Rock – Youth Music. Series 3: Writings. Charles Fowler Papers. Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
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Weekly Playlist for Underground CPM. Nov. 10, 1967–Jan. 12, 1968 & Mar. 20, 1969. Case 1, Box 1, Folder 1: Underground CPM Playlists, 1967–69. Series 3: Papers, 1967–c.2005. Skip Groff Papers. Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
Werner, Larry. “Drug Use Story Attacked, Backed.” The Diamondback. November 2, 1966. Digital Collections, University of Maryland Libraries. https://digital.lib.umd.edu/student-newspapers-old/id/2410c42c-5fe7-47b7-a5f1-8d409f7f00ce?relpath=pcdm&query=Anne%20Groer
“WMUC Airs Psychedelic Show Tonight.” The Diamondback. November 10, 1967. Case 1, Box 1, Folder 2: Diamondback Clipping, “WMUC Airs Psychedelic Show Tonight,” November 10, 1967. Series 2: Publications and Clippings, 1965–2007. Skip Groff Papers. Special Collections in Performing Arts, Michelle Smith Performing Arts Library, University of Maryland Libraries.
Primary Sources
“A Little Help From My Friends.” Performed Live as the Finale Performance at the 2015 Rock & Roll Hall of Fame Induction Ceremony. Rock & Roll Hall of Fame, posted March 30, 2020. Video of Performance. https://www.youtube.com/watch?v=xOuxVDgV6CY.
The Beatles. “With a Little Help from My Friends.” Track 2 on Sgt. Pepper’s Lonely Hearts Club Band. Recorded June 1, 1967. Capital Records PCS 7027, 1967.
The Grateful Dead. “The Golden Road (To Unlimited Devotion).” Track 1 on The Grateful Dead. Recorded March 17, 1967. Warner Records W1689 and WS1689, 1967.
The Grateful Dead. “The Golden Road.” Performed Live on Whicker’s World. 1967. GratefulyDead3, posted February 23, 2010. Video of Performance. https://www.youtube.com/watch?v=ZjQcCNUva6Y.
The Jimi Hendrix Experience. “Purple Haze.” Performed Live at the Atlanta Pop Festival. 1970. Jimi Hendrix, posted August 20, 2015. Video of Performance. https://www.youtube.com/watch?v=cJunCsrhJjg.
The Jimi Hendrix Experience. “Purple Haze.” Track 1 on Are You Experienced. Recorded May 12, 1967. Reprise Records 612001, 1967.
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