"I was nobody," Neil said. "And before I knew it I was in Montserrat with this band, directing their video." The gigs kept coming. Suddenly Neil found himself working with groups like Justice, Devendra Banhart and Bat for Lashes, just to name a few.
When I emerged dazed from the Bill Graham Auditorium last Thursday night, I remember feeling vaguely surprised that the city was still standing. Most of my costume was missing, except for the unexplained santa hat still on my head. I did not look like a professional.
It's hard to mistake the Magic Bus for any other vehicle that departs from San Francisco's touristy Union Square. The psychedelic colors that wind around the former school bus make it perfectly clear that this is a ride back in time. To the 1960s, to be exact.
I was a happy man when the Futurebirds rolled through San Francisco. They played at the Independent, one of my favorite venues, and they shredded the place apart. I can't ever go back there again. It is in ruins. I'm not mad.
The mark of a successful drug policy should not be the amount of drugs intercepted or the number of people in jail, but rather the security and stability of the state's institutions, and the health and wellbeing of its citizens.
Two decades after the first DMTS trials, trans-media producer Mitch Schultz created a documentary film based on this unusual material, creating a counterculture sensation that is now available on Netflix, iTunes and Hulu.
Among the many talented artists of the global spiritual counterculture, one name rises to the top of nearly every list. His work features a rare alchemy of science and spirituality, where anatomically precise human bodies interweave with profound kaleidoscopic mystical experiences.
Kept on hold for close to half a century, especially in the U.S., psychedelic science is now coming back to life, in large part due to efforts by the Multidisciplinary Association for Psychedelic Studies.