Others Articles ' special Origin of Human Life ' Sunday Freaks 13

When it comes to taking herbs as a form of treatment for illness, it seems the mainstream belief is that they are not as effective and not worth taking. While effectiveness of each herb and their use has not been studied deeply to determine how effective it can be across the population, the same could be said for most pharmaceutical drugs. Much of the time, pharmaceutical drugs attempt to mimic a compound that occurs naturally in nature (herbs) but often bring the risk of side effects.

Safety is one of the most critical areas of review amongst herbs and drugs. So far, zero deaths have been reported due to the use and consumption of herbs. However, pharmaceutical drugs and physician prescribed medications kill approximately one million Americans each year. While it is important to note that herbal medicines can be lethal in extreme doses, it appears their safety is much greater than that of pharmaceutical drugs.
Interestingly, pharmaceutical drugs are actually adding to the world-wide issue of declining health due to their side effects and encouragement of viral resistance. Antibiotics in particular are adding to the wave of increased viral strength when it comes to certain infections. Herbs on the other hand can be a useful tool in fighting infections that have turned into super bugs due to the overuse of antibiotics.

It is always useful to perform as much research as possible, or as you see fit, when it comes to both pharmaceutical drugs and herbs prior to taking them. Just as we would be so skeptical about herbs, we should be just as skeptical about pharmaceutical drugs. Contrary to popular belief, the un-popularity of herbs in western culture is due to scrutinization that comes from pharmaceutical companies and those to can benefit from the sale of pharmaceutical drugs. Herbs cannot be patented and owned, only synthetic drugs can which is why many pharma companies operate the way they do. Seek out the assistance of a Naturopathic doctor before you use herbs.

Below is a list of herbs that can not only boost lung and respiratory health but can also repair it.
Herb information is courtesy of John Summerly who is nutritionist, herbologist, and homeopathic practitioner.

1. Licorice Root
Licorice is one of the more widely consumed herbs in the world. In Traditional Chinese Medicine it occurs in more formulas than any other single herb because it is thought to harmonize the action of all other herbs. Licorice is very soothing and softens the mucous membranes of the throat and especially the lungs and stomach and at the same time cleanses any inflamed mucous membrane that needs immune system support . It reduces the irritation in the throat and yet has an expectorant action. It is the saponins (detergent-like action) that loosen the phlegm in the respiratory tract so that the body can expel the mucus. Compounds within this root help relieve bronchial spasms and block the free radical cells that produce the inflammation and tightening of the air ways. The compounds also have antibacterial and antiviral effects to them as well which helps fight off viral and bacterial strains in the body that can cause lung infections. Glycrrhizins and flavonoids can even help prevent lung cancer cells from forming which means they can even prevent lung cancer.

2. Coltsfoot
Coltsfoot has been traditionally used by Native Americans for thousands of years to strengthen the lungs. It clears out excess mucus from the lungs and bronchial tubes. It soothes the mucus membranes in the lungs, and has been shown in research to assist with asthma, coughs, bronchitis, and other lung ailments. Coltsfoot is available in dried form for tea or as an alcohol extract known as a tincture.

3. Cannabis
The toxic breakdown of therapeutic compounds in cannabis from burning the plant are totally avoided with vaporization. Extraction and inhaling cannabinoid essential oils of the unprocessed plant affords significant mitigation of irritation to the oral cavity that comes from smoking. Cannabis is perhaps one of the most effective anti-cancer plants in the world shown in study after study to stimulate cannabinoid receptor activation in specific genes and mediate the anti-invasive effect of cannabinoids. Vaporizing cannabis allows the active ingredients to stimulate the body’s natural immune response and significantly reduces the ability of infections to spread. Vaporizing cannabis (especially with very high amounts of cannabinoids) opens up airways and sinuses, acting as a bronchodilator. It is even a proven method to treat and reverse asthma.

4. Osha Root
Osha is a herb native to the Rocky Mountain area and has historically been used by the Native Americans for respiratory support. The roots of the plant contain camphor and other compounds which make it one of the best lung-support herbs in America. One of the main benefits of osha root is that it helps increase circulation to the lungs, which makes it easier to take deep breaths. Also, when seasonal sensitivities flare up your sinuses, osha rootm, which is not an actual antihistamine, does produce a similar effect and may be help calm respiratory irritation.

5. Thyme
Thyme is very powerful in the fight against chest congestion. It produces powerful antiseptic essential oils which are classified as naturally antibiotic and anti-fungal. Thyme is well known to zap acne more so than expensive prescription creams, gels and lotions. Thyme tea has the power to chase away and eliminate bacteria and viruses so whether your infection is based on either, it will work. Thyme has been used as a lung remedy consumed since antiquity and is used extensively today to prevent and treat respiratory tract infections and bacterial infection pneumonia.

6. Oregano
Although oregano contains the vitamins and nutrients required by the immune system, its primary benefits are owed to its carvacrol and rosmarinic acid content. Both compounds are natural decongestants and histamine reducers that have direct, positive benefits on the respiratory tract and nasal passage airflow. Oil of oregano fights off the dangerous bacteria Staphylococcus aureus, better than the most common antibiotic treatments. Oregano has so many health benefits that a bottle of organic oregano oil should be in everyone’s medicine cabinet.

7. Lobelia
Did you know that horses given lobelia are able to breathe more deeply? Its benefits are not limited to equestrians. It has been used as “asthmador” in Appalachian folk medicine. Lobelia, by some accounts, is thought to be one of the most valuable herbal remedies in existence. Extracts of Lobelia inflata contain lobeline, which showed positive effects in the treatment of multidrug-resistant tumor cells. Lobelia contains an alkaloid known as lobeline, which thins mucus, breaks up congestion. Additionally, lobelia stimulates the adrenal glands to release epinephrine, in effect, this relaxes the airways and allows for easier breathing. Also, because lobelia helps to relax smooth muscles, it is included in many cough and cold remedies. Lobelia should be part of everyone’s respiratory support protocol!

8. Elecampane
Elecampane has been used by Native Americans for many years to clear out excess mucus that impairs lung function. It is known as a natural antibacterial agent for the lungs, helping to lessen infection particularly for people who are prone to lung infections like bronchitis. Herbal practitioners often recommend one teaspoon of the herb per cup of boiling water, drunk three times daily for two to three weeks. Elecampane is also available in tincture format for ease.

9. Eucalyptus
Native to Australia, eucalyptus isn’t just for Koala bears! Aborigines, Germans, and Americans have all used the refreshing aroma of eucalyptus to promote respiratory health and soothe throat irritation. Eucalyptus is a common ingredient in cough lozenges and syrups and its effectiveness is due to a compound called cineole. Cineole has numerous benefits — it’s an expectorant, can ease a cough, fights congestion, and soothes irritated sinus passages. As an added bonus, because eucalyptus contains antioxidants, it supports the immune system during a cold or other illness.

10. Mullein
Both the flowers and the leaves of the mullein plant are used to make an herbal extract that helps strengthen the lungs. Mullein is used by herbal practitioners to clear excess mucus from the lungs, cleanse the bronchial tubes, and reduce inflammation that is present in the respiratory tract. A tea can be made from one teaspoon of the dried herb to one cup of boiled water. Alternatively, you can take a tincture form of this herb.

11. Lungwort
Lungwort is a tree-growing lichen that actually resembles lung tissue in appearance. However, this natural remedy doesn’t just look the part. As early as the 1600′s, lungwort has been used to promote lung and respiratory health and clear congestion. Pulmonaria selections come in all kinds so seek a herbologist for direction. Lungwort also contains compounds that are powerfully effective against harmful organisms that affect respiratory health.

12. Chaparral
Chaparral, a plant native to the Southwest, has been appreciated by the Native Americans for lung detoxification and respiratory support. Chaparral contains powerful antioxidants that resist irritation and NDGA which is known to fight histamine response. NDGA inhibits aerobic and anaerobic glycolysis (the energy-producing ability) of cancer cells. Chaparral is also a herb that fights harmful organisms. The benefits of chaparral are mostly available in a tincture extraction but chaparral tea may support respiratory problems by encouraging an expectorant action to clear airways of mucus.

13. Sage
Sage’s textured leaves give off a heady aroma, which arises from sage’s essential oils. These oils are the source of the many benefits of sage tea for lung problems and common respiratory ailments. Sage tea is a traditional treatment for sore throats and coughs. The rich aromatic properties arising from sage’s volatile oils of thujone, camphor, terpene and salvene can be put to use by inhaling sage tea’s vapors to dispel lung disorders and sinusitis. Alternatively, brew a strong pot of sage tea and place it into a bowl or a vaporizer.

14. Peppermint
Peppermint, and peppermint oil, contains menthol — a soothing ingredient known to relax the smooth muscles of the respiratory tract and promote free breathing. Dried peppermint typically contains menthol, menthone, menthyl acetate, menthofuran and cineol. Peppermint oil also contains small amounts of many additional compounds including limonene, pulegone, caryophyllene and pinene. Paired with the antihistamine effect of peppermint, menthol is a fantastic decongestant. Many people use therapeutic chest balms and other inhalants that contain menthol to help break up congestion. Additionally, peppermint is an antioxidant and fights harmful organisms.

15. Plantain Leaf
With fruit that is similar in appearance to a banana, plantain leaf has been used for hundreds of years to ease cough and soothe irritated mucous membranes. Many of its active constituents show antibacterial and antimicrobial properties, as well as being anti-inflammatory and antitoxic. Clinical trials have found it favorable against cough, cold, and lung irritation. Plantain leaf has an added bonus in that it may help relieve a dry cough by spawning mucus production in the lungs.
Published in NEWS Archives
We humans love drama. We love it so much that whenever we find it our initial reaction is to immediately tell someone, and if we don’t find any we make it up and tell someone anyway. Besides, what would the world be without UFO’s falling from the sky, shadow governments watching our ever move, and big brother trying to keep you down.
These are the top 25 most popular conspiracy theories out there.
The JFK Assassination
Some things in life are certain. Like for example the fact that on November 22, 1963 President John F. Kennedy was shot twice while riding through downtown Dallas in his presidential convoy. Other things can be a bit more hazy. While Lee Harvey Oswald was accused of killing him and an official investigation declared him to be the lone assassin, it seems that a majority of people even today (70% in fact) are not buying it. Was there another gunman? Did the CIA want revenge for the Bay of Pigs? Were mobsters upset that his brother was cracking down on organized crime? Perhaps the world will never know.
Big Pharma
We love to hate drug companies. They make insane profits off of expensive products that people literally can’t live without. Not surprisingly this is also fertile ground for budding conspiracy theorists with many accusing the pharmaceutical companies, along with other medical providers, of conspiring to keep people sick by not disclosing various cures that have already been found.
The Reptilian Elite
Popularized by former BBC sports writer David Icke, his theory posits that anyone holding a position of power or influence is actually a blood thirsty, extra-terrestrial, shapeshifting reptile. Since then he has written several books on the topic and not surprisingly been awarded the title “paranoid of the decade”.
There are only a few countries that fluoridate their water supplies – the United States, the UK, Canada, Australia – Although it is done for health reasons and to prevent tooth decay in the population numerous theorists have generated resistance by claiming that the water fluoridation is all part of a shady mind-control scheme put on either by communists or some insidious elite.
Paul McCartney

To conspiracy-inclined beatle fans, Paul is not only dead, he has been dead, since 1966, meaning he never had any of those kids, never got in a fight with Yoko Ono, never went vegetarian, and when he was knighted by Queen Elizabeth in 1997, well, that was a stand in. So how could anyone believe that someone who is still very much alive is actually dead? Maybe its not too far from believing that someone who is actually dead is still alive, which brings us to…

Elvis and Tupac
Although not directly related, the concept is similar. Elvis died in 1977 and Tupac in 1996, which not surprisingly doesn’t keep some people from passionately believing they are still with us.
Princess Diana

While most conspiracy theories are supported by your run of the mill average joes, this one had some serious weight behind it. The father of Dodi Al-Fayed, who was in the car with Diane when their drunken chauffer failed to escape pursuing paparazzi, claimed that the car accident was actually a set up by British Intelligence acting on behalf of the Royal Family. Although the claims were found to be baseless it was all the fuel the conspiracy flame need to keep its fires burning.

Pearl Harbor
Although for most of us it was a surprise, the conspiracy theorists claim that for a select few …it wasn’t. Particularly for President Roosevelt, who having advocated for war against Germany finally had found his opportunity. Of note, proponents often point out that none of the Navy’s three Pacific aircraft carriers were in port that day.

For years people have suggested the true identity of the world’s greatest author wasn’t really Shakespeare of Stratford. Why? Well ,there isn’t a whole lot of biographical information concerning his life which is what led some conspiracy theorists to believe the works were actually written by William Stanley or Francis Bacon.
Pan Am Flight 103
On December 21 1988 flight 103 exploded over Lockerbie, Scotland killing everyone on board and 11 residents of the town as well. Although Libya has recently claimed responsibility for the attack, of all the items on this list flight 103 has probably been responsible for spawning the greatest number of conspiracy theories.
When the exhaust from a plane’s engine hits the cold air and begins to condense it leaves a vapor trail also known as a contrail. Some people, however, exercising their paranoia are convinced that the government is spraying chemical agents at its citizens from 30,000 feet hence the name, chemtrail.
Everlasting Lightbulb
Similar to the idea of Big Pharma keeping its disease curing drugs to itself, some people have theorized that the lightbulb industry is keeping the eternal glow of their everlasting lightbulbs from the masses simply to increase their profit margins.
War For Oil

Although there have been numerous reasons, both real and contrived for the invasion of Iraq, none has been more influential than the idea of it being a war for oil. It seems, however, that if it really were the sole reason, the government would have simply gone ahead and cut a deal without all the expensive explosions.

Global Warming
Although it is undeniable that the average temperature of the climate system has increased in recent years, the reason for the increase is a bit more controversial. Is it cyclical, man made, are the thermometers broken? It seems as though there is no consensus and everyone is pointing the conspiracy finger at everyone else.
Jesus and Mary
As the basis for the plot of the Da Vinci code, the idea that Jesus wed Mary and now has a physical bloodline made for a good performance at the box office. The theory itself, however, is loosely based on excerpts taken from the Gnostic Gospels whose authenticity is still being disputed.

Peak Oil
There are some who believe that peak oil is a fraud put forth by the oil industry as a method of keeping prices high. Supposedly the companies are holding massive reserves under wraps to maintain the illusion that oil is scarce.
Although today the term is often used to describe the act of making an accusation without proper evidence, it finds its origins in the red scare of the 40’s when Senator Joseph McCarthy went on a rampage, accusing numerous high level officials of being associated with the Communist party and ruining numerous careers in the process.
Subliminal Advertising
It’s a very broad theory that suggests governments and companies alike embed hidden messages in advertisements and other media in order to subconsciously affect a person’s decisions and desires. While it’s true that subliminal stimuli are effective when it comes to priming one’s senses, they are not capable of the complete brain control like many proponents fear.
Phantom Time Hypothesis
In 1991 Heribert Illig came up with the idea that large parts of history were complete fabrications, particularly Europe during the Early Middle Ages (AD 614-911). Proponents of his theory believe that this was accomplished primarily by the alteration and misrepresentation of physical evidence.
New World Order
Between Zionist occupations, shadow governments, Freemasons, and Illuminati there is a lot that falls into this umbrella category. By and large though, all these conspiracy theories are tied together by one train of thought – someone is trying to take over everything.
The Moon Landing
In one of the most popular conspiracy theories of our time proponents argue that the moon landing was actually an elaborate hoax and all the pictures supposedly taken hundreds of thousands of miles away were actually taken in studios right here on Earth.
Area 51/Roswell
Ever since an unknown object crashed near Roswell, New Mexico in 1947 there have been hundreds of conspiracy theories put forth concerning its true nature. Along with Area 51, which the US government didn’t even acknowledge existed until 2003, these theories have formed the backbone of our culture’s obsession with aliens and UFO’s.
The theories range all the way from US government officials turning a blind eye to various agencies actually assisting with the attack. Certain groups like the 9/11 Truth Movement have led to these ideas becoming very popular and they insist that there is no way the towers came down because of jet fuel alone.
Grand Unified Conspiracy Theory
t sounds complicated, but its really not. The premise is simple – everything is a conspiracy….which ironically includes the conspiracies themselves.


Our Freaksfiles storage contains a lot of top secret materials, that you cannot find anywhere that your parents never told you, because the System is hiding these facts. But that’s why we are here, so read this file attentively and understand finally : We are the children of Space!  ALIENS IN ANCIENT WORLD:
According to a few clues scattered throughout the world, alien beings could have very likely visited the earth long ago. One clue of an ancient alien visitation is found in paintings from ancient cultures that depict strange humanoid creatures. In addition, physical evidence of an ancient alien visitation is seen in artefacts from around the world that show a use of modern technology. Furthermore, ancient markings made on fields, which indicate the use of air travel, are another set of clues that show the earth could have been visited by aliens long ago.
On July 11, 1991, an unidentified flying object was sighted by thousands of people in Mexico City during a solar eclipse. Libelled as the largest mass UFO sighting in history, the event was captured by hundreds of people who pointed their camcorders at the eclipse. The event, which gained extensive media coverage in Mexico, was even used for the top story of Mexico's version of "60 Minutes." Since so many people had seen the strange aircraft hovering in the sky and hundreds of hours of film footage of the craft was recorded, there is an extremely high chance that advanced alien cultures are really visiting the earth.
Therefore, if advanced alien civilizations are visiting us now, is there a possibility that they could have visited the earth thousands of years ago? According to a few clues scattered throughout the world, alien beings could have very likely visited the earth long ago. One clue of an ancient alien visitation is found in paintings from ancient cultures that depict strange humanoid creatures. In addition, physical evidence of an ancient alien visitation is seen in artefacts from around the world that show a use of modern technology. Furthermore, ancient markings made on fields, which indicate the use of air travel, are another set of clues that show the earth could have been visited by aliens long ago.
The most obvious clues to an extraterrestrial visit long ago are found in the drawings of ancient cultures. One such drawing is located inside a cave in Kimberly Mountain, a peak on the western side of Australia. Haunting the surface of the cave walls are paintings of several beings with round heads and huge black eyes. Calling the figures in the paintings the Wondjina, the Aborigines consider the beings extremely sacred. The Wondjina, originally drawn in some period between ten thousand to thirty thousand years ago, bear little resemblance to any known earth creature. However, the Wondjina slightly resemble the gray type of aliens reported today by alleged alien abductees. The Wondjina and the Grays look similar because they both have large, black eyes and a pear-shaped head. Therefore, it is possible that the Wondjina are actually aliens seen by the Aborigines a long time ago. In the Sahara desert, another strange figure painted on the wall of a cave, the "Great Martian God", is located in the Tassili Mountains. It was called the "Great Martian God" because it resembled Martians found in comic books. Discovered by Henri Lhote on an expedition after World War II into the mountains, the Martian, along with similar nearby drawings depicting space men are drawn in a much larger scale than the nearby drawings of people, animals, and ones of Egyptian influence.
John Michell writes in his book, The Flying Saucer Vision: The Holy Grail Restored, that the most striking feature of the Martian and the similar figures were their round, inhuman heads. Michell describes the beings' heads as if "they are wearing some sort of globular helmet like a diver's." A helmet, a necessity for human space explorers to walk in space, would come in handy for an alien space traveller. Space travel, by the way, is a part of a Hopi legend; the Hopi are a once pueblo-building Native American culture living in Arizona and New Mexico. One of their petroglyphs, called the "Star- blower", tells a story of how the Hopi's ancestors had visited various worlds and travelled through endless space before reaching Earth. The petroglyph, containing several strange, unearthly figures, is very inexplicable to understand for people outside the tribe. Although the Hopi leaders are reluctant to share the details of the legend, the petroglyphs, nevertheless, show strange, possibly alien, beings performing an extraordinary ritual. The paintings of ancient cultures are not the only evidence of a potential extraterrestrial visit in the past; artefacts also give clues about a possible ancient visit by aliens.
According to Webster's New Universal Unabridged Dictionary, the term artefact means "any object made by man, especially with a view to subsequent use." Several ancient artefacts found around the world appear to have been inspired by modern technology. For example, a small, toy-like, gold artefact, found in a thousand year old tomb in Columbia, was first thought to be a type of insect or a flat fish. However, Dr. Ivan Sanderson, a scientist from the United States, studied the object and said it looked too mechanical, like an airplane, to be a natural object. J.A. Ulrich, an expert on aircraft, also looked at the object and admitted that it closely resembled a Swedish SAAB jet. Since the first self-propelled, heavier-than-air craft was not invented until 1903 in North Carolina, a thousand year old jet in South America seems not possible. However, the people in Columbia could have seen a jet constructed by a highly advanced civilization, possibly an alien civilization.
A similar model aircraft was found in 1898 at an Egyptian tomb near Sakkara. Labeled as a bird, the wooden object was not studied extensively until 1969 by Dr. Khahil Messiha. The object's well engineered proportions and aerodynamic shape, according to aircraft engineers, are ideal enough for it to fly. Again, the Egyptians, like the ancient Colombian culture, could have been influenced by a technologically advanced alien society. Yet another artefact was found on a Stone Age man's neck in Ecuador. On the corpse's neck, a stone amulet shows a man standing on top of a sphere while the sun shines in the backdrop. Erich von Däniken writes in his book, In Search of Ancient Gods: My Pictorial Evidence for the Impossible that the amulet is remarkable because pre-Inca tribes had the knowledge that they had lived on a sphere. Since it is hard to imagine a prehistoric tribe knowing about the earth's true shape, there may be a possibility that an alien culture, with a method of seeing the earth in outer space, could have shared this knowledge with the tribes. If ancient human cultures were indeed visited by extraterrestrials and unearthly spacecraft, it is possible that the people may have tried to contact the beings in the aircraft with symbols on the ground.
More evidence of an ancient alien visit lies on the surface of the earth. On the plain of Nasca, south of Lima, Peru, a series of straight, parallel lines run across for miles and appear from the air to be an ancient landing ground for aircraft. According to writer Thomas Michell, the lines are extremely difficult to be seen from the ground. "It is impossible that men without aeroplanes could ever have seen them, for even from an elevation of a few hundred feet they are invisible." Since air strips were not needed until the twentieth century, the lines, assuming the pre-Inca cultures used them for landing purposes, could have been used by the aircraft of a highly advanced alien race. Also on the Nasca plain, large drawings of birds, monkeys, lizards, and insects have been sighted from high altitudes. Again, these land carvings were constructed by people of a time from around possibly fifteen centuries ago, before the formation of the Inca Empire. Covering an area of sixty miles, these figures next to the mysterious lines can only be seen best from the sky. Charles Berlitz points out in his book, Mysteries from Forgotten Worlds, that the message in these prehistoric drawings "finds an echo in an ancient Peruvian tradition in a legend about the goddess Orejona landing in a great ship from the skies"; the goddess Orejona, in other words, could be interpreted as an alien being landing in its spacecraft.
Other land creations around the world also must be seen from the sky in order to make them out. For example, Dragon Hill, a round and flat, artificial mound in England, is accompanied by several chalk figures including one called the Berkshire White Horse. Like the Nasca figures in South America, the White Horse and neighbouring British land markings were not only built by an ancient culture but were meant to be seen from high altitudes. Since these figures can only be seen from the sky and couldn't have been seen by the prehistoric technology, it is possible that the early inhabitants of Great Britain knew of a culture, possibly an alien culture, which had the technology to see these drawings carved into the earth. The ancient land markings, like the old paintings and artefacts, also show that the earth could have been visited by extraterrestrial life.
As archaeologists continue to find more strange remains of ancient cultures, they may discover an important lost part of human history. Since UFOs are reported frequently in the twentieth century, they could have been also reported thousands of years ago. With clues like ancient paintings showing strange beings, old artefacts displaying modern day technology, and prehistoric land carvings waiting to be seen from the sky, there is a possibility that the ancient world could have been influenced by an advanced alien civilization.
"The Alien Almanac." Omni. 13 (December 1990): 97-100+. Berlitz, Charles. Mysteries From Forgotten Worlds. Garden City, New York: Doubleday & Company, Inc., 1972.
Daniken, Erich von. In Search of Ancient Gods: My Pictorial Evidence for the Impossible. New York: G.P. Putnam's Sons, 1974.
Hallion, Richard. "Aviation." The New Grolier Multimedia Encyclopedia. CD-ROM. N.p.: Software Toolworks, 1993.
Michell, John. The Flying Saucer Vision: The Holy Grail Restored. London: Sidgwick & Jackson, 1967.
Sightings. Hollywood, California: Paramount Pictures. 25 Feb. 1995.
What do you know about Australia? Kangaroos, Crocodile Dandy, AC/DC and Nicole Kidman, aborigenes and boomerangs. Ok, there is Rainbow Serpent festival and Byron Bay. You read about it, you heard about it. But have you ever seen Australian Psychedelic Circus?
We are sure you did not. If you are not this country native of course. As per our statistics we have only 15 readers of AUS. From 5000.
So , here we go....


Nimbin is a small village in the Australian state of New South Wales about 30 km from Lismore. It is famous for its environmental sustainability, self-sufficiency, for its Aquarius Festival and is basically a gathering of hippies and for being a cannabis counterculture. A counterculture is a subculture that deviates from the generally accepted norms. If allowed to progress unchecked, it culminates in dramatic cultural changes like Romanticism, Bohemianism, and the Hippie Counterculture. Nimbin has been variously described as a social experiment, Australian drug center, and as a fantasy subculture.

 The village is notable for the prominence of its environmental initiatives such as permaculture, sustainability, self-sufficiency as well as the cannabis counterculture. Writer Austin Pick described his initial impressions of the village this way: "It is as if a smoky avenue of Amsterdam has been placed in the middle of the mountains behind frontier-style building facades. ... Nimbin is a strange place indeed."
Nimbin has been described in literature and mainstream media as 'the drug capital of Australia', 'a social experiment' and 'an escapist sub-culture'. Nimbin has become an icon in Australian cultural history with many of the values first introduced there by the counterculture becoming part of modern Australian culture.
Nimbin and surrounding areas are part of what is known as the "Rainbow Region", which is of cultural importance to the Indigenous Bundjalung people. The name Nimbin comes from the local Whiyabul (Widgibal) clan who’s Dreamtime speaks of the Nimbinjee spirit people protecting the area. In recent decades, since 1973, the area has become a haven for Australia's counterculture.

Forests of Red Cedar first attracted loggers to the area in the 1840s, but by the end of the century most of the land had been cleared. With the Cedar forests gone, Nimbin was subdivided in 1903 with the land turned over to dairy farming and growing bananas. In the 1960s, the local dairy industry collapsed due to recession and Nimbin went into serious economic decline until 1973, when the Aquarius Festival, a large gathering of university students, practitioners of alternative lifestyles, 'hippies' and party people, was held in the village. The Festival was the first event in Australia that sought permission for the use of land from the Traditional Owners. After the festival hundreds of participants and festival goers remained in Nimbin to form communes and other multiple occupancy communities, in search of an "alternative lifestyle". Nimbin in fact made legal history for the first ever application of group title ownership of land in Australia. Since the Aquarius Festival, the region has attracted thousands of writers, artists, musicians, actors, environmentalists and permaculture enthusiasts, as well as tourists and young families escaping city life. In 1979, the Nimbin community staged the "Battle for Terania Creek" to protect the remaining local rainforest. As a result the N.S.W. government imposed a "no rainforest logging" policy covering the entire state, the world’s first government legislation to protect rainforest
Nimbin's local economy

Tourism: Usually higher during late summer/spring, Nimbin is a major tourist attraction with organised tours frequenting the town.

Backpackers: As Nimbin is regarded as an international attraction for its eccentricity, colourful people and drug culture; it attracts backpackers from over the world who spend money in the town at its various accommodation houses, retail outlets and New Age healing centres. Workshops held in the surrounding areas on ecology and self-sufficiency contribute to the towns revenue.

Property: In 2004 the region was experiencing a property boom, as many left the cities for an alternative lifestyle or tree-change, and large farms were being subdivided into smaller blocks for sale.

Alternative Energy/Culture/Lifestyle: Many green industries operate in Nimbin include the Rainbow Power Company, Djanbung Permaculture Gardens, Nimbin Environment Centre, Ecosilk Bags and the Nimbin Candle Factory.

Health & Lifestyle: New Age healing is available in almost every form, and the local arts are thriving with many galleries and arts events.

Accommodation and attractions
Nimbin is served by the people for the people; the community works together to promote a peaceful town that welcomes for all people to enjoy.  In Nimbin is a police station, hospital and medical centre, lawyers, real estate, a service station with NRMA accreditation, restaurants, cafes, and a pub. The pub has music and offers beer with an in-house restaurant. A wide variety of accommodation is available for visitors, from camping grounds and youth hostels, to bush cabins and hotels. There are a number of sporting clubs and the Bowling Club maintains licensed premises. The Nimbin Neighbourhood and Information Centre is a valued source of knowledge about local trends to newcomers, activities, the where's where, visitors guides, resources, computers to use the Internet and general help to the community. The NNIC includes a small centre link office, legal advice, nurse practitioner, welfare worker, weekly soup kitchen to the adjacent park, and publishing service for the local paper, all run by local volunteer residents. Local entertainments include the town hall, once a year Madigrass, markets, ,bands, walks to the mountains, and day to day activities from buskers to street stalls.

Over the last few years the whole area has gained the tag of the Green Triangle. These days’ busloads of Yanks, Poms, Japanese and various other tourists are ferried in from Byron to sample the green goodies, eat some cookies and have a look at the so-called freaks. Nimbin was a good idea at the start. But like all socialist experiments, capitalism got the good bits by the balls. There is still a lot of good music and nice people out in the hills. But these days keep hold of your wallet
Sometimes all of us are having this strange feeling that the usual things not seem usual anymore at this moment of time. Your friends or parents behaving weird, acting unexplainably and making you think- “What the hell is wrong here?” Stranger try to chat with you on the street as with his old good friend.. Déjà vu following our days and nights….
Our special X-Files investigators made a deep search inside the Top Secret archives and found out WHAT IS REALLY GOING ON.
We are sure there are not much people in the World, even between you, our advanced Sunday Freak users, who had ever guessed about that this hypothesis exists.
The Theory of Parallel Universes
The multiverse is a theory in which our universe is not the only one, but states that many universes exist parallel to each other. These distinct universes within the multiverse theory are called parallel universes. A variety of different theories lend themselves to a multiverse viewpoint. Not all physicists really believe that these universes exist. Even fewer believe that it would ever be possible to contact these parallel universes.
Level 1: If you go far enough, you’ll get back home
The idea of Level 1 parallel universes basically says that space is so big that the rules of probability imply that surely, somewhere else out there, are other planets exactly like Earth. In fact, an infinite universe would have infinitely many planets, and on some of them, the events that play out would be virtually identical to those on our own Earth. We don’t see these other universes because our cosmic vision is limited by the speed of light — the ultimate speed limit. Light started traveling at the moment of the big bang, about 14 billion years ago, and so we can’t see any further than about 14 billion light-years (a bit farther, since space is expanding). This volume of space is called the Hubble volume and represents our observable universe.
The existence of Level 1 parallel universes depends on two assumptions:
The universe is infinite (or virtually so).
Within an infinite universe, every single possible configuration of particles in a Hubble volume takes place multiple times.
If Level 1 parallel universes do exist, reaching one is virtually (but not entirely) impossible. For one thing, we wouldn’t know where to look for one because, by definition, a Level 1 parallel universe is so far away that no message can ever get from us to them, or them to us. (Remember, we can only get messages from within our own Hubble volume.)
Level 2: If you go far enough, you’ll fall into wonderland
In a Level 2 parallel universe, regions of space are continuing to undergo an inflation phase. Because of the continuing inflationary phase in these universes, space between us and the other universes is literally expanding faster than the speed of light — and they are, therefore, completely unreachable.
Two possible theories present reasons to believe that Level 2 parallel universes may exist: eternal inflation and ekpyrotic theory.
In eternal inflation, recall that the quantum fluctuations in the early universe’s vacuum energy caused bubble universes to be created all over the place, expanding through their inflation stages at different rates. The initial condition of these universes is assumed to be at a maximum energy level, although at least one variant, chaotic inflation, predicts that the initial condition can be chaotically chosen as any energy level, which may have no maximum, and the results will be the same.
The findings of eternal inflation mean that when inflation starts, it produces not just one universe, but an infinite number of universes. Right now, the only noninflationary model that carries any kind of weight is the ekpyrotic model, which is so new that it’s still highly speculative.
In the ekpyrotic theory picture, if the universe is the region that results when two brans collide, then the brans could actually collide in multiple locations. Consider flapping a sheet up and down rapidly onto the surface of a bed. The sheet doesn’t touch the bed only in one location, but rather touches it in multiple locations. If the sheet were bran, then each point of collision would create its own universe with its own initial conditions.
There’s no reason to expect that branes collide in only one place, so the ekpyrotic theory makes it very probable that there are other universes in other locations, expanding even as you consider this possibility.
Level 3: If you stay where you are, you’ll run into yourself
A Level 3 parallel universe is a consequence of the many worlds interpretation (MWI) from quantum physics in which every single quantum possibility inherent in the quantum wave function becomes a real possibility in some reality. When the average person (especially a science fiction fan) thinks of a “parallel universe,” he’s probably thinking of Level 3 parallel universes.
Level 3 parallel universes are different from the others posed because they take place in the same space and time as our own universe, but you still have no way to access them. You have never had and will never have contact with any Level 1 or Level 2 universe (we assume), but you’re continually in contact with Level 3 universes — every moment of your life, every decision you make, is causing a split of your “now” self into an infinite number of future selves, all of which are unaware of each other.
Though we talk of the universe “splitting,” this isn’t precisely true. From a mathematical standpoint, there’s only one wave function, and it evolves over time. The super positions of different universes all coexist simultaneously in the same infinite-dimensional Hilbert space. These separate, coexisting universes interfere with each other, yielding the bizarre quantum behaviours.
Of the four types of universes, Level 3 parallel universes have the least to do with string theory directly.
Level 4: Somewhere over the rainbow, there’s a magical land
A Level 4 parallel universe is the strangest place (and most controversial prediction) of all, because it would follow fundamentally different mathematical laws of nature than our universe. In short, any universe that physicists can get to work out on paper would exist, based on the mathematical democracy principle: Any universe that is mathematically possible has equal possibility of actually existing.


Saturday, 05 April 2014 17:30

Page 5: Freaksfiles - Flower Power Movement

When we say Peace – we mean No War. For us it is one of the most important and necessary conditions to feel it all- love, freedom, happiness, harmony. To enjoy the life, to travel, to be the citizenships of the World.
40 years ago during the Cold War, when the Planet was on the edge of a global conflict between East and West, when the governments spend billions on the militarization, nuclear weapons development and military actions around the globe, was born a new ideology. Naïve but optimistic movement started between hippies in USA combined the philosophical ideas of famous freedom fighters and pacifists, such as Mahathma Ghandi, Sidhartha and even Timothy Leary.

Today we will open some unknown Files and tell you the true story of
This famous photograph was taken on October,21 of 1967 at the March on Washington to protest the Vietnam War. More than 100,000 people gathered in Washington D.C. for that peaceful Vietnam War protest, including an 18-year-old aspiring actor named George Harris. A contingent of 2,500 Army troops wielding M-14 guns surrounded the Pentagon, cordoning off the crowd from the protected building. Undeterred, the protestors stood their ground, crowding in mere inches away from the weapons. Embracing the flower power ethos of non-violence, Harris calmly inserted the stem of a carnation into a soldier's gun barrel.
Photographer Bernie Boston, working at the time for the Washington Star newspaper, captured Harris' flower power action on film. Although the image didn't receive immediate attention, it has since come to symbolize the counterculture that rallied around non-violent Vietnam protests. That type of attention-grabbing, yet peaceful, revolt against the government and military was exactly what counterculture leaders had envisioned as the ideal way to deliver their antiwar message to mainstream America. Granted, the Youth International Party (Yippie) organizers of that October 1967 Pentagon march also tried -- and failed -- to levitate and exorcise the military complex, in an effort to rid it of the evil spirits they believed were fuelling the Vietnam War. But their ultimate goal of ending the combat and sending troops home was straightforward and practical in retrospect.
After the Pentagon march, the carnation-clad George Harris hit the road and headed West to the epicentre of the flower power movement. In San Francisco, Harris joined the masses of other youth looking to follow LSD guru Timothy Leary's advice to "tune in, turn off and drop out," (or, in other words, drop out of school and drop acid instead). There, in the Haight-Ashbury district, a short stroll from Golden Gate Pak, flower power flourished to its fullest during the summer of 1967 and soon withered away. But while marijuana smoke has clouded its legacy, and psychedelic swirls and outlandish fashion obscured its essence, flower power began as an attempt to provide clarity as the 1960s societal haze brought on by the Civil Rights Movement and the Vietnam War set in.
Flower power is a phrase likely coined by Alan Ginsberg in 1965, and it referred the hippie notion of “make love not war,” and the idea that love and nonviolence, such as the growing of flowers, was a better way to heal the world than continued focus on capitalism and wars.
Flower power also became a term used to express the hippie culture itself, and hippies were often called flower children. The power of the group left an indelible impression on American society. Large groups of teens and young adults who donned flowers in their hair, painted them on their vans, and lived together in semi-communes, often outdoors in the parks of major cities, did have a certain amount of power as a group. In the best sense, this power seeped into mainstream public views advancing civil rights. Conversely, the counterculture movement that can be called flower power had many unintended consequences: unwanted pregnancy, drug addiction, the large scale importation of drugs and development of the drug cartels, and the sexual revolution which would to a degree create the rapid spread of HIV infection in the early 1980s.
Luridly painted flowers on vans, record covers, and the like were also symbolic of the hippies’ advocacy of hallucinogens in the hopes of creating greater self-awareness, a practice not uncommon in other cultures, especially in the past. When hallucinogens were used, visual hallucinations frequently occurred, and things with intense color appeared even more intense. If you look at a film like The Yellow Submarine first released in 1968, there are many visual moments that would definitely have had more impact on people taking drugs like acid and LSD.
The film also has numerous images of flowers growing, sprouting and suddenly covering bare landscapes that suggest the spread of the flower power movement, though the term flower power isn’t used in the film. However, the end song of the movie is intricately tied to this movement: “All You Need Is Love.” The idea of the growth of love, the natural progress of love, and the power of love ties in well with actions taken by the hippies like the planting of flowers in bare lots in Berkeley in 1969 during a two-week occupation by the US National Guard.
The idea of using flowers to express a movement gets at the heart of hippie identity. Stress was on acts of civil disobedience that were nonviolent. What could be more nonviolent than distributing flowers to National Guard members, or planting flowers in empty lots? The simplicity of the flower, its ties to the earth and natural origin, and its beauty were all things this counterculture movement wanted to remain close to. In the end, there’s a beauty and grace to the flower power movement, even though it ultimately did end badly for more than a few people. Like many movements which may have many good intentions, certain aspects, like an emphasis on drug use, contributed to its destruction.
Like any flower, the flower power movement grew for a time in the mid to late 1960s, and then withered by the early 1970s.
Saturday, 29 March 2014 07:51

Page 5: Freakfiles - Holotropic Breathwork

This is a special area of top secret information from the Past, Present and Future of Goa Freaks World
Twelve Things You Should Know about Holotropic Breathwork

Many people know Dr. Stanislav Grof as a pioneering researcher in the clinical use of LSD in psychotherapy. Others know him as the founder, with Abraham Maslow, of the movement known as transpersonal psychology. He is, in the opinion of Ken Wilber, “arguably the world’s greatest living psychologist.”
Many people have also heard of the technique that he developed with his wife, Christina Grof, called
Holotropic Breathwork™.
The term “Holotropic Breathwork” is a trademark, and only those trained and certified by Grof Transpersonal Training are entitled to use it. But in Ireland, I have heard the terms “holotropic therapy,” “Grof therapy,” and even “Groffing,” and it’s not clear to me what these actually were. This has caused widespread misunderstanding about the actual technique, what constitutes good practice, and when it is recommended. Even without this complicated history, however, a technique that is as subtle and dramatic as Holotropic Breathwork ™ is bound to be misunderstood. In this article, I aim to correct some of the most common misunderstandings about Holotropic Breathwork, and help to establish ‘best practice’ for practitioners, clients, and those therapists who might like to refer their clients to a Holotropic workshop.
Holotropic Breathwork™ refers to a process in which deep, fast breathing, in a supportive context, is used as a catalyst for the experience of a non-ordinary state of consciousness (NOSC). This state of consciousness is thought to be inherently healing and evolutionary, bringing to the surface any issues that need addressing and helping the client to resolve them in a creative way. Holotropic Breathwork has been called “industrial strength meditation.”
In a Holotropic Breathwork, clients work in pairs, with one as the ‘breather’ and the other as the ‘sitter’. The breather lies down on a mattress, while the sitter ensures that the breather is physically safe and supported during the session. The instructions for the breather are simply to breathe deeper and faster, keeping eyes closed. This gradually brings on a non-ordinary state of consciousness—like a vivid dream—and the breather simply trusts the wisdom of whatever emerges. Breathers are free to make any motion, move into any posture, or make any sound they wish. The experience is supported by music, which begins with drumming or similar ‘driving’ music, reaches an emotional crescendo, transitions to ‘heart’ music, and finishes with meditative music. Sessions are scheduled to last for three hours. Later that day, or the next day, the breather and sitter swap roles. Sessions are followed by two optional activities: expressive artwork and small group sharing. Facilitators are always present to explain the method, create the safe setting, support the process, and work with people if they experience any difficulty.
Does Holotropic Breathwork involve drugs?
No. Grof was one of the earliest and most respected researchers into the clinical use of LSD.
A Freudian analyst and psychiatrist, he became convinced that LSD had therapeutic value as a catalyst for the healing potential of the unconscious. Grof conducted LSD treatment at the Psychiatric Research Institute in Prague from 1960 to 1967, and continued this work at Johns Hopkins University, Baltimore. He worked with psychiatric patients, cancer patients, and drug addicts, as well as with artists and scientists who were curious about the deeper dimensions of their minds.
At the time, there were a variety of ways of working with LSD, but Grof’s method was remarkable for the use of a very safe setting and its inner focus. This involved the patient lying down with eyes closed, listening to music, and being attended at all times by two clinicians. Thus the focus was on inner experience, rather than interactive or psychodynamic experience, and on accessing the unconscious experientially, rather than intellectually, verbally or analytically. Grof observed and reported remarkable therapeutic benefits for his patients from this process. Furthermore he realized that these states of consciousness were not nearly as non-ordinary as they seemed: most pre-industrial cultures had some culturally-sanctioned way to enter these states, periodically, to promote healing or find wisdom, using things like drumming, natural psychedelics, meditation, or fasting as the catalyst. Grof’s clinical research into LSD was extremely promising, but because of the street use of the drug, and its promotion by less sober figures such as Timothy Leary, the non-clinical use of the drug was banned in the U.S. in 1967, and clinical research ended in 1975. So he turned his attention to other methods of inducing a non-ordinary state of consciousness, and settled on the use of deep, fast breathing. This is the basis of Holotropic Breathwork™. Although Holotropic Breathwork has some of the similarities, in setting and intention, of Grof’s work with LSD, a Holotropic Breathwork session absolutely does not involve drugs. As with many forms of yoga, it is powered by simply breathing, at a rate controlled by the client.
Is the facilitator a healer?
The primary principle of Holotropic Breathwork is that healing comes from within the client. In the Holotropic model, this is taken to an unprecedented level of trust. Facilitators are not considered to be healers or even therapists. Rather, they are more like midwives, there to support a process that has an inherent wisdom. Facilitating a Holotropic Breathwork workshop is intense practice in ‘not knowing’. I recall Grof saying that the reason the training to be a facilitator takes a minimum of two years is that it takes at least two years to realize how little you know.
Grof believes that there is an inner ‘radar’ function in the psyche that, when given the opportunity, can choose the most relevant experience we need, in that moment, for our evolution (Grof, 1992:23). No one can know what that experience is, in advance. For example, consider a client locked in a pattern of anger at her mother: what would be the best prescription for her? A bio-energetic therapist might encourage her to express her rage. A Buddhist teacher might encourage her to practice compassion. A Jungian might encourage her to dialogue with the image of her anger. A Kundalini yogi might encourage her to channel the anger into a higher form. But a Holotropic Breathwork facilitator would say simply, “keep doing the breathing and find out what is emerging for you.” The answer is specific to the client and to the time. It is always tempting to think we ‘know best’. This is particularly true for anyone in the helping professions. But the Holotropic Breathwork facilitator is trained in not knowing. Of course, many people have great gifts in their chosen modalities, whether cranio-sacral therapy, reiki, bioenergetics, psychodynamic psychotherapy, or cleansing auras, but in a Holotropic workshop these would never be applied to a client’s process. To ‘heal someone’ is a beautiful thing, but in the context of a Holotropic Breathwork workshop, it would be considered an abuse of power. Each participant should leave a Holotropic Breathwork workshop feeling personally empowered: having discovered that he himself has answers within—not that so-and-so is ‘a great healer’. The Holotropic Breathwork facilitator is not expected to do the healing and should not promote the idea of being a healer. The facilitator of a Holotropic Breathwork session is there to help, support and encourage clients to find their own way. Many clients do come to a Holotropic Breathwork workshop wanting ‘to be healed,’ or with an unconscious need to find a guru. This can be a trap for both client and facilitator. But a good facilitator will resist that projection, and gently encourage the client to look for an answer within. Of course, some facilitators do have a strong healing presence, or may be gifted in ‘seeing’ or understanding. But all good Holotropic Breathwork facilitators should keep that firmly in check: the practice of being a facilitator is of not-knowing and giving space to individuals to find the answers themselves.
Is Holotropic Breathwork a kind of shamanism?
There are many ways in which Holotropic Breathwork resembles shamanism. As in shamanism, participants in a Holotropic Breathwork workshop go on a journey into a non-ordinary state of consciousness to find healing. Music is played to support this journey. But there are many differences between Holotropic Breathwork and shamanism. First, there is no roadmap for the Holotropic Breathwork journey: participants are not asked to imagine an entrance to a shamanic world, and don’t begin their Holotropic journey with an intention to work on a specific problem or question. It certainly makes sense to look for a spirit guide or power animal at a shamanic workshop, for these are typical features of the shamanic world, but to do this in a Holotropic session would constrain the process. In a Holotropic session, the whole world of possible spiritual experience, from any tradition (and from no tradition), is available to each client. One of the most remarkable features of Holotropic Breathwork is that people can have so many different kinds of experiences, and are free to interpret them differently, without any specific language or worldview. I have seen Christians having Buddhist experiences, and Hindus having Christian experiences. I have seen atheists have shamanic experiences and shamanic practitioners have Sufi experiences. I even remember a Catholic priest having a Christian experience, and expressing surprise and delight to discover what his faith was really about. I have also seen people have experiences that seem to pull from many different traditions at once, and have seen some people have experiences from no tradition yet identified. So although Holotropic Breathwork has many features that are similar to shamanism, it is much bigger and broader. In this sense, it is a truly post-modern practice (Boroson, 1998).
Is Holotropic Breathwork addictive?
I have certainly seen some people seem to get hooked on Holotropic Breathwork. But we have to be careful here. Many people come to Holotropic Breathwork as a last resort, or when they are in a psycho-spiritual crisis. In such cases, an intensive period of inner work is not just desired but essential for them. They may want or need to give their lives over to their inner process for a period of time. For other people, a Holotropic workshop may be the only place they have found in which they can truly be themselves, and where they can give expression to some very big energies they have been struggling with. Then there are other people, like myself, who consider Holotropic Breathwork a spiritual practice, and try to do it at least a couple of times a year, much as one would a meditation retreat. But although I have seen plenty of people practice Holotropic Breathwork intensely for a period of time, and some people who seem perhaps too attached to it for a while, I have seen no one ‘addicted’ to it.
There is probably not a single practice that, in the hands of an addict, can’t be used addictively. Holotropic Breathwork is definitely not appropriate for people who are actively addicted to anything (whether a drug, alcohol, food, or behaviour), as it tends to bring to the surface just that material that the addict is trying, through the addiction, to suppress; this increased conflict could increase addictive behaviour. But once an addict is in recovery, Holotropic Breathwork can be extremely healing, helping the recovering addict work through the suppressed material, and perhaps discover the deeper patterns that gave rise to his addiction. (Grof, 1985: 267 – 268).
Is there a prescribed ‘order’ of experience?
There is also a common misperception that clients must first clear personal trauma, then work through birth trauma, and then, if they’re lucky, might have a transpersonal experience. This is an understandable misunderstanding of Grof’s work, for he did suggest this as the general order of discovery in a Holotropic process. However on a case-by-case, session-by-session, basis, it doesn’t work like that. I have seen many people have very powerful spiritual experiences in their very first session: these experiences may give them the incentive to continue, an overview of their process, or the tools they need to continue. I have seen many people whose first sessions are entirely transpersonal, and this might continue for many sessions, until they realize that the next edge for their growth is in their personal life, or in their personal history.
Interestingly, many sessions present many levels of the psyche at the same time, in a fascinating, holographic way. And as with dreams, each session can contain a prelude or hint of things to come. I remember one participant, a devout vegetarian, having a Holotropic session in which the image of a Big Mac appeared in his mind, fleetingly, much to his amusement. In his next session, several days later, he had a full-blown transpersonal experience in which he experienced himself as a lion, hungrily devouring the raw meat of a just-killed animal. I have come to believe that Holotropic Breathwork simply brings up exactly the experience we need right now, in the moment, from whatever level of consciousness. Whether this is a ‘therapeutic’ experience or a ‘spiritual’ experience is irrelevant. Whether it seems to be from the past is also irrelevant. Whether it is literal or metaphoric also doesn’t seem to matter much. What matters most is simply having that experience, that day. The session gives you a glimpse of the archetypal structure of the present moment, and brings you, very efficiently, to the next stage of your development.
Does Holotropic Breathwork require bodywork?
Holotropic Breathwork facilitators are trained to help participants with a form of support that is sometimes called, and often confused with, bodywork. Increasingly, however, this is called “Focused Energy Release Work” rather than “bodywork”. It is available to clients, if they request it, during a session or at the end of a session. It is used requested by participants when they feel stuck, ungrounded, or perceive that their session hasn’t completed. Most participants complete their sessions without needing any such help. But if someone does want help, a facilitator will respond creatively and empathically to whatever the client asks for. More often than not, this means simply placing a hand gently on the shoulder for encouragement. Sometimes a facilitator will suggest that the client amplify what is already happening. This could be physical amplification but could also be expressive amplification. It might mean simply encouraging a client to vocalise a sound, or explore an image, that she is already experiencing. A client might also want physical resistance for a particular gesture in order to intensify the feeling in it. But this physical resistance does not involve doing something to the client, and it is never ever intended to overwhelm the client. It is simply meeting the client where she is, and encouraging her to go a bit further, if she wishes. Unfortunately, I have seen some therapists, not trained by Grof, do some interventions in work with non-ordinary states that appalled me, so let me be very clear: A Holotropic Breathwork facilitator would never ever physically intervene in a session without the client’s permission—unless there were imminent danger that the client would hurt himself or someone else.
Does Holotropic Breathwork cause you to have an out-of-body experience?
It is certainly possible to have an out-of-body experience in a Holotropic Breathwork session. Most Holotropic Breathwork sessions, however, are exceptionally embodied. In fact, this may be one of the most valuable aspects of Holotropic Breathwork. Because the breather is lying down, on a mat, with someone nearby to ensure that he won’t get hurt, it is possible for his body to do whatever it needs to do. This is quite a different injunction, for example, than in a meditation retreat, where the exact physical posture for practice may be prescribed. In a Holotropic Breathwork workshop you can express yourself physically in just about any way imaginable. More to the point, you can allow your unconscious to express itself physically, in any way it wants to. Thus participants can have fully embodied spiritual experiences, quite idiosyncratically expressed. I have seen no practice that marries the transcendent and the immanent, or the spiritual and the physical, so effectively.
Do participants leave the workshops ‘ungrounded’?
After any dramatic experience, there is a risk of being ‘ungrounded’. People returning from an ashram or meditation retreat, and even from a therapy session or massage, can be ungrounded. Deep experiences are often unsettling, and it can take some time to integrate such experiences with ordinary life. This is why Holotropic Breathwork sessions are usually offered in overnight retreats, and at minimum in daylong retreats. A residential set-up helps people go into the experience more deeply, and gives them more time to complete the experience. Good facilitators make sure that people are sufficiently grounded before they leave a workshop, and are available to help them after the workshop if necessary. Holotropic Breathwork facilitators will often refer people to an appropriate therapist for continued support and integration of their experiences (and many therapists refer clients to Holotropic Breathwork as an adjunct to their therapy).
In some ways, Holotropic Breathwork actually offers a superior form of grounding. Facilitators commit to staying with a client until the client has reached a reasonable level of closure with the session. Most people finish their session within 2 to 3 hours, but facilitators understand that the ending of a session cannot be imposed arbitrarily: each session has its own internal logic. On rare occasions, I have seen some facilitators, including Stan Grof, stay with someone all night.
More to the point, there is no one ‘method’ of closure. Facilitators work with each client, if necessary, to ensure appropriate closure. Before trying Holotropic Breathwork, I had had many deep experiences at the hands of therapists who didn’t understand this. They ended my sessions at a time of their choosing, or at our pre-arranged time, by using a guided visualisation, a closing ritual, or simply pointing out the time and subtly encouraging me to get up. While this is understandable from the point-of-view of the schedule, it may have absolutely nothing to do with the needs of the client, and it is potentially damaging to the innate wisdom of the client’s psyche. Why invite a process to begin, in a spirit of trust, only to constrain it arbitrarily?
This is not just a matter of time. A Holotropic Breathwork facilitator encourages each client to find the unique symbol (i.e. expression, realization, image, or need) that completes his journey and helps him feel ready to return. It was only when I encountered Holotropic Breathwork, properly facilitated, that I was able to find authentic closure on certain issues, finding the unique answer that my own particular psychological predicament required. I no longer had to ‘hoist myself back’ to ordinary life to meet the demands of others, but instead learned how to find my own way back, in a way that felt authentic. Sometimes, of course, a journey cannot be completed in one session—some journeys last lifetimes—but there can at least be appropriate closure on that particular leg of the journey. However, shutting down a session prematurely is like asking Jason to return home without the Golden Fleece because his dinner is getting cold. To allow people find their own way back is both more empowering, more ethical, more satisfying, and ultimately, much more efficient.
Does Holotropic Breathwork induce an “altered state of consciousness”?
The term ‘altered states’ was widely used in the early days of the transpersonal movement, but with its suggestion of abnormality or pathology, it has become less and less favoured. The term “non-ordinary states of consciousness” is preferred, as it does not judge these states positively or negatively. Grof also tends to call these states of consciousness simply “Holotropic”, which means “moving toward wholeness.” In other words, Holotropic Breathwork simply opens us to a state of consciousness that helps move us toward wholeness.
In recent years, I have heard some people use the term “extraordinary states of consciousness”, which suggests the beauty and possibility of such states. Personally, however, I have come to believe that such states of consciousness—like dreams—are always present; they are only extraordinary if we aren’t already aware of them. I believe that the symbolic world is actually happening all the time, but we are just too ‘awake’ to notice. My current understanding of Holotropic Breathwork is that it simply brings us into deeper dimensions of the present moment, revealing a bit more of the colourful spectrum that is reality, right now.
Is Holotropic Breathwork violent?
Certainly Holotropic Breathwork allows people an unrivalled opportunity to work with their own anger and rage. Clients feel confident that they will not hurt anyone, including themselves. They are permitted to make as much noise as they wish. Thus they are really free to vent their violent feelings. Anyone wandering into a workshop, without understanding this, might assume that the work is violent. But I believe that what is happening is just a dramatic enactment of the interior of the human psyche, which of course includes violent feelings. Just because people can experience violent feelings in a Holotropic session doesn’t mean that the process is violent. Most people who attend a Holotropic Breathwork workshop have, in my opinion, made a decision to face the truth of them, including their shadow, so that they can be more peaceful in their ordinary lives.
Certainly, engagement with anger can be challenging for people. Many people, after years of being depressed, or disconnected from their anger, discover so much anger that they need to learn anger management techniques, or take up a sport, just to process or handle this upsurge of feeling. But while this upsurge of anger can be challenging in the short term, in the context of healing, it is progress. A Holotropic Breathwork facilitator would never make the expression of angry feelings an agenda for a client. The expression of angry feelings is merely one of the many possible experiences that might emerge in a session. Indeed many Holotropic Breathwork sessions are peaceful, joyous, or playful. Having co-facilitated nearly 10,000 Holotropic Breathwork sessions, I have certainly seen a lot of anger, but I have seen even more sadness, grief, vulnerability, gentleness, wisdom and wonder.
Is Holotropic Breathwork just about reliving trauma?
One of the most common misperceptions about Holotropic Breathwork, particularly in Ireland, is that it is only about recovery from trauma. This may be due to the fact the bulk of Holotropic Breathwork done in Ireland was in the 1990s. (And some therapists, not trained by Grof, were doing their own version of it in the 1980s). This was a time of great transition in Ireland. The reality of physical and sexual abuse, at the hands of parents, teachers, and clergy, was just beginning to become known. Therapists were helping clients process this trauma at a time when the culture was not very supportive of the truth of that trauma. And the people who came to Holotropic Breathwork workshops were often those who were particularly depressed, ‘stuck’, or emotional. They were often those people who had suffered the most severe trauma. They were referred to Holotropic Breathwork workshops by their therapists because they were not making any progress, or because the therapists couldn’t handle the intensity of the process. All of this has skewed the perception in Ireland of Holotropic Breathwork.
Holotropic Breathwork is practiced by people in recovery from trauma and also practiced by people who have no known trauma. I know of a Zen teacher who refers people to Holotropic Breathwork when their meditation practice gets stuck. I have seen Holotropic Breathwork as a very effective partner with other forms of personal development. It has been used in the context of leadership development, interfaith dialogue, and gender reconciliation. The point is that Holotropic Breathwork is a modern way for us all to explore the deepest dimensions of ourselves: sometimes that involved healing what happened before, and sometimes that means discovering what is happening beyond. But always, it means touching what is truly happening right now.
Yes, Holotropic Breathwork does seem to offer people the possibility of recollected memory and an extraordinary opportunity for catharsis. And it is often a history of trauma, or the onset of symptoms from a trauma, that drive an individual to a path of self-discovery. But Holotropic Breathwork is not primarily about trauma. Nor would a Holotropic Breathwork facilitator encourage a client to ‘believe’ a recollected memory as fact, for two reasons. First, it is always up to the client to interpret the experience. Second, Holotropic Breathwork sessions, like dreams, usually contain a mixture of elements, both biographical and symbolic, which can be very hard to separate. This is not to say that a recollected trauma did not happen, merely that it is not the role of the Holotropic Breathwork facilitator to set an agenda or interpret experience, and the goal of the workshop is never just ‘trauma recovery’.
The definition of trauma is not as simple as we think, and it may vary with both culture and era. Some people wonder whether Holotropic Breathwork might be re-traumatising; many people wonder whether any technique in which trauma is revisited is re-traumatising. Grof’s belief, however, is that the trauma only manifests in a holotropic session if it is necessary for healing. Holotropic Breathwork facilitators would never insist that someone work on a trauma, nor determine how long one should work on a trauma.
It is possible for people who are working through trauma (via any modality) to get stuck in that process for a while. Indeed, it seems that this is one way in which some people move forward: They get stuck in a particular perspective until they get so fed up with being stuck in that perspective that a new one breaks through. During the period of stuckness, however, they can certainly seem to be caught in a loop.
But it is important to remember that Holotropic Breathwork, because it is not about trauma recovery, is always offering clients a new way out of old problems. The primary injunction in Holotropic Breathwork is not ‘go into the trauma’ but ‘do the breathing until you are surprised by what emerges’. In other words: ‘don’t get stuck in your assumptions.’
“Quite frankly, I have seen more re-traumatisation by therapists and gurus who impose their own assumptions on the wide-open psyche of their clients—interpreting symptoms according to their particular model, advising them to do particular forms of work, managing their life choices, etc. Holotropic Breathwork is simply a loving field in which whatever needs to emerge can do so. In many countries, Holotropic Breathwork is actually seen more as a spiritual process than a therapeutic one; workshops attract people who are primarily looking to expand their awareness. But whether the benefits of a Holotropic Breathwork are spiritual or therapeutic (and I’m not really sure there is a difference), the main point is that what happens in a Holotropic Breathwork session, at its simplest, is this: you get the next part of the picture “(Boroson, 1998).
Does Holotropic Breathwork go too deep?
First, there is no question that Holotropic Breathwork allows people to have deep experiences, and to some extent, it catalyzes these experiences. Remember that the client is always in control of the mechanism that drives the depth of the process: breathing. No one is forced to go deeper than he wishes. As with osteopathy and homeopathy—and to some extent, Jungian analysis—in Holotropic Breathwork, symptoms are expected to get bigger—or be amplified—as a means of resolution: this is called a ‘healing crisis’. This is quite different from the medical model, where the elimination of symptoms—sometimes without anyone even knowing the cause—is often standard.
Grof believes that a symptom is like an interference pattern—it represents the ‘edge’ of another reality or gestalt that is trying to emerge. (Grof, 1992:206). The problem is that that other reality doesn’t match this reality very well. For example, a panic attack might be the psyche’s attempt to heal an earlier trauma; it certainly has many features of a birth process (claustrophobia, constriction, fear, elevated heart rate, etc.). The problem, therefore, is not the panic attack, but the context in which it is happening. If it happens when you’re driving a car, or sitting at your desk in the office, it is considered pathological. But if it happens in a safe and supportive environment, where it is possible to experience it fully, then underlying gestalt can be resolved, and it is considered healing. In a world where the dominant model of healing encourages the suppression symptoms, it’s not surprising that any technique that encourages the amplification of symptoms will be controversial.
“I have certainly seen people get into some very challenging territory in Holotropic Breathwork sessions, but they might well have got into even more difficult situations had those energies erupted in ordinary life. At intensive times of change in one’s life there can be mood swings, active dreams, and deep anxiety. Many people come to a Holotropic Breathwork workshop during such periods of transformation; therefore it may appear to a casual observer that Holotropic Breathwork has caused this unsettlement, rather than being a method of processing it. Many come to Holotropic Breathwork as a last resort. I have worked with many clients who were in recovery from abuse by the psychiatric profession, or from manipulative shamans or yogis, and who only found a safe, non-judgemental space in a Holotropic Breathwork workshop. I have also worked with many people who were in recovery from the abuse of psychedelics, which can create a very complex and challenging psychological state. It is not surprising that Holotropic Breathwork attracts such people, for the safety, depth, and respect for the client that it offers. But it would be a mistake to believe that Holotropic Breathwork induces a difficult experience in people who would not otherwise encountered it. My general experience is that people find that they can resolve issues in a Holotropic Breathwork session that they just couldn’t resolve anywhere else.
I am not denying that Holotropic Breathwork a deep, and at times emotional, process. But deep experiences are not always painful or dark (though these do seem to get the most press). I have seen many people, in a Holotropic Breathwork workshop, liberate their ability to laugh deeply, learn to cry profoundly, move parts of their bodies that have been frozen for years, experience ecstasy for the first time, and find a quietness and peace that they have never touched in ordinary life…”
Finally, one of the most common misperceptions about Holotropic Breathwork, to my mind, is one that Grof himself, and many trained facilitators, are guilty of advancing. They have described this technique primarily as a way to experience a non-ordinary state of consciousness safely. That’s a very attractive proposition to some people, but it misses many of the other reasons to participate in a workshop, and does not describe very accurately what most people experience as the main benefits of a workshop.
In a Holotropic Breathwork workshop, people experience a place of deep safety and profound trust, often for the first time. They learn to take time out from ordinary life for their deeper concerns and dreams. They learn how to bear witness to their own suffering and the suffering of others. They learn how to support one another through a dramatic process of unfolding. They learn that the enormous spiritual treasures of the Kosmos are available in each of us. They learn to trust their inner healer. They learn that experiencing their truth is the quickest way to wholeness. They learn to be compassionate to themselves and others. They learn to celebrate their uniqueness and respect other peoples’ differences. They learn that it’s okay to feel little and vulnerable, and that it’s okay to feel big and powerful. They learn to empathize with everything in the created universe as part of themselves, and they learn that they too are part of everything. They learn how to trust the deep wisdom of their own psyche, and to stay open to its ever-evolving story.
More information about Holotropic Breathwork, including research into its effectiveness, can be found from the Association for Holotropic Breathwork International website at www.ahbi.org.
A list of certified facilitators is available by email from GTT through their website – www.holotropic.com.
Boroson, M, (1998) ‘Radar to the Infinite: Holotropic Breathwork and the Integral Vision’ reprinted in K. Taylor (ed), Exploring Holotropic Breathwork: Selected Articles from a Decade of The Inner Door. Santa Cruz: Handford Mead, 2003.
Grof, S. (1985) Beyond the Brain: Birth, Death and Transcendence in Psychotherapy, Albany: State University of New York. See also Sparks, T., The Wide Open Door, and Grof, C., The Thirst for Wholeness.
Grof, S. (1992) The Holotropic Mind. New York:Harper Collins.
Article by : by Martin Boroson.- with Jean Farrell, Nienke Merbis, and Dara White
This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.
The establishment of psychedelic culture in the World during 60s-70s was obvious tendency after massive immersion of young progressive people of those times with global Hippies movement, Woodstock, Summer of Love, Rock, Indian Spiritualism and LSD.
Free minds of the planet- in different cities, countries and continents, were united through the Noosphere of the Earth to give to humanity new creative ideas and design decisions that travelled via neurons of their brains connected in Astral.
Otherwise how can we explain the following article:
In this section we usually reveal X-files of Human Race. Today we will not change the tradition:
Are we the only intelligent life in the universe?
Within this universe, there are billions of galaxies, each containing millions or billions of star systems. Most of these stars can have several planets, of which many are able to sustain life-forms of some kind. Even within our local galaxy, the MilkWay, there are various extra-terrestrial civilizations. Some are physical, some are non-physical. Some even are humanoid, while others are not. Taking into account that Earth is only 4.5 billion years old, and mankind only appeared 100.000 to 200.000 years ago, while the oldest part of this universe is estimated to be approximately 14 billion years old, it is only natural that there would be civilizations that are far more advanced than we are. More than one of these civilizations have been in contact with mankind. Some even played an important part in the history of Planet Earth. The most important players in Earth's Galactic History are coming from the Pleiades, Sirius, Orion, Arcturus, Zeta Reticuli , from Vega and other stars in Lira.
As mentioned, a lot of the alien races are more evolved than we are, technologically, mentally and spiritually. Most of these races are benevolent towards mankind. Some races, however, do not have the best of intentions. They are often referred to as the 'Negative Oriented Extra-terrestrial civilizations or “Greys”. In this context, it is, therefore, equally important to know that these 'negative' alien civilizations are only a minority, and that their actions are constantly being monitored by organizations that are more positive-oriented. Two of these organizations, e.g. are the Ashtar Command and the United Federation of Planets.
Ancient aliens, as we envision them based on endless physical evidence found across the planet, does not actually refer to a group of extra-terrestrial beings who came here once upon a time, but is more about those who create the consciousness hologram in which we experience and learn.
Reality is consciousness created in the matrix of time to study emotions. As we search for the truth behind the illusion about who created humans and other sentient life forms, we look to those who came from the stars - ancient astronauts or creation gods.
One must never forget that if there are indeed extra-terrestrials who are physical beings after a fashion, and that creation continues beyond their agendas.
They are a sub-routine, for lack of a better word, within our programmed reality. Call it a Grand Design, Master Plan, or whatever term comes to mind, but remember, it had a beginning and is rapidly approaching its end. Watch the signs - internal and external.
Robert M. Stone, M.S.
An Edited Version of a Presentation at the 1997 Ozark UFO Convention:
Extra-terrestrials exist. There is too much documented evidence, too many witnesses, for any rational person to think otherwise. This is a brief summary of the extra-terrestrial groups.
There are three different categories of extra-terrestrials as defined by myself. The bad guys, the little gray aliens, are the ones you always hear about in most presentations. They abduct and exploit humans. The good guys, called the Peacekeepers, are ones you rarely hear about, perhaps because they look human rather than humanoid, thus, not visually exciting; also contact with them is more difficult to remember and the memories are more difficult to retrieve. I will explain this memory difficulty shortly. With some of the human looking alien civilizations, one could be sitting next to you right at this moment and you wouldn't know they were an extra-terrestrial.
The Peacekeepers prevent the bad guys from running rampant exploiting humanity and earth.
The final group is composed of disinterested extra-terrestrial civilizations. I call them tourists. This type passes through from time to time and sometimes picks up a human for study. However, it is nothing more than curiosity and they are aware of the planetary rules; human returned unharmed.
In all the years I have been attending these conferences, all you hear about are the gray aliens, alien hardware that might exist, abductions, sliced-up livestock and to some extent, hybrids. Never what it all means or what is going on. Today, you are going to hear what is going on from a new perspective. You are going to learn about the neglected aspect of the extra-terrestrial equation; the Peacekeepers.
In the short amount of time that I have to speak, I cannot do the subject justice. However, I will talk fast.
The story has to begin with fairly modern human history but the good guys have been watching over mankind for a long time and the bad guys have been trying to exploit mankind for a long time. There is a planetary charter enforced by a consortium of powerful extraterrestrial civilizations that states No extra-terrestrial civilization can exploit or directly control humanity.
The Peacekeepers' task is to enforce this planetary policy. The loophole in the policy is that anything that has an aspect of human or earth in it is considered a part of earth. The Peacekeepers realized that eventually the gray aliens would figure this out and make their move to integrate themselves into humans as soon as human technology reached the point where they could do so. The key factor is that humans had to provide the means; human knowledge and technology had to evolve to a point that the gray aliens could utilize it for their agenda. The charter specifically prohibits extra-terrestrials from officially providing hardware. They can tell you about, even tell you how to build it, but they can't do it for you.
Anticipating this move the Peacekeepers began following genetic lines of human families between 350-400 years ago to find suitable host vehicles to counteract the threat from the gray aliens when the time arrived. Although 400 years sounds like a long time, the average life span of a Peacekeeper extra-terrestrial is 10,000 earth years.
The reason for the gray alien hybridization program is that they are a dying civilization. Currently, they live a few hundred earth years although in times past, they lived much longer. Around 15,000 years ago, they lived 1200-2000 earth years. This has been rapidly declining. With their reproductive capacity failing and their longevity diminishing, the only hope they have of continuing their civilization is by creating a viable hybrid with a human. The gray aliens want this planet for their own. If their hybridization programs succeeds, they will fulfill the loophole and have a more superior being than humans but being part human, the planetary policy, and the enforcement associated with it, does not apply.
The Peacekeepers solution to this problem is genetically engineered humans who will counteract the gray hybrids when it becomes necessary. Thus, an alien hybrid will not be allowed to dominate humanity because they will be neutralized by a superior, human being that exceeds the capacity of the typical gray alien.
It needs to be mentioned that the least sophisticated extra-terrestrial is vastly superior to a human. This superiority can take the form of physical strength but usually does not. The alien technology is superior and their personal electro-magnetic field is so strong that capacities that humans call extra-sensory, such as telepathy and telekinesis, is routine for the average alien. Some do it naturally, others use technology to boost inherent abilities; abilities that humans also have dormant within them.
A point I would like to make is that both the Peacekeepers and the gray aliens have bases on earth, usually in general proximity to each other. The Peacekeepers tend to have their earth bases inside of mountains. The gray aliens, have their bases underground or underwater. The level of technology is a deciding factor. The Peacekeepers have an incredible technology and can create bases inside of mountains that have no access unless you dematerialize the rock to get into them. The gray aliens have actually had to have humans build their bases for them.
In summary, there are three classes of extra-terrestrials consisting of a number of different civilizations from numerous solar systems in this galaxy, associating with the planet earth. The good guys act as Peacekeepers preventing primitive humans from being exploited. The bad guys, as represented by the gray aliens, are the ones that go around slicing up live stock, an occasional human and doing the abductions that you have heard so much about. Finally, a third class, which I call tourists, have some degree of curiosity about human beings and some degree of contact with them on a research basis.
This summary would not be complete without making a definitive statement. The Roswell, New Mexico incident, actually one of several in the Southwest in 1947, DID OCCUR!
These crashes were not accidents. They were a direct result of a confrontation between the gray aliens and the Peacekeepers. The Peacekeepers selected remote locations for the confrontations to prevent injury to humans. The Peacekeepers selected land sites to send a message to the humans. I will explain that shortly.
Those craft that crashed were shot down, and believe me, the US military, or no other military on earth, has the capacity to confront even the most primitive extra-terrestrial in 1947 or the present.
Those crashed vehicles in 1947, as I mentioned, were shot down. It was no accident that they were in the United States. You see, the US inherited more than just the Nazis scientists after World War 2, they assumed the alliance with the gray aliens as well. The Peacekeepers were sending a message to those humans foolish enough to embrace the gray aliens; you may be impressed with gray technology but we can destroy it anytime we want. The Peacekeepers have continued to destroy gray aliens that have violated the planetary charter. These battles, although not frequent, take place from time to time. Some people tend to interpret them as thunderstorms due to the nature of the weapons. A battle took place over the Gulf of Mexico in the late 1980s.
In 1947, and whenever possible, some agency of the US government recovered the vehicles and bodies. I would like to point out that there was a response team who was very well aware of what they were doing and very well practiced at retrieving these vehicles and silencing the local population. If you read the descriptions of the threats made against the witnesses of Roswell and it reminds you of tactics of the Nazis, you are right on target.
The purpose of retrieving the hardware and dead aliens was to support their new allies by keeping them secret and to find out more about them. After all, no self respecting, live gray alien would allow himself to be disected. Also, getting the hardware indirectly was a loophole too. The humans hoped that they might be able to repair the equipment with the technical advice of the gray's and use it, gaining centuries of technical advancement for quick use. I don't believe it has worked too well due to lack of human technology to implement the advice of the grays. As I say, they can tell you about Zook, they can demonstrate a Zook, they can tell you how they build a Zook, but they can't build a Zook for a human. It is ironic that the gray agenda is hampered by the very beings they wish to control.
It is interesting that the witnesses to the Roswell situation were confronted with an issue of national security. The only reason to keep knowledge of the gray aliens a secret for national security would be to hide the alliance that some element of the United States had with them. Perhaps the humans behind this alliance were afraid that every other country would want their own gray alien alliance so they wanted to keep it secret. Of course, the gray aliens have made alliances with whatever human governments they feel will suit their agenda. It is likely that Saddam's admiration of Hitler also includes a gray association.
You've heard about the gray alien hybrids many times at these conferences. The gray alien hybrid program began in 1930 with an alliance formed with Hitler which empowered the Nazis regime. I have a great deal of detail related to this alliance but probably won't have time to present it due to time constraints. If I have time, I will give you the history beginning in 1930 with the Nazis. However, the genetic engineering of the Peacekeepers is more important and I will focus mainly on that aspect.


This is a special area of top secret information from the Past, Present and Future of Goa Freaks World. Top Psychedelic non-fiction Books
John Higgs is a journalist, television writer and producer and author. His latest book, I Have America Surrounded: The Life of Timothy Leary, published by the Friday Project, is the first full biography of the pioneer of psychedelic drugs.
Recently he had published his Top 10 Psychedelic Books list. Today we present it to your attention:
1. The Doors of Perception by Aldous Huxley
Huxley's account of his experiments with mescaline in the 1950s make psychedelic use sound like a perfectly reasonable and admirable pursuit which would bring credit to any middle class gentleman. Huxley never wrote a dull sentence in his life and this is certainly one of his best works. If its influence of the likes of Timothy Leary or Jim Morrison is considered, then it could easily be his most culturally important book.
2. The Great Shark Hunt by Hunter S Thompson
Fear and Loathing in Las Vegas is usually considered Thompson's best work, but I much prefer The Great Shark Hunt. It's a huge book, a collection of the best of his journalism from the 60s and 70s, and it shows that Thompson had a far greater range than his later reputation suggests. His essay about Hemingway's death, in which he tried to understand why such a once-vibrant man ended up blowing his brains out in small town America, is particularly poignant following Thompson's suicide.
3. The Electric Kool-aid Acid Test by Tom Wolfe
This is Wolfe's account of life with Ken Kesey, the Merry Pranksters and the birth of the American west coast psychedelic movement. Wolfe knew that a detached, even-handed journalistic approach could never really explain what was happening, so he gave his book the same psychedelic viewpoint as his characters. The result is a wonderful piece of writing. For those of us who weren't born in the 60s, this is probably the closest we can get to experiencing it.
4. High Priest by Timothy Leary
Leary was a prolific writer, producing over 30 books and hundreds of essays and papers. I've chosen his autobiographical High Priest (1968) for this list as I think it is one of his most accomplished pieces of writing. It captures both the drug experience and the sense of discovery so well; the moment a scientist realises that the implications of their work are so huge that their life will never be the same again.
5. Sisters of the Extreme: Women writing on the drug experience by Cynthia Palmer and Michael Horowitz
Psychedelic use is split fairly evenly between the men and women, but the desire to write about and try to explain the experience is a predominantly male trait. Certainly every other book in this top ten is from a male author, which is why this book so important. It sheds light on the otherwise hidden half of the psychedelic experience.
6. The Long Trip: A Prehistory of Psychedelia by Paul Devereux
Devereux's impressive and thorough trawl through prehistory will be an eye-opener for anyone who thought drug use was a modern phenomenon. Devereux demonstrates that this point in history is a strange quirk in the human story, a rare time where we don't have a structure for incorporating psychedelic use into our society. If nothing else, it will make you view your ancestors in a different light!
7. DMT: The Spirit Molecule by Rick Strassman, MD
The medical profession has written little about psychedelics since Timothy Leary, which makes this book all the more valuable. DMT, a natural chemical produced by the human brain, is a hallucinogen so powerful that it makes LSD look like lager shandy. DMT throws up some very big questions about the workings of the brain, consciousness and about the world at large, and Strassman does not shy from these. For those who think that one day science will have all the answers, this book shows just how clueless we still are.
8. Cosmic Trigger: Final Secret of the Illuminati Volume 1 by Robert Anton Wilson
The usual medical warning about psychedelic use is that it is dangerous for anyone with latent or undiagnosed neurotic or schizophrenic disorders. Perhaps a more important warning would be that psychedelic use can trigger an onslaught of utterly weird synchronicities which leave the user in a world that has seemingly gone totally crazy, while they still feel perfectly sane. Robert Anton Wilson describes this situation better than anyone, and this sanity-bashing account of his personal journey through what he calls 'Chapel Perilous' is one of his best works. Anti-drug campaigners should distribute this book in schools, and ask children if they could handle that much madness.
9. Bill Hicks: Agent of Evolution by Kevin Booth and Michael Bertin
Psychedelics are often thought to have faded in influence after the mid 70s, but this is not the case. Instead, they became more subtly integrated into people's lives, to the degree that they didn't overshadow an individual's other interests or achievements. Bill Hicks is a good example. Although he frequently talked about his psychedelic use on stage he is not generally labelled as just a 'drugs comic', and I suspect that my inclusion of this book in this list will surprise a few people. This honest biography by his close friend Kevin Booth shows how integral psychedelics were to his life and, ultimately, his legacy.
10. What the Dormouse Said: How the Sixties Counterculture Shaped the Personal Computer Industry by John Markoff
This is significant because it is one of the first books to look at the legacy that the psychedelic movement of the 60s left behind. Many people will be surprised by the debt the idea of a 'personal computer' owes to psychedelics, the significance of the geographical location of Silicon Valley on the San Franciscan peninsula, or why Steve Jobs would say that taking LSD was one of the "two or three most important things" he has ever done. An impressive account of recent history.
11. The Road of Excess by Brian Barritt
A psychedelic top 10, of course, goes up to 11, which allows me to include Barritt's autobiography. One of Timothy Leary's lovers recently told me that she thought this book had the greatest descriptions of acid trips ever written, and she may well be right. This is a piece of literature that has clearly never been within a hundred yards of a copy editor, and it is all the better for it. Words just spill forth with no interest in grammar, coherence or where the narrative is going, but it possesses such an innate wit and swagger that it is a complete joy from start to finish. Psychedelia in its purest form, studded with flashes of brilliance.
This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.
To fulfil this section with  section, we decided to ask our to make a deep search and  prepare an archaeological and historical report about the biggest and the most powerful empires of ancient India, that founded the Hampi and established there the highest level of culture, literature, architecture and spiritualism in early 14the Century.

 The Vijayanagara Empire (also called Karnata Empire), referred to as the Kingdom of Bisnagar by the Portuguese, was an empire based in South India, in the Deccan Plateau region. It was established in 1336 by Harihara I and his brother Bukka Raya I of Sangama Dynasty.  The empire rose to prominence as a culmination of attempts by the southern powers to ward off Islamic invasions by the end of the 13th century. It lasted until 1646 although its power declined after a major military defeat in 1565 by the Deccan sultanates. The empire is named after its capital city of Vijayanagara, whose ruins surround present day Hampi, now a World Heritage Site in Karnataka, India. The writings of medieval European travelers such as Domingo Paes, Fernão Nunes and Niccolò Da Conti, and the literature in local languages provide crucial information about its history. Archaeological excavations at Vijayanagara have revealed the empire's power and wealth.
The empire's legacy includes many monuments spread over South India, the best known of which is the group at Hampi. The previous temple building traditions in South India came together in the Vijayanagara Architecture style. The mingling of all faiths and vernaculars inspired architectural innovation of Hindu temple construction, first in the Deccan and later in the Dravidian idioms using the local granite. Efficient administration and vigorous overseas trade brought new technologies such as water management systems for irrigation. The empire's patronage enabled fine arts and literature to reach new heights in Kannada, Telugu, Tamil and Sanskrit, while Carnatic music evolved into its current form. The Vijayanagara Empire created an epoch in South Indian history that transcended regionalism by promoting Hinduism as a unifying factor.
Differing theories have been proposed regarding the Vijayanagara empire's origins. Many historians propose Harihara I and Bukka, the founders of the empire, were Kannadigas and commanders in the army of the Hoysala Empire stationed in the Tungabhadra region to ward off Muslim invasions from the Northern India. Others claim that they were Telugu people first associated with the Kakatiya Kingdom who took control of the northern parts of the Hoysala Empire during its decline. Irrespective of their origin, historians agree the founders were supported and inspired by Vidyaranya, a saint at the Sringeri monastery to fight the Muslim invasion of South India. Writings by foreign travellers during the late medieval era combined with recent excavations in the Vijayanagara principality have uncovered much-needed information about the empire's history, fortifications, scientific developments and architectural innovations.
Before the early 14th-century rise of the Vijayanagara Empire, the Hindu states of the Deccan, the Yadava Empire of Devagiri, the Kakatiya dynasty of Warangal, the Pandyan Empire of Madurai, and the tiny kingdom of Kampili had been repeatedly invaded by Muslims from the north, and by 1336 they had all been defeated by Alla-ud-din Khilji and Muhammad bin Tughluq, the Sultans of Delhi. The Hoysala Empire was the sole remaining Hindu state in the path of the Muslim invasion. After the death of Hoysala king Veera Ballala III during a battle against the Sultan of Madurai in 1343, the Hoysala Empire merged with the growing Vijayanagara empire.
In the first two decades after the founding of the empire, Harihara I gained control over most of the area south of the Tungabhadra river and earned the title of Purvapaschima Samudradhishavara ("master of the eastern and western seas"). By 1374 Bukka Raya I, successor to Harihara I, had defeated the chiefdom of Arcot, the Reddys of Kondavidu, the Sultan of Madurai and gained control over Goa in the west and the Tungabhadra-Krishna River doab in the north. The original capital was in the principality of Anegondi on the northern banks of the Tungabhadra River in today's Karnataka. It was later moved to nearby Vijayanagara on the river's southern banks during the reign of Bukka Raya I.
With the Vijayanagara Kingdom now imperial in stature, Harihara II, the second son of Bukka Raya I, further consolidated the kingdom beyond the Krishna River and brought the whole of South India under the Vijayanagara umbrella.  The next ruler, Deva Raya I, emerged successful against the Gajapatis of Odisha and undertook important works of fortification and irrigation. Deva Raya II (called Gajabetekara) succeeded to the throne in 1424 and was possibly the most capable of the Sangama dynasty rulers.  He quelled rebelling feudal lords as well as the Zamorin of Calicut and Quilon in the south. He invaded the island of Lanka and became overlord of the kings of Burma at Pegu and Tanasserim. The empire declined in the late 15th century until the serious attempts by commander Saluva Narasimha Deva Raya in 1485 and by general Tuluva Narasa Nayaka in 1491 to reconsolidate the empire.
After nearly two decades of conflict with rebellious chieftains, the empire eventually came under the rule of Krishna Deva Raya, the son of Tuluva Narasa Nayaka. In the following decades the Vijayanagara empire dominated all of Southern India and fought off invasions from the five established Deccan Sultanates. The empire reached its peak during the rule of Krishna Deva Raya when Vijayanagara armies were consistently victorious. The empire annexed areas formerly under the Sultanates in the northern Deccan and the territories in the eastern Deccan, including Kalinga, while simultaneously maintaining control over all its subordinates in the south.  Many important monuments were either completed or commissioned during the time of Krishna Deva Raya.           Krishna Deva Raya was followed by his younger half-brother Achyuta Deva Raya in 1529. When Achyuta Deva Raya died in 1542, Sadashiva Raya, the teenage nephew of Achyuta Raya was appointed king though real power was wielded by Rama Raya, Krishna Deva Raya's son-in-law. When Sadashiva was old enough to claim absolute power, Aliya Rama Raya had him imprisoned and became the de-facto ruler.  Eager to take advantage of the disunity among the Sultanates of Bijapur, Ahamednagar, Berar, Golkonda, and Bidar, Rama Raya involved himself in the political affairs of the powers across the Krishna river to the north. His ploy of supporting militarily one Sultanate against another, often changing alliances, brought rich rewards for a while. However, by 1563, exhausted with his intrigues, the bitter rivals from the north formed an alliance. They marched against Rama Raya and clashed with the Vijayanagara's forces in January 1565.
The capture and killing of Aliya Rama Raya in the famous Battle of Talikota, after a seemingly easy victory for the Vijayanagara armies, created havoc and confusion in the Vijayanagara ranks, which were then completely routed. The Sultanates' army later plundered Hampi and reduced it to the ruinous state in which it remains; it was never re-occupied. Tirumala Deva Raya, Rama Raya's younger brother who was the sole surviving commander, left Vijayanagara for Penukonda with vast amounts of treasure on the back of 1500 elephants.
The empire went into a slow decline regionally, although trade with the Portuguese continued, and the British were given a land grant for the establishment of Madras. Tirumala Deva Raya was succeeded by his son Sriranga I later followed by Venkata II who was the last king of Vijayanagara empire, made his capital Chandragiri and Vellore, repulsed the invasion of the Deccan Sultanates and saved Penukonda from being captured.
His successor Rama Deva Raya took power and ruled until 1632, after whose death Venkata III became king and ruled for about ten years. The empire was finally conquered by the Sultanates of Bijapur and Golkonda.  The largest feudatories of the Vijayanagar empire – the Mysore Kingdom, Keladi Nayaka, Nayaks of Madurai, Nayaks of Tanjore, Nayakas of Chitradurga and Nayak Kingdom of Gingee declared independence and went on to have a significant impact on the history of South India in the coming centuries. These Nayaka kingdoms lasted into the 18th century while the Mysore Kingdom remained a princely state until Indian Independence in 1947 although they came under the British Raj in 1799 after the death of Tipu Sultan. 
Vijayanagara architecture is a vibrant combination of the Chalukyan, Hoysalan, Pandyan and Cholan styles, idioms that prospered in previous centuries.  Its legacy of sculpture, architecture and painting influenced the development of the arts long after the empire came to an end. Its stylistic hallmark is the ornate pillared Kalyanamantapa (marriage hall), Vasanthamantapa (open pillared halls) and the Rayagopura (tower). Artisans used the locally available hard granite because of its durability since the kingdom was under constant threat of invasion. While the empire's monuments are spread over the whole of Southern India, nothing surpasses the vast open air theatre of monuments at its capital at Vijayanagara, a UNESCO World Heritage Site.
In the 14th century the kings continued to build vesara or Deccan-style monuments but later incorporated Dravida-style gopurams to meet their ritualistic needs. The Prasanna Virupaksha temple (underground temple) of Bukka and the Hazare Rama temple of Deva Raya are examples of Deccan architecture. The varied and intricate ornamentation of the pillars is a mark of their work.   
At Hampi, though the Vitthala temple is the best example of their pillared Kalyanamantapa style, the Hazara Ramaswamy temple is a modest but perfectly finished example.  A visible aspect of their style is their return to the simplistic and serene art developed by the Chalukya dynasty.                                
A grand specimen of Vijayanagara art, the Vitthala temple, took several decades to complete during the reign of the Tuluva kings.
Another element of the Vijayanagara style is the carving and consecration of large monoliths such as the Sasivekalu (mustard) Ganesha and Kadalekalu (ground nut) Ganesha at Hampi, the Gommateshvara (Bahubali) monoliths in Karkala and Venur, and the Nandi bull in Lepakshi. The Vijayanagara temples of Kolar, Kanakagiri, Shringeri and other towns of Karnataka; the temples of Tadpatri, Lepakshi, Ahobilam, Tirumala Venkateswara Temple and Srikalahasti in Andhra Pradesh; and the temples of Vellore, Kumbakonam, Kanchi and Srirangam in Tamil Nadu are examples of this style. Vijayanagara art includes wall-paintings such as the Dashavatara and Girijakalyana (marriage of Parvati, Shiva's consort) in the Virupaksha Temple at Hampi, the Shivapurana murals (tales of Shiva) at the Virabhadra temple at Lepakshi, and those at the Kamaakshi and Varadaraja temples at Kanchi. This mingling of the South Indian styles resulted in a richness not seen in earlier centuries, a focus on reliefs in addition to sculpture that surpasses that previously in India.
An aspect of Vijayanagara architecture that shows the cosmopolitanism of the great city is the presence of many secular structures bearing Islamic features. While political history concentrates on the ongoing conflict between the Vijayanagara Empire and the Deccan Sultanates, the architectural record reflects a more creative interaction. There are many arches, domes and vaults that show these influences. The concentration of structures like pavilions, stables and towers suggests they were for use by royalty. The decorative details of these structures may have been absorbed into Vijayanagara architecture during the early 15th century, coinciding with the rule of Deva Raya I and Deva Raya II. These kings are known to have employed many Muslims in their army and court, some of whom may have been Muslim architects. This harmonious exchange of architectural ideas must have happened during rare periods of peace between the Hindu and Muslim kingdoms.                  
The "Great Platform" (Mahanavami dibba) has relief carvings in which the figures seem to have the facial features of central Asian Turks who were known to have been employed as royal attendants.

This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.

Today we decided to make a deep search to find the roots and try to highlight the future of Psychedelic Visual Media. So, lets see:
How Psychedelic Aesthetics Took Over the World.
If one were to judge the state of the psychedelic visual style in 1980, one would probably consider it to be an obsolete fad which receded into the past. Nothing could be further from the truth. Although decades have passed since the psychedelic sixties, psychedelic elements are today deeply integrated into contemporary visual culture from Avatar to videos by Beyonce and Rihanna.
The story of psychedelic visuals did not begin in the 1960s. It is in fact an extremely long tale which stretches from mankind’s prehistorical mystical visions, through the psychedelic revolution of the sixties, to modern consumerist media society and beyond. In order to understand the appeal which the psychedelic visual style holds for our postmodern culture one must get back to the roots of psychedelic aesthetics in the visionary experience.
Huxley’s  analysis of psychedelic aesthetics
“Prenatural light and color are common to all visionary experiences” wrote Aldous Huxley in his Heaven and Hell “and along with light and color there comes in every case, a recognition of heightened significance. The self-luminous objects which we see in the mind’s antipodes possess a meaning, and this meaning is, in some sort, as intense as their colour.”
The origin of intense coloring in the visionary experience. Aldous Huxley.
Visionary experiences has many possible characteristics, but the most common of which, according to Huxley, is the experience of light: “Everything seen by those who visit the mind’s antipodes is brilliantly illuminated and seems to shine from within. All colors are intensified to a pitch far beyond anything seen in the normal state, and at the same time the mind’s capacity for recognizing fine distinctions of tone and hue is notably heightened.”
Huxley’s lengthy discussion about the aesthetics of the visionary and psychedelic experience in Heaven & Hell remains one the most perceptive pieces about the roots of psychedelic aesthetics. His rich background as a scholar of aesthetics, a scholar of mysticism and a pioneering practitioner of psychedelic journeys, allows him to examine the issue of the visual characteristics of psychedelia from a large historical and philosophical perspective which is essential if one is to decipher the true meaning of psychedelic aesthetics.
All psychedelic visions are unique, claimed Huxley, yet they all “recognizably belong to the same species”. What they have in common are the preternatural light, the preternatural color and the preternatural significance, as well as more specific architectures, landscapes and patterns which tend to reoccur a
cross psychedelic and visionary experiences. For Huxley this intense color and light was one of the primary and most indelible characteristics of what he called the mind’s antipodes, the unknown territories to which the psychedelic voyager is transported.
Looking at the traditions of various cultures, past and present, Huxley found a common ground between their accounts of the heavens or the fairylands of folklore and  the lands of the antipodes. He noted the existence of Other Worlds, mythological landscapes of fantastic beauty in many of the world’s cultural traditions. In the Greco-Roman tradition there were the Garden of Hesperides, the Elysian Plain and the Fair Island of Leuke. The Celts had Avalon, while the Japanese had Horaisan and the Hindu Uttrarakuru. These other worldly paradises, noted Huxley, abound with intensely colored and luminescent objects which bring to mind the psychedelic visionary experience. “Every paradise abounds in gems, or at least in gemlike objects resembling as Weir Mitchell puts it, ‘transparent fruit.’” Wrote Huxley. Ezikel’s version of the Garden of Eden notes the many various stones in the garden, while “The Buddhist paradises are adorned with similar ‘stones of fire’”. The New Jerusalem is constructed in glimmering buildings of shimmering stone. Plato’s world of the ideals is described as a reality where “colors are much purer and much more brilliant than they are down here”.
Mystical paradises were always glowing with color and light.Avatar.
Huxley introduces many more examples of ancient cultures which establish the import and centrality of glimmering gems and precious stones in various mythologies. The implication he draws from this consistency is that the “otherwise inexplicable passion for gems”must have had its roots in “the psychological Other World of visionary experience”. In other words, “precious stones are precious because they bear a faint resemblance to the glowing marvels seen with the inner eye of the visionary.”
Moreover, Huxley notes, “among people who have no knowledge of precious stones or of glass, heaven is adorned not with minerals but with flowers”. Many more examples follow for the various intensely colored, shiny and often luminescent objects in which man had sought the semblance of the Other Worlds, among them candles, works of jewelry, crowns, silks and velvets, medals, glassware, the vision inducing stained glass windows of churches and even ceramics and porcelain ware.  All these, argued Huxley, act to transport human beings into higher realities: “contemplating them, men find themselves (as the phrase goes) transported –carried away toward that Other Earth of the Platonic Dialogue, that magical place where every pebble is a precious stone.”  Shiny objects, argued Huxley, remind the unconscious of the mind’s antipodes and so allow us to experience a taste of visionary consciousness.
The human urge to be transported into the numinous realm has found its expression in mythologies and religion, but also in art. Huxley notes a number of artists who used colors in transporting ways such as Caravaggio, Geroges de Latour, and Rembrandt. Indeed, he notes:
“Plato and, during a later flowering of religious art, St. Thomas Aquinas maintained that pure bright colors were of the very essence of artistic beauty”.
Although Huxley argues that this categorical equation of beauty with bright colors leads to absurdity, he also finds this doctrine to be not altogether devoid of truth. “Bright pure colors are the essence, not of beauty in general, but only of a special kind of beauty”: the beauty of works of art which can transport the beholder’s mind in the direction of its antipodes.
Modern taste is often reserved about using intensely bright colors, and prefers the more restrained and undemonstrative palette of minimalism and modernist design. The reason, argued Huxley, is that “we have become too familiar with bright pure pigments to be greatly moved by them”. In the past, pigments and colors were costly and rare. The richly colored velvet and brocades of princely wardrobes, and the painted hangings of medieval and early modern houses were a rarity reserved for a privileged minority, while the majority of the population lived a drab and colorless existence. This all changed with the modern chemical industry and its endless variety of dyes and colors. “In our modern world there is enough bright color to guarantee the production of billions of flags, and comic strips, millions of stop signs and taillights, fire engines and Coca-Cola containers”, and all those objects which in the past might have possessed a transporting numinous quality were reduced by the new industrial consumer market into ordinary banality.
The evolution of psychedelic aesthetics in modern times
The potential of psychedelics to act as powerful catalysts for creativity in general and for visual artists specifically was  noted by researchers of psychedelics already in the 1950s. Oscar Janiger who administered psychedelics to artists was immediately flooded with artists enthusiastic to explore their creativity through the use of psychedelics. “Ninety-nine precent expressed the notion that this was an extraordinary, valuable tool for learning about art”. Ron Sandison noted a patient whose style changed completely after a psychedelic experience “and she began to paint in the style she wanted to, which was imaginative”.
Many more anecdotal accounts of the artistic merit of psychedelics appear during these years. However, the great aesthetic shift ushered by psychedelics would only come as a result of their popularization in the mid-1960s. The psychedelic revolution has brought the visionary aesthetic which stood at the center of many works of art and religion back to the foreground of western culture, but now through the prism of the emerging pop culture of the 1960s.
San Francisco psychedelic poster artists such as Rick Griffin, Victor Moscoso, Wes Wilson, Stanely Mouse & Alton Kelley redefined the boundaries of numinous aesthetics by integrating it into commercial psychedelic posters which advertised bands and  rock concert. These psychedelic artist, who experimented with colors and forms  were inspired to a great extent by the Art Noveau movement of early 20th century and it’s emphasis on organic forms and lines, as well as in the idea of life as art. The aesthetic of these  posters would define a new artistic style that would be widely distributed and collected.  Meanwhile, psychedelic art flourished outside the poster genre. Visual artists such as Mati Klarwein, Robert Fraser and Milton Glaser designed psychedelic album covers for the likes of Miles Davis, the Beatles and Bob Dylan.
Mati Klarwein’s psychedlic cover to Miles Davis’ Bitches Brew.
Other forms of psychedelic aesthetics have emerged in various cultural domains. Psychedelic fashion was popularized by rock artists and countercultural figures and even introduced into couture by designers such as Emilio Pucci, Paco Rabanne and Pierre Cardin. Psychedelic light shows by psychedelic light show artists and groups such as Marc Boyle, Mike Leonard and The brotherhood of light became a popular trend in music concerts. (Here one should also note an extremely popular form of  psychedelic aesthetics, which is the luminescent culture of Burning Man Festival, whose fascination with glowing colors  have turned it over the years into a distinct form of light-worship, a spiritual fest ordered around the heavenly glow Huxley referred to in his work). Psychedelic architectural and inner designs flourished in the communes and were experimented with by a variety of architects and designers as thoroughly documented in the book “Spaced Out”.
What these various genres of psychedelic aesthetics had in common was the use of intensive coloring, extensive use  of natural lines, extensive use of op-art as well as of elaborate patterns and designs that sought to transport the viewer into a different state of consciousness. 
Like the other forms of psychedelic culture, psychedelic aesthetic was a new artistic genre which was rooted in the psychedelic experience and at the same time a cultural artifact which attempted to recreate some of the elements of the psychedelic experiences within the domain of culture.
A distinct form of light worship. Burning Man.
Yet, by the late sixties psychedelic aesthetics have already left the realms of the counterculture, and started being absorbed by the larger culture, as their commercial potential began being tapped into by various enterprises from Pepsi and McDonalds to Campbell and General Electric so that by the mid-1970s, the psychedelic visual style had been largely absorbed into the mainstream consumer culture which the hippies sought to change.
The evolution and reemergence of psychedelic video
Psychedelic art, fashion, design and architecture were all contributed greatly to the creation of a psychedelic culture expressed in various artistic forms. Yet when it comes to reproducing the psychedelic experience, it seems that film and video had an altogether different potential. Psychedelic visions are after all not not static, buy dynamic and related to sound. An effective use of moving pictures and a soundtrack can powerfully recreate elements of the psychedelic experience. This would appear to be part of the reason, why psychedelic film and video would achieve an even greater popularity than did the more static reproductions of the psychedelic experience such as art, fashion, design and architecture.
Already Huxley noted in his Heaven and Hell  that the equivalent of the magic-lantern show of earlier times is the colored movie. “In the huge, expensive ‘spectacular’, the soul of the masque goes marching along” wrote Huxley. He was fascinated by various films with visionary properties, such as Disney’s The Living Desert and claimed that film has the power to create a “vision inducing phantasy”. Psychedelic elements have actually emerged on film already as early as the 1920s as could be seen in this short silent animation film from 1926 as well on Disney’s 1940s films Fantasia and Dumbo the Flying Elephant, which both contained elaborate psychedelic sequences, and whose chief visualist is reputed to have participated in Kurt Beringer’s mescaline experiments in 1920s Berlin.
The 1960s psychedelic genre of film distinguished itself through such films as “Psych-Out” (1968), “The Trip ”, (1967), “Easy Rider ” (1969) and of course the Beatles’ “Yellow Submarine” (1968) and Stanley Kubrick’s 2001: A Space Odyssey  which was frequented in cinema by numerous tripping hippies who immensely enjoyed the closing hyper-psychedelic 30 minutes sequence.
And while the attraction and novelty of the psychedelic style seemed to diminish in the beginning of the 1970s, the attempts to recreate the psychedelic visual aesthetic on film kept evolving. Experimental movie makers such as Vince Collins and Toshio Matsumoto explored psychedelic aesthetics throughout the 1970s, while new motion pictures introduced movie-goers to more elaborate and sophisticated cinematic renditions of the psychedelic experience, created about with the help of new production techniques and technologies in films such as Ken Russel’s 1980’s Altered States  and Terry Gilliam’s 1998 version of  Fear and Loathing in Las Vegas.
But while these might seem as solitary examples, a far deeper cultural momentum was at work, advancing the integration of psychedelic aesthetic into popular culture. As I showed above, Huxley already noted the visionary aspect of commercial designs such as colorful printed advertisements or neon lights. As technology and media evolved side by side with late capitalism, psychedelic aesthetic and consumer society would find a common field of resonance. Electronic media, which media theorist Marshall McLuhan described as humanity’s nervous system, and which Erik Davis called a technology of the self, would become a new and most effective form of consciousness altering medium. The visual properties of psychedelics, which expressed themselves not only through color but also through a new and more dynamic approach to video editing, would become integrated into the popular culture, while better, bigger screens and higher resolutions created a distinctly psychedelic hyper-real quality in many of the new clips and videos.
And so, while it might have earlier seemed that psychedelic aesthetic became a thing of the past, a quick examination of today’s popular culture would teach us something radically different. Psychedelic visual style is to be found in the music clips of the many of today’s leading music artists, and not only alternative groups such as MGMTChemical Brothers or Birdy Nam Nam but also in the music clips of many of today’s leading pop artists from Beyonce to Lady GagaRihannaKesha and Nicki Minaj . Psychedelic visionary aesthetic also became an integral part of today’s commercial world from Takashi Murakami’s impeccable Louis Vitton’s commercials to commercials by SonyHyundai and Yoplait. Psychedelic videos are being created today, by web users, as well as by commercial firms and popular artists at a higher rate than ever before.
This does not mean that all these videos are psychedelic in the same way. One could distinguish between more superficial use of psychedelic motives characterized mostly by psychedelic coloring, design and editing, which can be found in more mainstream oriented productions, and more distinctly and explicitly psychedelic videos which include more hardcore psychedelic motives such as multi-perspectivism SaveFrom.netmulti-dimensionalityfigure transformationmandalas and fractalic imagery. In this way one could distinguish between soft-psychedelia and hard-psychedelia.
“the self-luminous objects which we see in the mind’s antipodes possess a meaning, and this meaning is, in some sort, as intense as their color” wrote Huxley. “Significance is here identical with being”. In this, Huxley wished to point out that in contrast to surrealism, for instance, the psychedelic aesthetic is not symbolic of anything else. It is the thing itself. Its beauty needs no explanation, for it is self-evident in its color, richness and harmony. The meaning of the psychedelic visuals is “precisely in this, that they are intensely themselves”.
And this is perhaps what makes psychedelic aesthetics so appealing to today’s popular culture. The psychedelic aesthetic style, which is rooted in the visionary Other Worlds described by the mystics of humanity, is so successful precisely because it is distinguished first and foremost by its “suchness”; because it does not symbolize anything concrete, and can hence be seen as arguably indifferent to content and used for a wide variety of purposes. At the same time the powerful responses it evokes, a result of mankind’s age old fascination with the colors and light which characterized the psychedelic visions of the Other Worlds, turn it into such a powerful mind-altering tool for media.
The future of psychedelic media
One might ask whether the use visionary elements in consumer culture still holds and delievers  the deeper psychedelic values, or whether psychedelic visual style has become abused by other purposes. One thing should be clear, however: psychedelic aesthetics in media are here to stay. They are integrated into the cultural production system, and new technologies such as 3D screens and video glasses are about to make them ever more effective and powerful.
The advent of 3D screens, which are making their way into the consumer electronics market these days are one factor which is bound to make psychedelia an even more prominent force in our visual culture. The psychedelic experience has always been about perceiving new and unimagined dimensions, and the addition of a new dimension to media, has an inherently psychedelic quality to it. As a genre which is based on bending our perception and creating rich media environments to inspire awe, psychedelic visuals can benefit greatly from the new possibilities unleashed by the new dimensions. Indeed, Avatar, the most successful 3D film up to date, is distinguished by its extensive use of psychedelic aesthetics. Meanwhile Independent psychedelic video makers have already started to integrate the 3rd dimension into their works with mesmerizing results. The first examples of 3D psychedelic videos are so much more psychedelic and transporting than 2D psychedelic videos that this suggest that psychedelic videos will profit from the integration of the 3rd dimension into media more than any other genre of video.
Meanwhile, augmented reality projects such as the “Google Glasses” suggest that in the not so remote future one might perceive the world through high-resolution 3D screens. This in turn raises the possibility that the augmented reality glasses will be used not only to present useful data, but also to produce visual filter effects (such as changing colors or patterns) which will be screened on reality and allow us to see reality through altered senses, much in the same way that Instagram allows us to manipulate still pictures today. Rich augmented reality environments would repackage our surroundings, freeing us from the visual constraints of the real world and transporting us into other more magical realities which will present themselves from within our glasses. Thus a new market for virtual psychedelic environments and landscapes might emerge.
Psychedelics and electronic media are both powerful mind-altering tools capable at producing awe-inspiring transformational visual experiences. Psychedelic visual culture has had an appetite for using new media to enhance and recreate psychedelic experience since the invention of the strobe light and the days of Stewart Brand’s “Trips Festival”. New developments in technology and media suggest that the wedding of the psychedelic visual culture and electronic media will only become stronger in the years to come.


This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.
Everyone loves free parties. We also love them. Early parties in Goa, even few years ago had no charge on the doors. Free Parties, Free People, Free Future was our motto. Time changed and all over the Globe this type of the events almost disappeared.
Not many of you know how and where actually started real free raves, and as a tribute to our old friends , who have been dissolved in time we want to publish today this article.

On 19 April 1992 - Easter Sunday - Spiral Tribe, a self-described "rag-tag sound system group who came together driven by the will to keep the party going", who had been running free raves with a mobile rig across the UK since 1990, set up in a warehouse in Acton Lane, west London. To a packed house, they partied through the night. In the early hours, police officers from the Metropolitan Police's Territorial Support Group, a specialist division with duties including crowd control, surrounded the building. Those who tried to enter or leave had to face the TSG (the same group responsible for heavy-handed policing of crowds in the recent G20 demonstrations). According to witnesses at Acton Lane, some TSG were masked and had their ID numbers covered. The Spirals and partygoers barricaded the doors, but after a 10-hour stand-off, the police revved up a JCB and broke through the outer wall. Scores of ravers later alleged they were beaten in the dark of the warehouse; witnesses claim one pregnant woman was knocked to the ground. One man who tried to escape over the roof claimed to have been pushed; he fell two storeys breaking both arms and legs. No charges were brought. The next day a police helicopter escorted the Spiral Tribe convoy, 10 vehicles long, out of the London area.

Simone, one of the original Spiral Tribe members, who had fallen into the free party scene years before after working in a PA hire shop in north London, recalls: "Everyone who was there remembers exactly what happened. Being forced down on to muddy floors, being battered. It was a horrible experience.

"They were letting people in and not letting people out, then letting people out and not letting people in," she continues, talking from her current base in a Paris apartment. (Like other Spirals I talked to, she didn't want me to use her full name.) "All of a sudden you peered out of a crack in the wall, and the place was surrounded by every kind of police vehicle you can imagine. They had diggers, they were all in their riot gear, shields. We'd just been dancing for a few days, we're in the middle of an industrial estate, not really affecting anybody else around, and then all of a sudden they started bashing the wall in. They smashed up the decks, just went to town basically. Imagine people who've been up for two or three days dancing; you're a bit tripped out at this point. People were being carted off to hospital."

The Spirals were used to run-ins with the law - "we'd had lines of police directing us across fields" - but nothing like this. "At that point we realised the police were really on our case. There was a news blackout. We tried to call all the journalists we knew, and there was nothing. What happened was kind of obscene, but it went unreported. It felt like we had no way of telling anyone.

"Really, what were we doing that was so disastrously wrong? Occupying empty buildings, playing music and dancing. People of all walks of life were coming together on the dancefloor. They [the police] acted completely out of fear."

Following interim parties at Chobham Common and Stroud Common in Surrey and in the Cotswolds, where they rebuilt some of their equipment, the Spirals elected to seek refuge in numbers. Deciding, as one member recalls, "to take it easy at someone else's party for a change", they headed for the Avon free festival, a regular May bank holiday gathering near Bristol. This year, though, Avon and Somerset Police had other ideas. "They were digging trenches, no one was able to go to the site," says Simone. Police encouraged the sound systems to head towards Castlemorton Common, a few square miles of public land just east of the Malvern Hills. "At Castlemorton we had the biggest space, but our rig was not the loudest," Simone recalls. "After Acton Lane, half of our speakers were blown. But people were always offering us things to make up for lost equipment." Spiral Tribe set up in a semi-circle of trucks, with the centre stage under a huge painted spiral, and joined the party.

It was an event that would never be repeated; a brief triumph for those who wanted to party in the face of vested interests that would soon move in to crush the scene. But for that short window - four days - Castlemorton was a free festival on a new scale. Simone recalls spending some of the time hiding, in awe of the size of the gathering. "It was like, 'Oh shit, what have we done. Things are not going to be the same after this.'" Ten rigs, including Circus Warp, Circus Normal and Bedlam, Adrenaline and Nottingham's DiY sound system set up and declared their own takes on acid house, hardcore, early drum'n'bass and Detroit techno records played at double speed. An estimated 20,000 to 40,000 people gathered, brought together by the music, the freedom and the drugs: travellers, crusties, ravers and new agers - who came with dogs on strings, blue dreadlocks, shaved heads and fire-breathing kits - and just maybe David Cameron, or someone who looked a lot like him (a YouTube clip recently surfaced from Sunrise, an '88 acid house rave, showing a long-haired raver who resembles the leader of the opposition - but Conservative central office deny it is him). There was free enterprise, too, as long as you were shopping for lightsticks, whistles or Rizla.

As the ravers drummed up a party, news hounds drummed up a controversy. David Baldwin, a 37-year-old mechanic whose front garden was 20 yards from the nearest sound system, told the Daily Mail he had seen "youngsters injecting heroin in a Renault 5". Brian Clutterbuck, a smallholder in his 40s, patrolled the edge of his land with a pellet gun. Locals complained about property damage: fence posts, they said, had been ripped up for firewood, and dogs were killing sheep. The local pub and post office shut. In an echo of similar tensions two decades before, locals called the ravers "hippies".

Castlemorton was the lead story on the BBC Six O'Clock News on the Friday and Saturday nights, and the coverage drew people from across the country. (One raver remembers returning home four days later "with eyes like pandas and my mother asked, 'Did you have a good time?'" He told her he'd been at a free party. "'Yes! I know!' she replied. 'I saw you on Central News.'") People in convoys hundreds of cars long hoped those they were following knew where they were heading. Entry routes were blocked not by police but by ravers. Police helicopters flew low over the site to film, and at one point five shipping distress flares were fired at one of them. "This illustrates the lengths to which these people will go to try to prevent police access to the site," West Mercia's assistant chief constable, Philip Davies, said. "Many of them have already displayed an extremely aggressive attitude towards the police, and the safety of my officers must be one of my priorities." There were too many partygoers, in other words, for the police to shut it down.

"These people who live here shouldn't be afraid," one told the Mail. "They should join in." Another, Richard, told the Daily Express: "There is nothing wrong with what we are doing. We are here to have fun in the sun. We chose to live this way and reject the hassles associated with a conventional way of life. Some say we are dirty, but we are environmentally conscious, we make efforts not to dump rubbish. People generally have it in for us because of our lifestyle. I think many envy us because of our freedom."

In a 1970s short story anthology, Three Trips in Time and Space, three leading lights of golden age science fiction wrote of various futures where teleportation was possible. Sandwiched between two eulogies of ease and motion was a delightful dissenting voice: Flash Crowd, by Larry Niven, in which teleportation brings about a terrible anarchy, where millions wander the earth, materialising instantly wherever the latest sensation carries them, leaving destruction in their wake. This was the future that middle England seemingly feared. It was 1992: mobile communications technology had only just begun to reshape our lives (Simone recalls Spiral Tribe had one brick-sized mobile phone, which held a charge for "about three minutes

- we saved the charge and we'd phone up TouchDown radio with the location of the party, which they'd announce at midnight") - yet, it seemed, crowds were already on the move.

"Castlemorton was scarily conspicuous," says Sebastian, another Spiral Tribe member. "You had this sense of, well, what's going to happen next."

Castlemorton didn't just teleport out of nowhere: the rise of the free party scene had been a long time coming. In 1981, Joe Rush, a 21-year-old punk living in Ladbroke Grove, joined the Peace Convoy, a rotating caravan of, he says, "around 40 dodgy and illegal trucks, cars, vans and old ambulances" that roved England from the Windsor and Glastonbury free festivals to smaller parties on common land. In the early days the convoy developed its own tactics to use against the police and local authorities: once, after being refused at a service station, they blocked a three-lane motorway and slow-rolled until police relented and allowed them to refuel. Later, the police response grew brutal, culminating in the Battle of the Beanfield, a police action in June 1985, at the intended 14th Stonehenge free festival. One thousand officers - again with their numbers covered - smashed 140 vehicles and beat the travellers, after which, Joe says, the heart went out of the Peace Convoy.


Rush, who later co-founded the Mutoid Waste Company sound system, traces the heritage of the Peace Convoy back to Ken Kesey's Magic Bus Trips and Acid Tours in 60s America, as well as to the tradition of travelling communities in this country, and also links it to political events such as the 1984-85 miners' strike. There were in fact direct connections: in 1989, chief superintendent Ken Tappenden, who had been involved in the miners' strike police action, started the Pay Party Unit, tasked with controlling the rave scene. The unit monitored pirate radio, tapped phones, and organised helicopters to track the organisers. After three months, they had begun 20 major investigations. As Matthew Collin and John Godfrey note in their book Altered State, the Pay Party Unit's database held 5,725 names and details on 712 vehicles. Within weeks, their 200 officers had monitored 4,380 telephone calls and made 258 arrests.

This was around the time Spiral Tribe's Sebastian, aged 17, moved down from west Scotland to London to play in a psychedelic band. A friend invited him to a party. "I thought it was going to be like a Scottish party, with a few friends standing around drinking. We went to Old Street station, where there were loads of police and ravers milling about. A car pulled up and took us to Clink Street." This was a maze of arched vaults on the site of Britain's first prison, near London Bridge, where DJs including the Shamen's Mr C championed the new rave sound. "That was my first rush of acid house," Sebastian says. "After that night, my life was very different." But the Pay Party Unit was working hard, and legislation followed. In 1990, MP Graham Bright introduced the Entertainments (Increased Penalties) Bill, which raised fines for throwing an unlicensed party from £2,000 to £20,000 as well as a possible six months in prison. Nicknamed by Bright "the acid house party bill", it was a clear attempt to push the free-party scene into the licensed leisure industry, so it could be regulated. "It made a difference," recalls Sebastian, speaking to me from Paris after a long weekend of DJing in the French countryside. "The parties changed. Everything had gone into a more clubby direction. I'd been educated by mad illegal raves, and the energy was so different to what I was finding after that. There was a hunger to get back to the acid house rave thing. That was the reason Spiral Tribe came about."

In October 1990 he went to the first Spiral rave, in a squatted schoolhouse in London's Kensal Rise. "I didn't have all the fancy clothes, I didn't have what was necessary to fit in to certain clubs. You walked into Spiral Tribe and none of that mattered. It was like going back to those '88 raves. People were totally friendly; they didn't judge you by what you were wearing. I was hooked."

The Spirals staged their first party in late 1990. By June 1991 they had a mobile rig, and over the next year they travelled England, announcing their integrated ethic on their flyers: "We are here to reconnect the Earth"; "We're part of the earth; we're part of us"; "You might stop the party but you can't stop the future."

This was where people of my age, in their mid- to late-teens at the time, discovered the parties. It's hard to picture those days now, before the internet, when mainstream press had a tighter control over how we saw events like this. Word reached us through friends, or from pirate radios such as TouchDown and Rush FM. At warehouses and squats, UV paint across the walls, we gathered to dance all night to pitch-shifted breakbeats that had yet to be harnessed for TV adverts. The music, impenetrable to many - like me - before their first pill, seemed uniquely British: the harsh beats and melodic breakdowns seemed to dramatise the disjoint in our lives, between life in an impersonal money-focused state, and the new easy honesty we were discovering with each other. The open spirit of those parties seemed like a gateway to a possible future. We told each other things we hadn't said before, and we told them to strangers too. Back then, even the rivalry between sound systems and police had occasional friendly moments. I remember one early morning in mid-1992 walking back through an east London park with the owners of a sound system, lugging a speaker each, as a TSG riot control van followed us. We heard the crackle of their PA system and picked up our pace, fearing arrest. "You should have borrowed our sound system!" they joked through the megaphone, then revved away.

"It was a whirlwind two years, really, but we packed a lot in," says Simone. Spiral Tribe's living arrangements were typical of the dozens of sound systems across the UK. "We were all pretty much squatting. Not everyone. Once we hit the road, we used to sleep in the truck, under the truck, take turns in sleeping. It wasn't that important really. The first parties in London were fivers in. That gave us enough money to pay the DJs a bit, print flyers for the next party and a bit of diesel for the generator. We ate vegetable curries a lot. We didn't need much, really."

Most of the sound systems worked to ensure they left little damage after their parties. "We always wanted to leave as little trace as possible," another Spiral member recalls. "After Castlemorton, we hung out until Wednesday, Thursday, clearing up, leaving the site impeccably clean. Then, as we pulled off site, the police asked us, 'Have you been at Castlemorton?' Everyone said: 'Yes,' and that was it. Everyone was nicked. Everything was impounded. They really went to town."

Simone had left for London the day before. That day there was a knock at the door, and she was arrested. "They took every scrap of paper off the wall. We had a mini-office, where we did photocopying and everything, and they took it all."

In all, 13 Spiral members were charged with public order offences. Their trial became one of the longest and most expensive cases in British legal history at the time, lasting four months and costing the taxpayer £4m. The police used any tactic they could to support their case. "We even all had our handwriting analysed," says Simone. "We had a messy office full of stuff, and they were trying to ascertain who'd written some philosophical rant. It was incredible. Actually, in the end it turned around in our favour. There was no conspiracy to bring down the government, which I think they were looking for. In the end everything was thrown back in their face, and the jury saw that. It was painful, laborious - luckily, there was a good team of lawyers, everyone had to go in every day and have their chance on the stand. Everyone was just as honest as they could be. There was nothing to hide." All 13 were acquitted. According to one witness, a superintendent approached a group of Spiral members on the steps outside the court and said: "I just want you to know that I don't agree with what is happening to you here. This is a political stitch-up."

After Castlemorton, police pressure on free parties did not relent. Some ravers believe there was an explicit agenda to extend legal licensing hours while cracking down on free parties. In that sense, superclubs such as Cream and Ministry of Sound have their direct roots in the repression of the roving sound systems. And the police tactics worked. "One weekend after Castlemorton we tried to put on a party," says Sebastian. "We had five back-up venues, and every time we arrived at the next one, the police had already closed it down. It was really difficult to put things on under the name Spiral Tribe, so it was either disband the name, or take it out to Europe. Half of the crew went to Europe, and half stayed in London."

"Where could we go?" says Simone. "They'd taken every last coin out of our pocket, impounded all our equipment - we weren't getting that back. We went to France, and it took on a new form."

There were already UK sound systems spreading across the continent. Mutoid Waste moved to Berlin, where they were when the Wall came down. With Bedlam, another sound system, they held a party by the Brandenburg Gate. Joe and the other Mutoids built a Stonehenge out of scrapped East German tanks they found in an abandoned base. After the party, and without permission, they hoisted two decommissioned MiG fighter jets on to trucks and headed further east.

"There were travellers, ravers, intellectuals," recalls Joe. "It was a crazy, mixed crowd."

"The country that really connected was France," says Sebastian. "Spiral Tribe went to Berlin, and they didn't want to know. They didn't have any need for the free party scene. Because you can go to a club all night, and the drinks aren't expensive, and the security don't get in your way."

Back in the UK, it took a few years for the law to catch up with the state's intentions to wreck the party. But when it did, it arrived with the infamous Criminal Justice and Public Order Act 1994, section 63 (1)(b), which outlawed outdoor parties. In an unusual foray by civil servants into music criticism, the wording of the act defined "music" as that which "includes sounds wholly or predominantly characterised by the emission of a succession of repetitive beats". Following the act, if there were more than 10 of you and you looked like you were waiting for a party, even if the land wasn't privately owned, you could be told to leave, and if you did not, or if you returned, you faced up to three months in prison.

Sound systems such as Spiral and Bedlam realised they could not return to the UK. They began a slow migration across Europe, sowing the seeds of rave culture, starting parties that evolved into big-name modern festivals.

In the course of the decade, the music itself took on a more central focus. In 1990, Sebastian (who still records techno under the name 69db) had commuted from a Leeds music course to London every weekend to attend Spiral Tribe parties. During the week he found himself drifting downstairs at the college to the recording studio, and making electronic music which he brought to London at the weekends. He suggested a Spiral label, and found himself handling the music and recording side of Spiral Tribe. The group had previously issued white labels, sold through friends, but through a connection with Youth from the band Killing Joke they landed a deal with Butterfly Records and a £40,000 advance for an album. "We built a recording studio into the back of a showman's trailer, and we pulled it around Europe," says Sebastian.

The French techno scene has moved towards live-performance techno. "Some live sets have gone up to 22 hours of live playing," says Sebastian. "We're mostly based in France now." These events in the French countryside attract up to 50,000 people. There the Tribe members remain, continuing to promote the cause of gathering under the banner of music, outside the commercialised system of pop. "Britain is very good at presenting music in certain ways," says Sebastian. "Ever since the Beatles, we discovered it made money. But music's a much bigger thing. It can really bring people together."

"Spiral Tribe could not now organise a festival in the UK," says Simone, referring to the likelihood that the police would find out and shut it down before it happened. According to Joe Rush, communications technology has paradoxically made it harder to arrange events outside the system. Police monitor websites, and, according to Joe, track phones. "In the old days, the police had some advantages - they had radios and we didn't. Now everyone has mobile phones. But it works both ways: it's much easier for police to track people."

Some sound systems have found a new kind of compromise. In 2001, Mutoid Waste returned to the UK. Joe Rush and co have parlayed their showmanship, honed across Europe, into events held under the name Trash City, whose giant installation shows, featuring robots, drag queens and cancan girls, are a regular feature at Glastonbury. Rush's income now comes from these events, as well as sales of his sculptures. They've come to a more reasonable understanding with the authorities. "In the Thatcher years, the battle lines were drawn," says Rush - an older punk now, with a weathered face and a worn leather jacket - in his warehouse studio in London's Old Street. "You were either one of us or one of them. It's more relaxed now. We've agreed: we have security, crowd control, health and safety ... We toughened up. We grew up. It used to be we felt everyone should be like us, but we realised we were part of society, not an alternative society." He's not alone: Bedlam have capitalised upon their expertise with easily installable sound systems into Noise Control, a successful sound system speaker business.

Nonetheless, in Britain, legislation continues to eat into our freedom to gather and party. New security regulations for live performances include a long list of prohibitive restrictions, including the need for police checks on performers. It's hard to see what motivates such control on the part of the state, except for fear. What is it about young people gathering together that provokes such a severe, sometimes brutal, response? Villages can have fetes, children can have fairs, but something about so much youth in one place scares someone. As Simone told me, "What was it that was so bad about what we were doing? We didn't leave much damage. Castlemorton is still as beautiful as it ever was."

In the tension between travelling sound systems and local landowners, it's tempting to draw grand conclusions about a schism in our nature. Joe Rush does: he sees the conflict between free parties and the state as "an age-old tension between itinerants and homesteaders". It's also tempting to romanticise the itinerant life. Who hasn't dreamed, if only in adolescence, of throwing aside commitments and living the life of the road with a surrogate family? Of course, dreams are what you wake up from, and life on the road is not all parties. Everyone I spoke to had faced problems on the road: violence, excessive drug use. Rush admits that ketamine and heroin interfered with the extrovert optimism that ecstasy had encouraged. He has a theory that the arc of a movement echoes the arc of that movement's drug of choice. "Punk was speed, an angry, dizzy rush. With ecstasy, there's a euphoric rush, then you're monged out and down. That was how things were." But the highs outweighed the lows. "The party is the best form of interaction there is," says Rush. Mutoid's solution to their troubles was to remain in motion. "We met people who were inspiring, and people who weren't," he adds. "The uninspiring people couldn't keep up." Like most of those I spoke with, Rush is still in motion. "I go wherever the work is: the UK, Japan... I live in the corner of my studio, or a friend's flat, or the back of a truck." Spiral's Simone chose the life aged 17, and she hasn't looked back. "At the time you don't really think about it. It wasn't a conscious thing. It just unfolded. I gave myself to it, which was mad, perhaps, but it's definitely been worthwhile. We put our whole selves into it."

In March, Mutoid Waste were part of Space Ritual '09, a regulated event - they appeared inside the revamped Roundhouse in Camden Town, as invited guests. Back in the winter of 1991-92, over Christmas and new year, Spiral Tribe squatted that same building. "The Roundhouse was a big shift, coming back into London and occupying such a prominent landmark," remembers Simone. She reckons 10,000 people passed through the doors. There were power cuts and door troubles, but for over a week the party went on. On that New Year's Eve, I took my first pill - a white cap and then a red and black - and, along with a group of friends, saw in 1992 from the roof of the Roundhouse. It felt like something new to all of us; a breeze from outside our regular lives. Afterwards, I went home and told my cat over and over again that I loved him.

My own circle of friends fell into the orbit of the free party movement, and we loved it, then we moved on. Seduced by secure homes and shiny cars, we made our choice. Most of us, driven by some blend of risk-avoidance and ambition, chose to remain in this world of salaries and rent payments, a life drifting in and out of our vast field of office farms. We plumped for a more widely accepted definition of freedom: we picked freedom of acquisition over fr

eedom of movement. The world we saw from the roof of the Roundhouse was a world we loved, but not enough. You choose and you lose. But we should remember to be grateful for those who choose otherwise - especially now, when we have a drought of alternatives at the very moment we might need them.

Sebastian sees the power of free parties to foster a collective feeling as almost religiously transformative. "Day-to-day life is difficult for people," he says. "Going to work every day is all right for the few who have the job they wanted, but most people don't. And that means they're paying their taxes and paying their rent. One of the things that was good about the free party scene at the time was that you'd go out and get this incredibly good feeling from people. It's the incredible power music has."


Saturday, 01 February 2014 06:17

Page 5: Freaksfiles - Hallucinations

This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.

Oliver Wolf Sacks, CBE (born 9 July 1933) is a British-American neurologist, writer, and amateur chemist who is Professor of Neurology at New York University School of Medicine. Between 2007 and 2012, he was professor of neurology and psychiatry at Columbia University, where he also held the position of "Columbia Artist". Before that, he spent many years on the clinical faculty of Yeshiva University's Albert Einstein College of Medicine. He also holds the position of visiting professor at the United Kingdom's University of Warwick.

Sacks is the author of numerous best-selling books, including several collections of case studies of people with neurological disorders and hallucinations.
In this highlights of his few interviews he describes visual hallucinations, auditory hallucinations, olfactory hallucinations and hallucinations produced by illness, fevers, sledeprivation, drugs, grief, trauma and exhaustioNS

...On a memorable hallucination while taking LSD

"I had been reading about the color indigo, how it had been introduced into the spectrum by [Isaac] Newton rather late, and it seemed no two people quite agreed as to what indigo was, and I thought I would like to have an experience of indigo. And I built up a sort of pharmacological launchpad with amphetamines and LSD, and a little cannabis on top of that, and when I was really stoned I said, 'I want to see indigo now.' And as if thrown by a paintbrush, a huge pear-shaped blob of the purest indigo appeared on the wall.

"Again it had this luminous, numinous quality; I leaped toward it in a sort of ecstasy. I thought, 'This is the color of heaven.' ... I thought maybe this is not a color which actually exists on the Earth, or maybe it used to exist or no longer exists. All this went through my mind in 4 or 5 seconds, and then the blob disappeared, giving me a strong sense of loss and heartbrokenness, and I was haunted a little bit when I came down, wondering whether indigo did exist in the real world.

"I would turn over little stones. I once went to a museum to look at azurite, a copper mineral which is maybe the nearest [to] indigo, but that was disappointing. I did in fact have that experience again, but when I had it the second time, it was not with a drug, it was with music — and I think music can take one to the heights in a way comparable with drugs."

...On hallucinations that accompany bereavement

"With any hallucinations, if you can do functional brain imagery while they're going on, you will find that the parts of the brain usually involved in seeing or hearing — in perception — have become super active by themselves. And this is an autonomous activity; this does not happen with imagination. But hallucination, in a way, simulates perception, and the perceptual parts of the brain become active. ... There's obviously a very, very strong passionate feeling of love and loss with bereavement hallucinations, and I think intense emotion of any sort can produce a hallucination."

....On the hallucinations accompanying his migraines

“ I usually get the zigzag, but I may also see lattice patterns, like tessellations; sometimes these lattice patterns seem to cover people's faces or a piece of paper I'm writing on. I mostly get complex geometrical patterns
"I usually get the zigzag, but I may also see lattice patterns, like tessellations; sometimes these lattice patterns seem to cover people's faces or a piece of paper I'm writing on. I mostly get complex geometrical patterns; I've never actually seen ... images with a migraine, although on at least on two occasions, I've had a smell — in particular a smell of hot buttered toast — with a strong sense that I was about 3 years old, being put in a high chair, and about to be given hot buttered toast. A sort of olfactory hallucination often goes along with recollection in that sort of way.

"The first time I got that, I was in hospital and I went searching for the toast. The second time, I was driving on the Bronx River Parkway, where there was obviously no toast to be had."

....How visual migraines may have inspired ancient patterned art

"There are all sorts of complex geometrical patterns, very symmetrical, some of them looking like the finest doily. ... Patterns like this tend to appear in migraine, but they may also appear with fever. They also appear with various drugs. They may also be seen as one is falling asleep, and one can't help comparing them with various forms of ornamental art and cave art, and wondering whether individuals or cultures have been inspired by some of these patterns which are built into the nervous system."




This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.
The rise of EDM music in Goa
During the Seventies, the musical repertoire of the first Goa DJs was mostly made of the mind-blowing rock music of the time : Led Zeppelin, the Who - both groups came to Goa - the Grateful Dead, the Doors, Neil Young, the Eagle, Pink Floyd, but also some Bob Marley, Parliament...

In 1979, one or two songs by Kraftwerk could already be heard during the parties. But it is in 1983 that two French DJs, Laurent and Fred Disko, soon followed by Goa Gil, organizer of the "Full Moon Parties" alternating live groups and DJs, grew tired of the "rock/fusion/reggae" tunes they used to spin and began to play the electrobeat music coming from Europe : Cabaret Voltaire, Nitzer Ebb, Front 242, Frontline Assembly, the Residents, New Order, Blanc MangeÖ
It is worth noticing that a similar phenomenon was taking place in the United States, particularly in Detroit, on WGPR radio thanks to Charles Johnson, also known as Electrifying Mojo, or in Chicago, in the Warehouse club with DJ Frankie Knuckles. The seeds of Goa Trance, Techno and House were planted at the same time.

Back to Goa.
These new sounds were first mildly appreciated by the Hippies. The tunes played by Fred Disko were too strange for them. Laurent took everything under control, and thanks to his less eccentric style, acidheads began to prefer these futuristic sounds to the wah-wah of Jimi Hendrix. On top of that, it was easier to dance with that kind of music.

The Goa mixes
From then on, the gathering and exchange of the weirdest and most mind-blowing music from all over the world, called "special music", became the official sport of the Goa Hippie community. The remix of the tracks was a necessary task, since most of them included pointless lyrics and were way too short. The DJs used walkmans to record the useful parts of the tunes, and then proceeded to all sorts of manipulations before delivering 100% Goa-style mixes to the dancing crowd.
And then, as early as 1985, all the music played in Goa had become electronic. Some well-known groups could be identified, like Frankie Goes to Hollywood, Dead or Alive, Portion ControlÖ Yet, most of the time, the tracks came from 12" B-sides or dub mixes, which were very hard to get. As an illustration, here is a short anecdote about Sven V‰th, the German Pope of Trance, when he first visited Goa : "One of the first Goa DJs, Laurent, came up and said how much they liked my early, 16-bit recordings. Hardly anybody knows those records !"

The Full Moon Parties : an initiation
Until the mid-90's, the Hippie vibe, which had remained strong on the Goa beaches for 30 years, had a huge influence on the travellers :

Tsuyoshi Suzuki [Prana] : " My life changed. I dropped out of the society completely. In Japan, you have to belong to the company. This is how our parents educated us. So, I graduated from University, then I worked. After Goa, I just quit. "

Mark Allen [Quirk] : " I realised working to earn lots of money was not what I wanted to do with my life. My optimistic vision is that it's not so much dropping out as realising that you don't have to do a nine-to-five. It's actually trough coming together and celebrating life together that it inspires other people to go off, travel, get creative. So many people are just in a job, frustrated, dreaming."

James Munro [Technossomy] : " It opened me up to religion. Seeing how you can be happy without materialism. The ambitions I had when I was little, of earning shit loads of money, just went."

As Goa Gil always says, the Goa spirit is more than "a disco under the coconut trees". Actually, the DJ is looked upon as a modern shaman, turning his desk into an altar (with Hindu symbols for instance), and leading his congregation to a spiritual journey through the night, rewriting the history of humankind : soft and slow tracks at the beginning, getting more and more repetitive and harder. The climax is reached at dawn, and then happier and more melodic tunes are played, so as to welcome the sunrise. Symbolically, this evolution of the musical set represents the destruction of the ego, before the created void is filled with light.

Contrary to other forms of EDM, the mix quality is not that important : on the one hand, the journey that is told through the set needs breaks, and on the other hand beatmatching would prove almost impossible with the historical use of cassettes and DAT during the parties (vinyls would melt or get dirty with dust).

A typical party
The party season is from November to April. Two renowned places are Bamboo Forest on Anjuna Beach and Disco Valley on Vagator. Legally speaking, playing amplified music after 10pm is forbidden : thus, every party is technically breaking the law. Until 1990, a little baksheesh - the money came from the bars receipts or directly from the pockets of the Trancers - or a few beers would keep the police away.

To find a party, you have to rely on the rumours you heard during the day, or ask the taxi drivers. At dusk, people go the their favourite bar on the beach (e.g. Shore Bar on South Anjuna or Nine Bar on Vagator Beach). There, you drink a beer and smoke your first joint. Around 9pm, it's dinner time. At midnight, the music begins to be played loud. You can follow the Vespa line, driving through the night, guided by the throbbing beats.
Here you are. All around the dance floor, in front of which stands the shaman-DJ under his tent, you have the chill-out zone, with its kerosene lamps and its mats placed by local women, selling tea, sandwiches, fruits, cigarettes. This is also the place where you will meet the dealers.
Between 3am and 5am, the party reaches its peak. The music generally stops around noon, but huge parties can go on for several days.
Saturday, 11 January 2014 15:34

Page 5: Freaksfiles - The Bicycle Day

This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.

Hallucinogens - the Bicycle Day

The "Bicycle Day": the day of LSD Discovery

April 19, 1943, Hofmann performed a self-experiment to determine the true effects of LSD, intentionally ingesting 0.25 milligrams (250 micrograms) of the substance, an amount he predicted to be a threshold dose (an actual threshold dose is 20 micrograms). Less than an hour later, Hofmann experienced sudden and intense changes in perception. He asked his laboratory assistant to escort him home and, as use of motor vehicles was prohibited because of wartime restrictions, they had to make the journey on a bicycle. On the way, Hofmann’s condition rapidly deteriorated as he struggled with feelings of anxiety, alternating in his beliefs that the next-door neighbor was a malevolent witch, that he was going insane, and that the LSD had poisoned him. When the house doctor arrived, however, he could detect no physical abnormalities, save for a pair of incredibly dilated pupils. Hofmann was reassured, and soon his terror began to give way to a sense of good fortune and enjoyment, as he later wrote...

    "... little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux ..."

The events of the first LSD trip, now known as “Bicycle Day”, after the bicycle ride home, proved to Hofmann that he had indeed made a significant discovery: a psychoactive substance with extraordinary potency, capable of causing significant shifts of consciousness in incredibly low doses. Hofmann foresaw the drug as a powerful psychiatric tool; because of its intense and introspective nature, he couldn’t imagine anyone using it recreationally. Bicycle day is increasingly observed in psychedelic communities as a day to celebrate the discovery of LSD.

The celebration of Bicycle Day originated in DeKalb, IL., in 1985, when Thomas B. Roberts, then a Professor at Northern Illinois University, invented the name "Bicycle Day" founded the first Bicycle Day celebration at his home. Several years later, he sent an announcement made by one of his students to friends and Internet lists, thus propagating the idea and the celebration. His original intent was to commemorate Hofmann's original, accidental exposure on April 16, but that date fell midweek and was not a good time for the party, so he chose the 19th to honor Hofmann's first intentional exposure.

Discovery of the Psychic Effects of LSD

The solution of the ergotoxine problem had led to fruitful results, described here only briefly, and had opened up further avenues of research. And yet I could not forget the relatively uninteresting LSD-25. A peculiar presentiment—the feeling that this substance could possess properties other than those established in the first investigations—induced me, five years after the first synthesis, to produce LSD-25 once again so that a sample could be given to the pharmacological department for further tests. This was quite unusual; experimental substances, as a rule, were definitely stricken from the research program if once found to be lacking in pharmacological interest.
    Nevertheless, in the spring of 1943, I repeated the synthesis of LSD-25. As in the first synthesis, this involved the production of only a few centigrams of the compound.
    In the final step of the synthesis, during the purification and crystallization of lysergic acid diethylamide in the form of a tartrate (tartaric acid salt), I was interrupted in my work by unusual sensations.

The following description of this incident comes from the report that I sent at the time to Professor Stoll:

    Last Friday, April 16,1943, I was forced to interrupt my work in the laboratory in the middle of the afternoon and proceed home, being affected by a remarkable restlessness, combined with a slight dizziness. At home I lay down and sank into a not unpleasant intoxicated-like condition, characterized by an extremely stimulated imagination. In a dreamlike state, with eyes closed (I found the daylight to be unpleasantly glaring), I perceived an uninterrupted stream of fantastic pictures, extraordinary shapes with intense, kaleidoscopic play of colors. After some two hours this condition faded away.

    This was, altogether, a remarkable experience—both in its sudden onset and its extraordinary course. It seemed to have resulted from some external toxic influence; I surmised a connection with the substance I had been working with at the time, lysergic acid diethylamide tartrate. But this led to another question: how had I managed to absorb this material? Because of the known toxicity of ergot substances, I always maintained meticulously neat work habits. Possibly a bit of the LSD solution had contacted my fingertips during crystallization, and a trace of the substance was absorbed through the skin. If LSD-25 had indeed been the cause of this bizarre experience, then it must be a substance of extraordinary potency. There seemed to be only one way of getting to the bottom of this. I decided on a self-experiment.
    Exercising extreme caution, I began the planned series of experiments with the smallest quantity that could be expected to produce some effect, considering the activity of the ergot alkaloids known at the time: namely, 0.25 mg (mg = milligram = one thousandth of a gram) of lysergic acid diethylamide tartrate. Quoted below is the entry for this experiment in my laboratory journal of April 19, 1943.


 4/19/43 16:20: 0.5 cc of 1/2 promil aqueous solution of diethylamide tartrate orally = 0.25 mg tartrate. Taken diluted with about 10 cc water. Tasteless.
    17:00: Beginning dizziness, feeling of anxiety, visual distortions, symptoms of paralysis, desire to laugh.
    Supplement of 4/21: Home by bicycle. From 18:00- ca.20:00 most severe crisis. (See special report.)

  Here the notes in my laboratory journal cease. I was able to write the last words only with great effort. By now it was already clear to me that LSD had been the cause of the remarkable experience of the previous Friday, for the altered perceptions were of the same type as before, only much more intense. I had to struggle to speak intelligibly. I asked my laboratory assistant, who was informed of the self-experiment, to escort me home. We went by bicycle, no automobile being available because of wartime restrictions on their use. On the way home, my condition began to assume threatening forms. Everything in my field of vision wavered and was distorted as if seen in a curved mirror. I also had the sensation of being unable to move from the spot. Nevertheless, my assistant later told me that we had traveled very rapidly. Finally, we arrived at home safe and sound, and I was just barely capable of asking my companion to summon our family doctor and request milk from the neighbors.
  In spite of my delirious, bewildered condition, I had brief periods of clear and effective thinking—and chose milk as a nonspecific antidote for poisoning.
    The dizziness and sensation of fainting became so strong at times that I could no longer hold myself erect, and had to lie down on a sofa. My surroundings had now transformed themselves in more terrifying ways. Everything in the room spun around, and the familiar
objects and pieces of furniture assumed grotesque, threatening forms. They were in continuous motion, animated, as if driven by an inner restlessness. The lady next door, whom I scarcely recognized, brought me milk—in the course of the evening I drank more than two liters. She was no longer Mrs. R., but rather a malevolent, insidious witch with a colored mask.
Even worse than these demonic transformations of the outer world, were the alterations that I perceived in myself, in my inner being. Every exertion of my will, every attempt to put an end to the disintegration of the outer world and the dissolution of my ego, seemed to be wasted effort. A demon had invaded me, had taken possession of my body, mind, and soul. I jumped up and screamed, trying to free myself from him, but then sank down again and lay helpless on the sofa. The substance, with which I had wanted to experiment, had vanquished me. It was the demon that scornfully triumphed over my will. I was seized by the dreadful fear of going insane. I was taken to another world, another place, another time. My body seemed to be without sensation, lifeless, strange. Was I dying? Was this the transition? At times I believed myself to be outside my body, and then perceived clearly, as an outside observer, the complete tragedy of my situation. I had not even taken leave of my family (my wife, with our three children had traveled that day to visit her parents, in Lucerne). Would they ever understand that I had not experimented thoughtlessly, irresponsibly, but rather with the utmost caution, an-d that such a result was in no way foreseeable? My fear and despair intensified, not only because a young family should lose its father, but also because I dreaded leaving my chemical research work, which meant so much to me, unfinished in the midst of fruitful, promising development. Another reflection took shape, an idea full of bitter irony: if I was now forced to leave this world prematurely, it was because of this Iysergic acid diethylamide that I myself had brought forth into the world.
  By the time the doctor arrived, the climax of my despondent condition had already passed. My laboratory assistant informed him about my self-experiment, as I myself was not yet able to formulate a coherent sentence. He shook his head in perplexity, after my attempts to describe the mortal danger that threatened my body. He could detect no abnormal symptoms other than extremely dilated pupils. Pulse, blood pressure, breathing were all normal. He saw no reason to prescribe any medication. Instead he conveyed me to my bed and stood watch over me. Slowly I came back from a weird, unfamiliar world to reassuring everyday reality. The horror softened and gave way to a feeling of good fortune and gratitude, the more normal perceptions and thoughts returned, and I became more confident that the danger of insanity was conclusively past.
    Now, little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux. It was particularly remarkable how every acoustic perception, such as the sound of a door handle or a passing automobile, became transformed into optical perceptions. Every sound generated a vividly changing image, with its own consistent form and color.
Late in the evening my wife returned from Lucerne. Someone had informed her by telephone that I was suffering a mysterious breakdown. She had returned home at once, leaving the children behind with her parents. By now, I had recovered myself sufficiently to tell her what had happened.
    Exhausted, I then slept, to awake next morning refreshed, with a clear head, though still somewhat tired physically. A sensation of well-being and renewed life flowed through me. Breakfast tasted delicious and gave me extraordinary pleasure. When I later walked out into the garden, in which the sun shone now after a spring rain, everything glistened and sparkled in a fresh light. The world was as if newly created. All my senses vibrated in a condition of highest sensitivity, which persisted for the entire day.

    This self-experiment showed that LSD-25 behaved as a psychoactive substance with extraordinary properties and potency. There was to my knowledge no other known substance that evoked such profound psychic effects in such extremely low doses, that caused such dramatic changes in human consciousness and our experience of the inner and outer world.
    What seemed even more significant was that I could remember the experience of LSD inebriation in every detail. This could only mean that the conscious recording function was not interrupted, even in the climax of the LSD experience, despite the profound breakdown of the normal world view. For the entire duration of the experiment, I had even been aware of participating in an experiment, but despite this recognition of my condition, I could not, with every exertion of my will, shake off the LSD world. Everything was experienced as completely real, as alarming reality; alarming, because the picture of the other, familiar everyday reality was still fully preserved in the memory for comparison.
    Another surprising aspect of LSD was its ability to produce such a far-reaching, powerful state of inebriation without leaving a hangover. Quite the contrary, on the day after the LSD experiment I felt myself to be, as already described, in excellent physical and mental condition.

    I was aware that LSD, a new active compound with such properties, would have to be of use in pharmacology, in neurology, and especially in psychiatry, and that it would attract the interest of concerned specialists. But at that time I had no inkling that the new substance would also come to be used beyond medical science, as an inebriant in the drug scene. Since my self-experiment had revealed LSD in its terrifying, demonic aspect, the last thing I could have expected was that this substance could ever find application as anything approaching a pleasure drug. I failed, moreover, to recognize the meaningful connection between LSD inebriation and spontaneous visionary experience until much later, after further experiments, which were carried out with far lower doses and under different conditions.
    The next day I wrote to Professor Stoll the above-mentioned report about my extraordinary experience with LSD-25 and sent a copy to the director of the pharmacological department, Professor Rothlin.
    As expected, the first reaction was incredulous astonishment. Instantly a telephone call came from the management; Professor Stoll asked: "Are you certain you made no mistake in the weighing? Is the stated dose really correct?" Professor Rothlin also called, asking the same question. I was certain of this point, for I had executed the weighing and dosage with my own hands. Yet their doubts were justified to some extent, for until then no known substance had displayed even the slightest psychic effect in fraction-of-a-milligram doses. An active compound of such potency seemed almost unbelievable.
    Professor Rothlin himself and two of his colleagues were the first to repeat my experiment, with only one-third of the dose I had utilized. But even at that level, the effects were still extremely impressive, and quite fantastic. All doubts about the statements in my report were eliminated.



This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.

Today we will make a deep dive into the world of RUSSIAN ALIENS ENCOUNTERS

Cigar Shaped Alien Craft Seen by Russians

Cigar Shaped Alien Craft Seen By Russian Pilots and Astronauts
Artwork © copyright and courtesy of Jeff Neff

Russian Alien Encounters       

The Soviet Union, as we once knew it, has toppled. Vast amounts of information are now flowing out of Russia about experiences with flying saucers and beings from other worlds.

Officially Undocumented Proof
The Soviet Military Review is a journal which is published monthly in seven languages: Russian, English, Dary, Arabic, Spanish, Portuguese, and French. Many detailed articles on UFOs have appeared in this journal over the years. In an issue dated June, 1989, then-Soviet Chief of Air Defenses Igor Maltsev stated:

"For both skeptics and non-skeptics, this information can serve as officially documented proof of UFO validity. We hope that this open acknowledgment of the phenomenon will put an end to ambiguous speculations and will make the fact of its existence beyond doubt.

Now we have grounds to tell that UFOs are not optical or hallucinated phenomena which were allegedly caused by global psychosis. The objects have been spotted by technological means. Pictures are available for specialists."

From Russia 
After the changes that occurred in Russia all kinds of things went on sale. The KGB files were sold in their entirety to Yale University, and two U.S. film companies bought the rights to the KGB UFO files. Soviet scientists and cosmonauts also came forward with what they knew. In 1990 Colonel Marina Popovich held a press conference in San Francisco at the Russian Consulate. During the conference she showed amazing photographs of cigar-shaped alien craft in space that were each, fifteen miles long. The photos were taken by a Russian space, probe which mysteriously stopped working, then disappeared completely, shortly after taking the photographs. For more information on missing space probes see "Star Wars and Satellites" page.

Popovich knows her stuff. Besides being a colonel in the Soviet Armed Forces, she is also the wife of famed cosmonaut Pavel Popovich. Pavel Popovich was head of a Soviet Committee on UFOs.

Soviet Cosmonaut Marina Popovich
Soviet Cosmonaut Marina Popovich


Colonel Marina Lavrentevna Popovich 
Col. Popovich has flown every kind of aircraft there is in the Soviet Union, from large transport planes to MIG-21s. She holds ninety flight records. She's even been called the Chuck Yeager of the Soviet Union. Popovich has a Ph.D. in technical sciences and her focus now is to get the truth about the existence of flying saucers out to the public. Here are some of the things she has to say about flying saucers:

* Soviet satellites have taken photographs of flying saucers. 

* Soviet scientists have concluded that flying saucers have been around for as long as our planet. 

* Popovich has seen photographs of alien / human hybrid children.

Scientist Dr. felix Ziegel
Russian Scientist Dr. Felix Ziegel

More From Russia 
In Moscow there is a UFO Center for research called the All-Union UFO Center. Among many other books and papers, it houses the work of Dr. Felix Zeigel, who documented over fifty thousand UFO sightings in the Soviet Union.

There have been more than seventy UFO incidents that occurred at the Bhunice Atomic Energy Plant in the Slovak Republic. A log was kept of each individual incident.

The soviets have stated that their Mir space station has been under observation by UFOs almost continuously.


In 1993 declassified Soviet documents stated the following:

"The ministry of Security of the Russian Federation, along with the (American) CIA, and other covert services, have enough evidence to conclude that there is a detachment of observers from other worlds traveling in near-earth orbit."


Dr. Vladimir Azhazha
Dr. Vladimir Azhazha

Scientist, oceanographer, and former Soviet submarine captain Dr. Vladimir Azhazha has stated:

"UFOs trans-morph, going from saucer shape to cigar shape to a spiral in minutes. They can materialize and dematerialize at will. The craft and occupants are varied and may be from dozens of different sources and civilizations."

Unsolved UFO Mysteries cover
Unsolved UFO Mysteries contains newly released
accounts of many Soviet Alien Encounters.

The Soviets have confirmed that they have pictures of the moon's surface that show large objects clearly made by intelligent beings. Among them:

Eight huge obelisks or monuments, shaped much like our Washington monument in Washington D.C.

Dozens of smaller, but evenly spaced monuments forming patterns congruent with those of the pyramids of Egypt.

Long "runway" formations. 
These objects have been documented and confirmed on both Soviet Luna 9 photographs and America's Orbiter 3 and Apollo mission photographs.


This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.
Today we will make a deep dive into the world of psychedelic art
The world of psychedelic art has been around for as long as people have been getting high and picking up paintbrushes. Many believe it reached it's popular peak in the late 60's when the hippy movement and flower power was all the go. I guess that is a fair argument. That's not to say that psychedelic and visionary art isn't popular anymore. Far from it - there are thousands of psychedelic and visionary artists around the globe who are creating amazing images using a whole range of interesting techniques.
Here I would like to present what I believe are some  of the leading psychedelic and visionary artists working in the field today. Some of these artists are so technically brilliant in their usage of digital processes that it makes my mind boggle as to how they do it. A number of these names will be instantly familiar to some of you such as artists Alex Grey and Martina Hoffmann while others might be lesser well known so take the time to follow up on them and visit their websites for some amazing visions of the inner mind. 
This list is in no particular order and I'll add more details about other artists listed soon so check back again sometime.
1. Andrew ( Android ) Jones
Currently one of the leading digital psychedelic visionary artists in the world today. Andrew works in the field of visual concept art, creating images for film, fashion and gaming. More recently he has been working on designs for music festivals and bands. His artwork has been featured on album covers of several electronic and psybient music artists such as Bluetech, Beats Antique, Sporeganic, and Phutureprimitive.
2. Justin Guse
Justin is a highly skilled digital artist who creates stunning fantasy visionary hybrids. He is also very active in creating vector art, logo designs, promo material and user interfaces. His work has a leading edge look to it that combines patterns and shapes from a digital world with the more organic feel of spiritual practices.
3. Tokio Aoyama
An artist who paints with a combination of metaphysical, spiritual, and music themes, Tokio Aoyama hails from a tiny town in the north of Japan. Tokio has painted murals and has done commission work for clients all over the world. He has designed art for record labels Epistrophik Peach Sound, Mello Music, Moamoo, and Jazzy Sport. Presently he is looking to share insight into Japanese culture, history, and tradition such as tattooing and art trends of present day Japan.
4. Andy Thomas
Andy Thomas' work creates a visual fusion between Nature and Technology. By taking photos of plants, insects and machines and compositing them with artificially created forms in various 3D programs. The very process of the art he creates is symbolic of mankind’s continuing corruption of the natural world. His photographic endeavours have led him to such exotic locations as Borneo, Laos and the rainforests of Tasmania and the Daintree River.
5. Carey Thompson
Carey creates wildly colorful psychedelic vision that include concepts of spirituality, molecular biology, environmentalism and global peace. In recent years he has worked on large scale sculptures and bio-constructions for music festivals and spiritual gatherings.
6. Justin Bonnet
Justin is a new artist on the scene who is really pushing the envelope with what can be achieved using digital techniques. His understanding of color and composition is as good as I've ever seen. Truly remarkable work and he deserves more attention from the art world that's for sure. He is currently busy working full time to support his love of art so let's hope he can one day get enough fans to support his artwork full time.
7. George Atherton
Another huge young talent in the field of artistic psychedelic visions. George works primarily in the digital medium. After drawing concepts in his sketchbooks and dream-journals, he fully realizes those concepts using an electronic drawing pad and digital ink. He draws inspiration from a variety of related subjects, including meditation & Yoga, martial artistry, lucid dreaming, comparative mythology, culture jamming, and permaculture. Superb artist.
8. Luke Brown
Luke is well known in the psychedelic community for being one of the first artist to create complex, vividly colorful psychedelic art that combines traditional and digital techniques. His art has been shown internationally with such visionary heavyweights such as Alex Grey, HR Giger, Robert Venosa and Ernst Fuchs. His art is highly sought after - so much so that his has had the misfortune of seeing a great deal of his art work, including digital files and full sculptures , stolen by thieves over the past few years !
9. Mario Martinez 
Mario, a.k.a MARS-1, paints from a penetrating perspective of great depth. Viewers are drawn into his imaginative compositions, overflowing with colorful geometric and organic shapes, layered to form unique patterns and textures. The artist signature style of vast, abstracted, quasi-extraterrestrial looking landscapes feature imagery of surreal distortions, contained within spherically convex transparent bubbles.
10. Fabien Jimenez
Fabian draws inspiration from nature, mainly from the architecture of insects and plants. He is deeply obsessed with the tiny micro patterns nature is capable of bringing everywhere; their intricate shapes reveal grids of sacred geometry, and it is there where he take his pencil and attempts to channel them. Although he is a highly skilled traditional artists I think it is his recent digital work with ZBrush and Painter where he really shines.
11. David Normal

David began his art journey by making posters for punk band when he was 16 years old and then moved onto theater and party production, 3d animation work and film. These days he is focused on oil painting where he is able to express his varied interests in psychedelia and psychedelic culture on canvas in large full of spiraling visions that mix sexuality, religion, spirituality and death.
12. Amanda Sage

Amanda Sage's art is well known to psychedelic trance and psychill listeners here at the psyamb podcast because he were is often on display at international dance parties around the world. Born 1978 in Denver, Colorado; her adventurous spirit carried her to Bali, then on to Vienna, Austria to study classical painting with Michael Fuchs, resulting in becoming a long time painting assistant to Ernst Fuchs.
13. Alex Grey

Ask anyone who their favorite psychedelic artist is and Alex Grey will no doubt be a very popular answer. Alex has an amazing ability to go beyond this world, into the world of the psychedelic experience, bring back what he see there and directly translate it onto canvas. Much like Salvador Dali, what sets Alex's work apart is not just his vivid imagination but also his technical ability. Every inch of his paintings are meticulously worked on as applies decades of training to create the ultimate visionary masterpieces. 
14. Martina Hoffmann

Martina Hoffmann is a world renown psychedelic visionary artist with a long history in creating amazing surreal and dreamlike images that are inspired by her own inner journeys. Her technical skill increases year after year to a point now where here works are considered true masterpiece paintings. 
15. Chris Dyer

Chris is a young Canadian based Peruvian artist who has a created a instantly recognizable individual style of psychedelic art that appeals to a wide range of visionary art fans. His work has a graffiti street style art feel about it that could well be a result of his upbringing in Peru. His is very active in getting his work known around the world through his excellent website PositiveCreations where he has a shop that sells his original works, prints, clothing and more. 
16. Adam Pinson ( a.k.a RedEyeArt )
I first ran across Adam's work as a member of the DeviantArt collective where we both regularly posted our own psychedelic pencil artwork over the past 10 years or so. I was always and still am astounded by just how crisp Adam's colorful pencil drawings appeared to be and I would sometimes ask him for tips for which he was always more than helpful. Much like Chris above, Adam too has defined his own unique and distinctive style that has won many fans worldwide.
17. Daniel Mirante
Daniel is an artist and author especially focused upon a revival of a sense of the sacred in the creative process and the natural world. His paintings have evolved over the years to a point now where he his work displays a real sense of confidence and sublime technique. I can see hints of Venossa, Dali and Fuchs in his work. For someone so young the sky is the limit.
18. Michael Garfield
Hooo Do You Love? main photo

Michael makes use of paint markers to create bright, detailed psychedelic art which he completes in front of live audiences at festivals and art shows around the world. He comes from a background in scientific illustration which you can definitely see influences of in his amazing work. He is also an accomplished musician. You can see and hear all about Michael's talents at his blog michaelgarfield.blogspot.com .
19. Johnathan Solter

Jonathan Solter is an artist living and working in the Bay Area. He dedicates his time to art, life and love. Illustration, stage design, live painting and murals are his main artistic focuses. He loves the creative community in the Bay Area and is busy co-creating his dreams with other like-minded artists. His art has been created and shown internationally as well as across the West. You can view more of Johnathan stunning psychedelic art at a number of psytrance and music festivals were he does live paintings or view online at his website.
20. Cameron Gray

Cameron Gray is an award winning Australian visionary graphic artist and photographer. Cameron’s work is regularly displayed in live music venues across Australia, the Museum of Computer Art in Brooklyn, New York, and his body of work has been selected for preservation by the National Library of Australia as one of the countries artists of the 21st century. More of Cameron's trippy art backgrounds can be viewed online here at his Parable Visions website.
21. Keerych Luminokaya

Russian artist Luminokaya creates extremely detailed and complex psychedelic digital art. Your eyes can get lost for hours poring over the details while your brain tries to process all the little details within. He is also an accomplished airbrush artist having produces a number of trippy blacklight posters for various festivals and events.  
22. Matei Apostolescu
picture of a psychedelic cat

Matei Apostolescu (aka Beaucoupzero), is a freelance illustrator living in Romania. Even if you haven't heard the name before you have probably seen some of his unique psychedelic paintings. His trippy lion, cat and psychedelic skull paintings have spread all over the internet and social networks. He make use of all kinds of tools ranging from rotring pencils, markers, spray paint to Wacom tablet, Photoshop and Illustrator.
23. Josip Csoor

Josip Csoor is a Serbian visionary artist who has found a new fan base on the internet after struggling for many years with trying to get his art appreciated in his home country. His art speaks the language of the cosmos and is filled with the light of creation. Having mastered just about every form of painting technique he now passes on his knowledge of 30 years of painting to younger generations. 
24. Skee Goedhart
25. Eric Nez
26. Jess Noemind
27. Hana Alisa Omer
28. Neil Gibson
29. Pouyan Khosravi
30. Dennis Konstantin
31. Shawn Hocking
32. Roman Villagrana
33. Seth McMahon
34. Ted Wallace
35. Simon Haiduk
36. Isaac Mills
37. David Heskin
38. Adam Scott Miller
39. Kelsey Brookes
40. Patricia van Lubeck
41. Michael Divine
42. Randal Roberts
This is a special area of top secret information from the Past, Present and Future of Goa Freaks World.
Today we will make a deep dive into the mystic World of Shamanism.
When we reach for a good solid model for the function of psychedelics within a larger culture, we immediately face the shaman. The shaman is a very romanticized image, very "overwritten" as the academics like to say, meaning that the term now means many different things, including scores of things totally outside of its original ethnographic context. I’m not going to go into any specifics about particular shamanic cultures, but we would like to draw sort of a general picture that relates to the question about contemporary psychedelic culture.

One thing you can say about the shaman or witch is that she lives on the edge of cultural maps. The shaman acts as a kind of interface between the specific culture of a particular tribal group and the world outside, a world that we can think of not only as nature, of course, but as the cosmic, the abstract, and the alien. The witch lives at the edge of the village; in her zone, we start to move into the wild. And that’s a very potent image for being a transfer point between the outside and the inside of human culture. One of the interesting paradoxes of shamanism is that, on the one hand, it is very technological, very savvy, and full of knowledge in almost a modern sense of the term, like scientific knowledge. And yet the worlds that are being produced, sustained, and performed by the shaman are extremely cultural, spiritual, and mythological. Look at a healing ceremony, and think about what exactly is happening there. Let’s say that healing is occurring through the use of quartz crystals being pulled out of the body. What’s happening there? What’s really going on?

One way of looking at it is to say that the shaman is playing a two-fold game. On the one hand, he knows perfectly well what he’s actually doing, that he’s pirated a little quartz crystal in his palm, that he’s using very specific plants which have very specific properties which can produce effects, both specifically related to health and to more general psychoactive goals as well. There’s a tremendous amount of knowledge there. And yet, what does the shaman do in the actual situation of the healing? He performs. And what he performs is a whole cultural web, the glue that embeds those knowledge in lived human life. Our doctors do that too, but the package is pretty one dimensional – "take this pill; it’ll work out for you." Their knowledge is kept on the inside. What the sick person perceives is a cultural story, a cosmic metaphor, an image of the illness being removed from the body. So it’s not that the shaman is a manipulative trickster just playing games with quartz crystals. It’s that the shaman understands the technology of packaging knowledge within the cultural matrix of transformation, and performs this packaged knowledge as if it were one thing, one process of body and mind. Even a skeptic must recognize that the placebo effect plays a tremendous role in healing of all sorts, and that the art of producing the placebo effect is incredibly valuable.

Within this performance, the shaman plays a liminal role, mediating between knowledge and performance the way he mediates between outside and inside. Liminality is an anthropological concept that describes, again, a place on the edge of cultural maps, a zone between the wild and the culture, between hot and cold, between different villages. In the ancient world, crossroads were places of tremendous liminal power. People from different villages, different cultures would encounter each other there. So there’s a whole mythology of trickster figures – Hermes, Coyote, Legba, often associated with communication – who model this relationship between inside and out. The concept of Liminality is crucial to understand what function and what role psychedelics play in the larger culture.

Today, many people attempting to create models for modern psychedelic use have looked to the image of shaman healer.
Of course we should be wary of abusing this poor old character for our own purposes. There’s also one very important distinction between the world view of the traditional shaman healer and what we are faced with, which is that we do not have a coherent, contained world view.
We no longer have a specific cultural story that can be performed in that mythological sense. We’re at this very strange juncture in history when cultures are smashing together and flattening out. We have globalization, we have fragmentation, and it’s a very open-ended situation. If there is a central error in the shamanic interpretation of modern psychedelic culture, it lies in a romantic nostalgia that wants to reconstruct or re-embody some fully coherent mythological world view.
We don’t want to say that in a way that undercuts the power of traditional myths, not to mention traditional practices and knowledge.
Moreover, modern psychedelic culture has largely been defined by a relationship to non-European knowledge and cultures, and the reception of those stories and practices from the world over inform the evolving picture or cultural story about what psychedelic people are trying to do in the world. But we think that we often find a misplaced desire or tendency to want that story to be fully complete and realized, so that we then know that what we’re doing is engaging the mind of the planet, or that nature herself is telling us something.
Those are valuable perceptions, but their attempt to escape the Western model can sometimes be Western transcendence – not to mention Western consumerism --- in new disguise. We think it’s very important to recognize that, at the moment, we are still intimately embedded in this tremendous, bizarre, horrible and fascinating process of technological modernity. We can see its horrible claws, its profound lacks, and there’s a desire to overcome these things quickly and fully, to chuck that framework and enter into a different kind of re-enchanted world. The desire to re-enchant our experience of the world is a profound thing that we’re all feeling. It’s incredibly legitimate. And yet, we think that the way in which we move forward with that is not by reconstructing a kind of mythological world view in the name of ancient wisdom. The psychedelic eye sees that things are already enchanted, just the way they are, fragmented and integral at once. In this sense, it is important to see psychedelic culture not as a resistance to modernity, but its own fractal edge.


Saturday, 14 December 2013 17:42

FreakFiles - Extra Terrestrial Civilizations

Extra Terrestrial Civilizations
Are we the only intelligent life in the universe? Within this universe, there are billions of galaxies, each containing millions or billions of star systems. Most of these stars can have several planets, of which many are able to sustain life-forms of some kind.
Even within our local galaxy, the MilkWay, there are various extra-terrestrial civilizations. Some are physical, some are non-physical. Some even are humanoid, while others are not. Taking into account that Earth is only 4.5 billion years old, and mankind only appeared 100.000 to 200.000 years ago, while the oldest part of this universe is estimated to be approximately 14 billion years old, it is only natural that there would be civilizations that are far more advanced than we are. More than one of these civilizations have been in contact with mankind.
Some even played an important part in the history of Planet Earth. The most important players in Earth's Galactic History are coming from the Pleiades, Sirius, Orion, Arcturus, Zeta Reticuli , from Vega and other stars in Lira. As mentioned, a lot of the alien races are more evolved than we are, technologically, mentally and spiritually. Most of these races are benevolent towards mankind. Some races, however, do not have the best of intentions. They are often referred to as the 'Negative Oriented Extra-terrestrial civilizations or “Greys”.
In this context, it is, therefore, equally important to know that these 'negative' alien civilizations are only a minority, and that their actions are constantly being monitored by organizations that are more positive-oriented. Two of these organizations, e.g. are the Ashtar Command and the United Federation of Planets.
Ancient aliens, as we envision them based on endless physical evidence found across the planet, does not actually refer to a group of extra-terrestrial beings who came here once upon a time, but is more about those who create the consciousness hologram in which we experience and learn. Reality is consciousness created in the matrix of time to study emotions. As we search for the truth behind the illusion about who created humans and other sentient life forms, we look to those who came from the stars - ancient astronauts or creation gods.
One must never forget that if there are indeed extra-terrestrials who are physical beings after a fashion, and that creation continues beyond their agendas. They are a sub-routine, for lack of a better word, within our programmed reality.
Call it a Grand Design, Master Plan, or whatever term comes to mind, but remember, it had a beginning and is rapidly approaching its end. Watch the signs - internal and external.

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