How Do You Help a Grieving Friend? Acknowledge Their Pain and Skip the Platitudes & Facile Advice

“What does it mean to protest suffering, as distinct from acknowledging it?” writes Susan Sontag in Regarding the Pain of OthersAcknowledgment, the recognition of unimaginable pain and loss, is central, it turns out, to healing. Grief expert Alan Wolfelt lists “acknowledging the full reality of the loss” as the first in his “Six Needs of Mourning.” But he also notes what so many in his field are quick to point out about contemporary culture: “Normal thoughts and feelings connected to loss are typically seen as unnecessary and even shameful.”

The important work of grieving gets bypassed not only by our own internalized shame, but by the unhelpful interventions of others. Megan Devine—author of It’s OK That You’re Not OK: Meeting Grief and Loss in a Culture That Doesn’t Understand—explains the central role of acknowledgment, simply being with others in the full scope of their pain, in the short animated video above. Many of us are taught to do anything but, to throw out advice and platitudes instead. (Illustrated here by an animated bunny tossing out rainbows.)

Our motives may not be “nefarious,” she says, but—to use Sontag’s phrase—trying to fix someone’s suffering amounts to a form of protest against it. And it only makes things worse. Devine is a psychotherapist and bereaved person herself. Her book, notes Jane Brody at The New York Times, “grew out of the tragic loss of her beloved partner, who drowned at age 39 while the couple was on vacation.” She speaks not in the jargon of a clinician but in the frank language of a fellow sufferer and survivor.

“You don’t need platitudes,” she writes on her website, “You don’t need cheerleading. You don’t need to be told this all happened for a reason. You certainly don’t need to be told that you needed your pain in order to learn something about life. Some things cannot be fixed. They can only be carried.”

Being with someone in their grief is “a radical act,” says Devine. “In order to really support you, I have to acknowledge that things really are as bad as they feel to you.” Offers of cheer or advice create defensive barriers. Turning toward someone’s suffering gives them what they need the most: “Being heard helps. It’s the best medicine we have. It makes things better, even when they can’t be made right.”

via Laughing Squid

Related Content:

Depression & Melancholy: Animated Videos Explain the Crucial Difference Between Everyday Sadness and Clinical Depression

Stephen Fry on Coping with Depression: It’s Raining, But the Sun Will Come Out Again

How Stress Can Change Your Brain: An Animated Introduction

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Banksy Shreds His $1.4 Million Painting at Auction, Taking a Tradition of Artists Destroying Art to New Heights

The first time vandals defaced his sculpture, Dirty Corner, at Versailles, artist Anish Kapoor wrote an essay in which he considered his options:

Should the paint that has been thrown all over the sculpture be removed? Or should it remain and be part of the work? Does the political violence of the vandalism make Dirty Corner “dirtier”? Does this dirty political act reflect the dirty politics of exclusion, marginalisation, elitism, racism, Islamophobia?

The question I ask of myself is: can I, the artist, transform this crass act of political vandalism and violence into a creative act? Would this not be the best revenge?

Sometimes artists are the ones behind the vandalism.

Ai Weiwei starred in a 1995 black-and-white photo triptych that documents his intentional destruction of a Han Dynasty urn from his private collection.

Brothers Jake and Dinos Chapman purchased a mint condition set of Goya’s The Disasters of War, painstakingly re-rendered the victims' heads as grotesquely cute, colorful cartoons, and exhibited the altered etchings under the title Insult to Injury.

Robert Rauschenberg sought and received permission to erase a drawing that his fellow Abstract Expressionist Willem de Kooning had given him, at his request.

Certainly, artists of all stripes have been known to eradicate their own work in fits of pique, passion, and self-reproach.

But until last week, no artist had ever vandalized their own work with such a dispassionate, pre-meditated sense of fun as Banksy, the anonymous clown prince of street art and massive scale pranks.

As you’ve likely heard by now, within seconds of his iconic Girl With Balloon (2006) selling at Sotheby’s for £1,042,000—$1.4 million—the painting began to self-destruct, thanks to a custom-built shredder the artist had pre-loaded into its frame.

No one seemed particularly distressed about it.

Auction attendees quickly scrambled to capture the moment with their cell phones.

Auctioneer Oliver Barker looks on in admirably mild confusion.

No self-appointed hero rushed forward to jam the works with an umbrella or broom handle.

The as-yet-unidentified buyer was not in the room, no doubt to their ever-lasting regret. Imagine losing out on those bragging rights!

While Sotheby’s and the buyer hammer out their unprecedented next steps, some art experts have stated that it would be possible, given the clean geometry of the cuts, to restore the canvas.

Though who would want to, given the speculation that this stunt immediately increased the value of the work, anywhere from 50% to near double the purchase price?

Perhaps the buyer will choose to finish the job and sell it off strip-by-strip.

Office supply stores will see an uptick in shredder sales to vendors selling Banksy knock-offs stencilled on subway maps.

Sotheby’s senior director, Alex Branczik, insisted that no one there was in on the joke, but The New York Times smells a rat:

The frame would presumably have been rather heavy and thick for its size, something an auction house specialist or art handler might have noticed. Detailed condition reports are routinely requested by the would-be buyers of high-value artworks. Unusually, this relatively small Banksy had been hung on a wall, rather than placed by porters on a podium for the moment of sale. 

The fact that Girl with Balloon was the final item on the block is either a great piece of luck, or a bit of canny stage management on the auction house’s part. Recapturing the attendees’ attention after that stunt would be an uphill battle.

It’s doubtful that buyers will shy away from Sotheby’s as a place where highly valued artwork starts to devour itself the moment the gavel comes down. That kind of lightning strikes but once.

What may circle back to bite the venerable firm in its well padded rear is the ease with which someone in the crowd was able to activate the mayhem, using a device concealed in his bag. What’s worse, lax security or maybe lying about foreknowledge of the prank? It's hard not to raise those as possibilities.

The man with the bag was escorted out. Not even the conspiracy theorists are pegging him as Banksy.

As for the steady-handed fellow another attendee caught calmly zooming in on his phone from the perfect angle… well, let’s just say the tabloids have picked up on his resemblance to Robin Gunningham, oft thought to be Clark Kent to Banksy’s Superman.

Banksy’s post-mortem, unlike Kapoor's, does not suggest a man tortured by unresolved questions.

“A few years ago I secretly built a shredder into a painting, in case it was ever put up for auction,” he wrote on his Instagram. “Going, going, gone.”

Related Content:

When Robert Rauschenberg Asked Willem De Kooning for One of His Paintings … So That He Could Erase It

Watch Dismaland — The Official Unofficial Film, A Cinematic Journey Through Banksy’s Apocalyptic Theme Park

Patti Smith Presents Top Webby Award to Banksy; He Accepts with Self-Mocking Video

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her in NYC on Monday, October 15 for another monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

The Joy of Experiencing Queen’s Bohemian Rhapsody for the Very First Time: Watch Three Reaction Videos

Remember when you first encountered Queen’s "Bohemian Rhapsody"?

I suspect many of us don’t. It’s not the Kennedy assassination. Nor does it take long for Freddy Mercury’s soaring vocals and monumental lyrics to leach into the blood stream, creating the impression that we were born knowing every note, every word, every staggering transition…

(Note to those unfamiliar with this impossible to categorize 1975 masterpiece: Go give it a listen RIGHT NOW, while the rest of us wait for you here. Here’s the official video. But first, set up whatever equipment you need to film your reaction in real time, as Pennsylvania based YouTuber AFRO REACT, does above.)

He’ll definitely remember where he was when he first heard this wonderful, seminal song, as will over 1000 viewers, most of whom gave him an encouraging thumbs up.

So what if he mispronounces both “bohemian” and “rhapsody”?  That he’s unclear whether Queen is the name of the singer or the band? He can cringe later…or not. Such documented boo boos may be a generational hazard, the way crimped and moussed 80s hair was for mine.

(I was surprised, and grateful, that neither he, nor any of the video reaction masters featured today, sniped at the ridiculous coiffures of the artists they were watching.)

Perhaps AFRO REACT’s appreciation will lead him to investigate those unfamiliar words and more: Scaramouche, Bismillah, fandango (No, not the popular movie time site…)

I appreciated how he consulted his mom prior to listening, to see if she thought he’d enjoy the full song as much as he liked the snippet he’d heard in a movie trailer.

My son never asks my opinion like that.

Hold up a sec there, AFRO REACT. Why not leave Mom out of it and just give it a spin (as we used to say)?

I suspect what he was really eager to find out was whether she thought this track would be worthy of a reaction video.

The answer, resoundingly, is yes.

I confess that his habit of pausing the video to interject his own thoughts was driving me out of my gourd. My son does the same thing.

I have since learned this is more than just a symptom of being born into a world where pretty much everything can be paused and restarted at will, at least as far as practitioners of the reaction video arts are concerned.

Taking frequent breaks like that is a solid way to get around copyright claim when including the official videos alongside the reaction. (Other techniques include lowering the volume while offering one’s response or fast forwarding 5 seconds a couple of times per minute.)

I suspect many older fans will feel a lump at the 4:15 mark, as the appreciative first-timer muses, “This man has a beautiful voice. Like, what happened to him?”

Ask your mother, kid.

The real treat comes at 6:15. Scaramouche, scaramouche, whatever our young listener was expecting, it surely wasn’t that!

Thusly another Queen fan is forged. Just a few days ago, he shared his virgin response to "Under Pressure (Live at Wembley)"

Tuscaloosa-based musician Joey Da Prince takes a more understated approach to reaction videos. Watching him bob from side to side, brow furrowed, appreciative involuntary smiles blooming now and again, reminds me of coming home, stripping the cellophane from a just-purchased album (or CD) and giving it a good hard listen, eyeballs glued to the liner notes.

He only hits pause once, shocked by the opening line of the famous first verse:

Mama just killed a man…

Oh, wait a minute. In a just posted 25-minute lyric breakdown, Joey reveals that he misheard that line, and was, understandably, taken aback by the idea of the singer’s mother murdering someone.

(Mercury’s technique was impeccable, so let’s take this as proof that commas are easier to see than hear…)

Like AFRO REACT, Joey quickly queued up the live version of "Under Pressure"…and "Somebody to Love," "Fat Bottomed Girls," "We Will Rock You," the list goes on…

He’s obsessed to such a degree that he’s even filmed his reaction to pop culture essayist Polyphonic’s The Secrets Behind Freddie Mercury's Legendary Voice, below. This is what lifelong learners do.

It’s worth noting that Joey Da Prince tried "Bohemian Rhapsody" on a commenter’s suggestion.

At the rate he’s going, he’s going to burn through Queen’s sizable catalogue pretty quickly, so toss him some suggestions, people!

I’m gonna go out on a limb and nominate Kate Bush’s "Wuthering Heights."

Gamer Quamax, aka Qua, did not come to "Bohemian Rhapsody" as a total Queen newbie. By his own admission, he was somewhat familiar with "We Will Rock You," "We Are the Champions," "Another One Bites the Dust," and "Under Pressure" from their appearances in movies and “other pop culture” (which presumably does not cover someone else’s reaction videos.)

As he listens in an intent forward-facing hunch, he seems the most keyed-in to the humor that is a definite part of this song’s listening experience (and possibly performance). He laughs merrily at the phrase “Mama Mia, Mama Mia” and avails himself of some truly delightful after effects in the editing process. (Those in a rush may fast forward to 4:32.)

Final pronouncement? It’s “dope and funny” and he really liked the transitions from one musical style to another.

Welcome to the Queen Army, Quamax! You should try listening to "Under…" oh, you already did.

Readers, if these young men's open-mindedness and open ears have inspired you to shoot a reaction video of your own, you’ll find a good primer here.

What haven’t you heard?

And what do you wish you could hear again for the very first time?

via Metafilter

Related Content:

Hip Hop Fan Freaks Out When He Hears Rage Against the Machine’s Debut Album for the Very First Time

Hear Freddie Mercury & Queen’s Isolated Vocals on Their Enduring Classic Song, “We Are The Champions”

Queen’s “Bohemian Rhapsody” Played by 28 Trombone Players

Watch the Brand New Trailer for Bohemian Rhapsody, the Long-Awaited Biopic on Freddie Mercury & Queen

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her in NYC on Monday, October 15 for another monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

The Hieronymus Bosch Demon Bird Was Spotted Riding the New York City Subway the Other Day…

To me, the great promise of homeschooling is that one day your child might, on their own initiative, ride the New York City subways dressed in a homemade, needlefelted costume modeled on the ice-skating bird messenger from Hieronymus Bosch’s The Temptation of St. Anthony.

Rae Stimson, aka Rae Swon, a Brooklyn-based artist who did just that a little over a week ago, describes her upbringing thusly:

Growing up I was home schooled in the countryside by my mom who is a sculptor and my dad who is an oil painter, carpenter, and many other things. Most of my days were spent drawing and observing nature rather than doing normal school work. Learning traditional art techniques had always been very important to me so that I can play a role in keeping these beautiful methods alive during this contemporary trend of digital, nonrepresentational, and conceptual art. I make traditional artwork in a wide variety of mediums, including woodcarving, oil painting, etching, needle felting, and alternative process photography.

Not every homeschooler, or, for that matter, Waldorf student, is into needle felting. It only seems that way when you compare the numbers to their counterparts in more traditional school settings…

Even the tiniest creature produced by this method is a labor intensive proposition, wherein loose woolen fibers are soaked, soaped, and jabbed with a needle until they come together in a rough mat, suitable for shaping into the whimsical—or demonic—figure of its creator’s choosing.

Stimson matched her full-head bird mask to the one in the painting by equipping it with gloves, a blanket cloak, long velvet ears, and a leafless twig emerging from the spout of its hand-painted funnel hat.

An accomplished milliner, Stimson was drawn to her subject’s unusual headgear, telling HuffPo’s Priscilla Frank how she wished she could ask Bosch about the various elements of his “beautiful demon-bird” and “what, if any, symbolic significance they hold.”

The answer lies in art history writer Stanley Meisler’s Smithsonian magazine article, "The World of Bosch":

…a monster on ice skates approaches three fiends who are hiding under a bridge across which pious men are helping an unconscious Saint Anthony. The monster, wearing a badge that Bax says can be recognized as the emblem of a messenger, bears a letter that is supposedly a protest of Saint Anthony's treatment. But the letter, according to (Bosch scholar and author Dirk) Bax, is in mirror writing, a sure sign that the monster and the fiends are mocking the saint. The monster wears a funnel that symbolizes intemperance and wastefulness, sports a dry twig and a ball that signify licentious merrymaking, and has lopping ears that show its foolishness. All this might have been obvious to the artist's contemporaries when the work was created, but the average modern viewer can only hope to understand the overall intent of a Bosch painting, while regarding the scores of bizarre monsters and demons as a kind of dark and cruel comic relief.

A field guide to Bosch’s bizarre images in the same article gives viewers leave to interpret any and all funnels in his work as a coded reference to deceit and intemperance... perhaps at the hands of a false doctor or alchemist!

Not every subway rider caught the arty reference. Unsurprisingly, some even refused to acknowledge the strange being in their midst. Those folks must not share Stimson’s dedication to examining “that which is unfamiliar, seeking out all that is yet unknown to you in both art and life.”

Within 24 hours of its Metropolitan Transit Authority adventure, the one-of-a-kind demon-bird costume was sold on Etsy.

(Holler if you wish Stimson had kept it around long enough to take a spin on the ice at Rockefeller Center or Bryant Park, where the majority of patrons would no doubt be gliding around in ignorance that, as per Meisler, Bosch equated skates with folly.)

See more of Rae Stimson’s needle-felted creations, including a full-body alien robot costume and a sculpture of author Joyce Carol Oates with her pet chicken in her Etsy shop.

via Hyperallergic

Related Content:

Figures from Hieronymus Bosch’s “The Garden of Earthly Delights” Come to Life as Fine Art Piñatas

Hieronymus Bosch Figurines: Collect Surreal Characters from Bosch’s Paintings & Put Them on Your Bookshelf

Take a Virtual Tour of Hieronymus Bosch’s Bewildering Masterpiece The Garden of Earthly Delights

Ayun Halliday is a New York City-based homeschooler, author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her at The Tank NYC on Monday, September 24 for another monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

Why We Say “OK”: The History of the Most Widely Spoken Word in the World

Ok, not to be contrary, but anyone else worry that we may be getting punked here?

Is Coleman Lowndes' clever collage-style video on the ubiquity and origins of the word “ok” a bit too clever for its own good?

His assertion that the word “ok” was the invention of waggish Bostonian hipsters in the late 1830s sounds like an Onion headline.

It’s hard to believe that clever young adults once amused themselves by bandying about deliberately misspelled abbreviations.

Also does anyone else remember hearing that “OK” could be traced to the 1840 reelection campaign of President Martin “Old Kinderhook” Van Buren?

Or folksinger Pete Seeger’s salute to the linguistic melting pot, “All Mixed Up,” which perpetuated the notion of OK as a corruption of the Choctaw word “okeh.”

Both of those explanations sound a lot more probable than a jokey bastardization of “all correct.”

Aka “oll korrect.”

As in OK, pal, whatever you say.

(That was the wittiest jape of the season?)

Etymologist Dr. Allen Walker Read’s considerable research supported “ok” as the lone survivor of 19th-century smart set wordplay, to the point where it was the lede in his obituary.

(The writer noted, as Lowndes does, how “ok” was among the first words out of astronaut Buzz Aldrin’s mouth when he set foot on the moon.)


If you’d like to know more, you can always delve into English professor Allan Metcalf”s book, OK: The Improbable Story of America’s Greatest Word, which cites the telegraph’s role in the popularization of everyone’s favorite neutral affirmative, as well as our powerful psychological attraction to the letter “k.”

(Kare for a Krispy Kreme with that Kool-Aid? ... The answer is an emphatic yes, I mean, OK, in any language.)

Related Content:

The Largest Historical Dictionary of English Slang Now Free Online: Covers 500 Years of the “Vulgar Tongue”

Read A Classical Dictionary of the Vulgar Tongue, a Hilarious & Informative Collection of Early Modern English Slang (1785)

The History of the English Language in Ten Animated Minutes

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her in NYC on Monday, September 24 for another monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

94-Year-Old Stroke Survivor Plays Jazz Piano for the First Time in Years




View this post on Instagram


A post shared by Frederic Yonnet (@fredyonnet) on

French musician Fred Yonnet posted on Instagram an ever so poignant video. He writes: "Great day today - took my mentor Don Burrows to visit our old mate Julian Lee in Mossvale 🎺🎹. He hasn’t played piano for many years since his stroke - he turns 95 this year and we share the same birthday."

The scene that unfolds will make your day...

via @TedGioia

Follow Open Culture on Facebook and Twitter and share intelligent media with your friends. Or better yet, sign up for our daily email and get a daily dose of Open Culture in your inbox. 

If you'd like to support Open Culture and our mission, please consider making a donation to our site. It's hard to rely 100% on ads, and your contributions will help us provide the best free cultural and educational materials.

Related Content:

81-Year-Old Man Walks into a Guitar Shop & Starts Playing a Sublime Solo: Ignore the Talents of the Elderly at Your Own Peril

96-Year-Old Holocaust Survivor Fronts a Death Metal Band

Discover the Retirement Home for Elderly Musicians Created by Giuseppe Verdi: Created in 1899, It Still Lives On Today

When Aldous Huxley, Dying of Cancer, Left This World Tripping on LSD, Experiencing “the Most Serene, the Most Beautiful Death” (1963)

The “spiritual adepts” of Tibet’s modern period, writes Huston Smith in his comprehensive introduction to the Bardo Thodol, or “The Tibetan Book of the Dead”, “were inner-world adventurers of the highest daring, the Tibetan equivalent of our astronauts—I think it is worth coining the term ‘psychonaut’ to describe them. They personally voyaged to the furthest frontiers of that universe which their society deemed vital to explore: the inner frontiers of consciousness itself, in all its transformations in life and beyond death.”

Western modernity—its energies focused entirely on shaping, subduing, and expropriating the material world—did not begin to take such complex inner journeys seriously until the 20th century. When it did, it did so largely through the popular influence of pioneers like Aldous Huxley and Timothy Leary, who introduced the inner journey through a syncretism of Eastern spirituality, Indigenous religious practices, and psychotropic drug use—something of an accelerated course to the frontiers of consciousness for those who had failed for so long to investigate its limits.

Huxley’s first psychedelic experience, described in his 1953 The Doors of Perception, “was in no sense revolutionary,” he wrote, in that he did not, as he had expected, experience “a world of visions” like those in the Bardo or the writings of William Blake. On the other hand, he describes a shift in consciousness in exactly the terms spiritual practitioners use to talk about enlightenment. He references Meister Eckhart’s Istigkeit or “Is-ness”—“a perpetual perishing that was at the same time pure Being.” He uses words like “grace” and “transfiguration” and refers to D.T. Suzuki’s essay “’What is the Dharma-Body of the Buddha?’”—“another way of saying Mind, Suchness, the Void, the Godhead.”

His faith in this experience persisted to the end of his life. It was, for him, an initiation, a “great change… in the realm of objective fact.” So profound were Huxley’s experiments with psychedelic drugs that on his deathbed ten years later, he requested that his wife Laura inject him with 100 micrograms of LSD. In the short video up top, Laura remembers the day, the same day John F. Kennedy was assassinated. And in the letter above, which you can read in full at Letters of Note, she describes Huxley’s last days in vivid detail to Huxley's brother Julian and his wife Juliette.

According to Laura, Huxley struggled in his last two months to accept the fact that he was dying of cancer. She read to him, she writes, “the entire manual of Dr. Leary extracted from The Book of the Dead.” Huxley reminded her that Leary used the manual to guide people through their acid trips, and that “he would bring people, who were not dead, back here to this life after the session.” After several painful days, however, he came to terms, “all of a sudden,” and made out his will. Laura had already consulted with Sidney Cohen, “a psychiatrist who had been one of the leaders in the use of LSD” and learned that Cohen had given the drug to two dying patients; “in one case it had brought up a sort of reconciliation with Death, and in the other case it did not make any difference.”

After she had offered it to Huxley several times over those two months, he finally wrote out his instructions to her for the dosage. She injected it herself, then, a few hours later, gave him another 100 micrograms. As he died, under the effects of what she calls his “moksha medicine,” Laura coached him “towards the light” as the Bardo counsels. “Willing and consciously you are going, willingly and consciously, and you are doing this beautifully; you are doing this so beautifully.” After several hours, Huxley died.

These five people all said that this was the most serene, the most beautiful death. Both doctors and nurse said they had never seen a person in similar physical condition going off so completely without pain and without struggle.

We will never know if all this is only our wishful thinking, or if it is real, but certainly all outward signs and the inner feeling gave indication that it was beautiful and peaceful and easy.

You can hear Laura discuss Huxley’s LSD-assisted death in much more detail in a conversation here with Alan Watts, who calls it a “highly intelligent form of dying.” In her letter, she defies the judgment that Huxley’s use of psychedelic drugs, in life and death, was irresponsible or escapist. “It is true we will have some people saying that he was a drug addict all his life and that he ended as one,” she writes, “but it is history that Huxleys stop ignorance before ignorance can stop Huxleys.” Indeed, in the same year that Aldous died, his brother Julian—the renowned evolutionary biologist—published an article called “Psychometabilism” in the second issue of The Psychedelic Review, the research journal co-founded by Leary.

“In psychedelic drugs,” wrote Julien, “we have a remarkable opportunity for interesting research.” Likewise, he argued, “mysticism is another psychometabolic activity which needs much further research… some mystics have certainly obtained results of great value and importance: they have been able to achieve an interior state of peace and strength which combines profound tranquility and high psychological energy.” In his informal, literary way, Aldous Huxley conducted such studies with himself as the subject, and wrote of the results and possibilities in books like The Doors of Perception and Island.

A few years after Aldous Huxley's death, the US and UK governments banned the kind of psychedelic research Julien recommended, but it has recently become a serious object of scientific study once again, and thanks to the reporting, and experimenting, of writers like Michael Pollan, Westerners may soon once again use psychedelics to take the inner journeys our culture does its best to discourage and denigrate.

Related Content:

How to Use Psychedelic Drugs to Improve Mental Health: Michael Pollan’s New Book, How to Change Your Mind, Makes the Case

Watch The Bicycle Trip: An Animation of The World’s First LSD Trip Which Took Place on April 19, 1943

Artist Draws 9 Portraits While on LSD: Inside the 1950s Experiments to Turn LSD into a “Creativity Pill”

Alan Watts Explains Why Death is an Art, Adventure and Creative Act

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

More in this category... »