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#51
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Ah, likely a mixture of hyperbole and counting differences. I don't know anyone (in the circle I'm aware of; this isn't dispositive) that would count multiple hits of acid on one occasion as tripping more than once. Nor would they count dropping multiple hits at different times--while still somewhat under the effect--as tripping multiple times. That's what I meant by you can't trip more than once a day. I guess in earnest you could pack a couple hits in if you didn't sleep (8-9 hour peaking, 4 hours hanging out, dropping again), but that too would be stretching it. To get to 'thousands' of trips, you'd need to dose once a day every day for five years straight.
Again, though, different definitions could be just as valid. The cohort I'm familiar with ranges from the mid-eighties through the mid-nineties, mostly related to the Grateful Dead and raves. What came before surely influenced that scene, and there is a legacy afterwards, but I'd have no idea even what the current slang is nowadays. |
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#52
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I thought acid was similar to ecstasy in that there's a short-term tolerance that effectively prevents multiple trips in a short time period. Your receptors simply can't respond to the drug again until they've had 3 days to replenish the serotonin.
So when he says he's taken thousands of acid trips, it's just the recollection of a man who has taken so much of everything that his estimates are way off. |
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#53
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Ultimately, this question is about nature vs. nurture. Both are contribute to the end result - the human, the music they create etc.
The intersection of their talents and musicial experiences, the emergence of pot and acid, the move from rock n' roll to psychedelic rock, the evolution of the post WW2 teenager to the Summer of Love - all contributed to their music. I don't know if they were better, per se, as much as the quality of the Beatles' output establishes an amazing narrative which is at the heart of their legend: in the 7-8 years they made records, they went through an amazing creative arc - Tomorrow Never Knows and the back half of Abbey Road could never have been predicted by Love Me Do. It is easy to see why people look for as many factors as they can to see what contributed to such a historically significant artistic evolution and output... |
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#54
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#55
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Can't even remember the names of the other two offhand, but I'm sure they never amounted to much. |
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#56
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Indeed. Most people knowledgeable about music consider Rubber Soul through Abbey Road their weak period.
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#57
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I don't think taking LSD had much to do with his success. I think the fact that he was the kind of guy who tried LSD and maintained an interest in what you might call hippie stuff reflected the qualities that made him distinctive and successful. And while I'm at it I will point out that if he'd had as much trust in modern medicine as he did in the value of psychedelic experiences, he could be here telling us about it himself.
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#58
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Perhaps not, but he believed it did.
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#59
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Right. He wasn't taking acid every day. Once or twice a week at the most.
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#60
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Let me say that I really admire your contributions to this board and esteem your opinions on musical topics in the highest regard. I love the band and I would say that, if put on a scale, the amount of quality songs they wrote after that album outweigh the ones they wrote before it. However mine is an amateur opinion and I'd welcome a more informed viewpoint. Last edited by JCorre; 05-18-2012 at 12:43 AM. |
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#61
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Well, my favorite album is Revolver, so I must come down on the side of preferring the music from Rubber Soul and beyond. But each period is great for different reasons. - With the stuff leading up to Rubber Soul, they demonstrate great pop songcraft, just like Motown writers, Chuck Berry, The Beach Boys and the Brill Building writers like Goffin and King, Ellie Greenwich, etc. Please Please Me, I Want to Hold Your Hand, etc. are pop craft perfection. - With Help, Rubber Soul and Revolver, they take that pop song vocabulary and start to stretch it in different directions. Songs are still verse chorus verse, but move into different subject matter, use different arrangements and suggest that the pop song form can be used to make real, artistic statements, not just pop confections. Tomorrow Never Knows slips past some of these constraints and heralds the move to a new phase. - From Tomorrow Never Knows, Sgt. Pepper and beyond, they move past traditional pop songcraft and use the jumping off point of psychedelia to give more free range to their musical ideas. So, from a stepping-back standpoint: I, personally, happen to prefer their middle and late periods, but the whole point to this OP is anchored more in the fact that the Beatles had a large creative arc - and the arc was of consistent high quality even as it evolved - oh, and at key points in the arc, drugs were introduced as a factor - pot in '65 and acid a year or two later. So I don't think the Beatles were better, per se, as much as their push to innovate creatively coincided with both the introduction of drugs and a wider culture at the time that was ready to push past traditional music structures and sounds. The fact that their output was high quality throughout this rather seismic transition both musically and culturally is what remains fascinating and historic. Does that help? |
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#62
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Great analysis, thank you.
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#63
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Looks like George Harrison agrees with you:
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#64
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Physically no, but you can imagine how someone who feels like they've become one with the universe might feel like LSD is the only thing really worth doing anymore (see all the messianic LSD figures from the 60's, Tim Leary, etc).
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