Psychedelic rockPsychedelicrock is a style of rock music that is in-spired or inuenced by psychedelic culture and attemptsto replicate and enhance the mind-altering experiences ofpsychedelic drugs. It often uses newrecording techniquesand eects and sometimes draws on sources such as theragas and drones of Indian music.It was pioneered by musicians including the Beatles, theBeach Boys, the Byrds, and the Yardbirds, emerging as agenre during the mid-1960s among folk rock and bluesrock bands in the United Kingdom and United States,such as Grateful Dead, Jeerson Airplane, the Jimi Hen-drix Experience, Cream, the Doors and Pink Floyd. Itreachedapeakinbetween1967and1969withtheSummer of Love and Woodstock Rock Festival, respec-tively, becoming an international musical movement andassociated with a widespread counterculture, before be-ginning a decline as changing attitudes, the loss of somekey individuals and a back-to-basics movement, led sur-viving performers to move into new musical areas.Psychedelic rock inuenced the creation of psychedelicpopandpsychedelicsoul. It alsobridgedthetran-sition from early blues- and folk music-based rock toprogressive rock, glam rock, hard rock and as a resultinuenced the development of subgenres such as heavymetal. Since the late 1970s it has been revived in variousforms of neo-psychedelia.1 CharacteristicsAs a musical style, psychedelic rock attempted to repli-cate the eects of and enhance the mind-altering expe-riences of hallucinogenic drugs, incorporating new elec-tronic and recording eects, extended solos, and improvi-sation, and it was particularly inuenced by eastern mys-ticism, reected in use of exotic instrumentation, partic-ularly from Indian music or the incorporation of elementsof eastern music. Major features include:electric guitars, often used with feedback, wah wahand fuzzboxes;[1]elaborate studio eects, such as backwards tapes,panning, phasing, long delay loops, and extremereverb;[2]non-Western instruments, specically those origi-nally used in Indian classical music such as the sitarand tabla ;[3]A sitar, much used on early records of the genre.a strong keyboard presence, especially organs,harpsichords, or the Mellotron (an early tape-driven'sampler');[4]extended instrumental solos or jams;[5]complexsongstructures, keyandtimesignaturechanges, modal melodies and drones;[5]electronic instruments such as synthesizers and thetheremin;[6][7]lyrics that made direct or indirect reference to drugs,12 3 HISTORYas in Jeerson Airplane's "White Rabbit" or JimiHendrix's "Purple Haze";[8]surreal, whimsical, esoterically or literary-inspired,lyrics.[9][10]2 EtymologyThe termpsychedelic was rst coined in 1956 bypsychiatrist Humphry Osmond as an alternative descrip-tor for hallucinogenic drugs in the context of psychedelicpsychotherapy.[11]Therst musical useof thetermpsychedelic is thought to have been by the New York-based folk group The Holy Modal Rounders on their ver-sion of Lead Belly's "Hesitation Blues" in 1964.[12] Therst group to advertise themselves as psychedelic rockwere the 13th Floor Elevators from Texas, at the end of1965. The termwas rst used in print in the Austin Amer-ican Statesman in an article about the band titled UniqueElevators shine with psychedelic rock, dated 10 Febru-ary 1966, and theirs was the rst album to use the termas part of its title, in The Psychedelic Sounds of the 13thFloor Elevators, released in August that year.[5]Asthecountercultural scenedevelopedinSanFran-ciscothetermsacidrockandpsychedelicrockwereused in 1966 to describe the newdrug-inuencedmusic[13] and were being widely used by 1967.[14] Thetermspsychedelicrockandacidrockareoftenusedinterchangeably,[8] but some commentators have distin-guished the former, which generally evoked the eectsof psychedelic drugs, and acid rock, which can be seenas a more extreme subgenre that focused more directlyon LSD, was often louder, made greater use of distortionand often consisted of long, improvised jams.[15][16]3 History3.1 OriginsMain articles: Psychedelia and Psychedelic musicFromthesecondhalf of the1950s, Beat Genera-tion writers like William Burroughs, Jack Kerouac andAllen Ginsberg[17] wrote about and took drugs, includingcannabis and Benzedrine, raising awareness and helpingto popularise their use.[18] In the same period Lysergicacid diethylamide, better known as LSD, or acid (atthe time a legal drug), began to be used in the US andUK as an experimental treatment, initially promoted as apotential cure for mental illness.[19]In the early 1960s the use of LSD and other hallucino-gens was advocated by proponents of the newconscious-ness expansion, such as Timothy Leary, Alan Watts,Aldous Huxley and Arthur Koestler,[20][21] their writingsprofoundly inuenced the thinking of the new generationof youth.[22] There had long been a culture of drug useBob Dylan and Allen Ginsberg in 1975among jazz and blues musicians, and, in the early 1960s,use of drugs (including cannabis, peyote, mescaline andLSD[23]) had begun to grow among folk and rock musi-cians, who also began to include drug references in theirsongs.[24]Two of the most successful and inuential acts of the era,Bob Dylan and the Beatles, were among the rst to exper-iment with such references.Dylans song "SubterraneanHomesick Blues" (1965), which may have taken its ti-tle from a Kerouac novel,[25] included the line, Johnnysin the basement, mixing up the medicine, and his "Mr.Tambourine Man" (1965) requested Take me on a tripupon your magic swirling ship. Whether this was in-tended as a drug reference was unclear, but the line wouldenter rock music when the song was a hit for the Byrdslater in the year.[14] Dylan indicated that he had smokedcannabis, but has denied using hard drugs. Neverthe-less, his lyrics would continue to contain apparent drugreferences.[26]After being introduced to cannabis by Dylan, membersof The Beatles began using LSD in 1965. The Beat-les introduced audiences to many of the major elementsof the psychedelic sound during this period, with guitarfeedback in "I FeelFine" (1964), "Norwegian Wood(This Bird Has Flown)" from their 1965 Rubber Soul al-bum using a sitar, and the employment of reversed au-dio tapes on their 1966 B-side "Rain".[10] Drug referencesbegan to appear in their songs, in "Day Tripper" (1965),and more explicitly in "Tomorrow Never Knows" (1966),from their album Revolver.[27]The Beach Boys' Pet Sounds (1966) also contained manyelements that would be incorporated into psychedelia,with its artful experiments, psychedelic lyrics based onemotional longings and self-doubts, elaborate sound ef-fects and new sounds on both conventional and uncon-ventional instruments.[28][29][30]By the mid-1960s, the psychedelic life-style had alreadydeveloped in California. This was particularly true inSanFrancisco, dueinpart totherst majorunder-ground LSD factory, established there by Owsley Stan-ley.[14] There was also an emerging music scene of folk3.2 Development in the USA 3Big Brother and the Holding Company, c. 1966-67: Janis Joplinis seated in the foreground.clubs, coee houses and independent radio stations cater-ing to a population of students at nearby Berkeley, andto free thinkers that had gravitated to the city.[31] From1964, the Merry Pranksters, a loose group that developedaround novelist Ken Kesey, sponsored the Acid Tests, aseries of events based around the taking of LSD (sup-plied by Stanley), accompanied by light shows, lm pro-jection and discordant, improvised music known as thepsychedelic symphony.[32][33] The Pranksters helped pop-ularize LSD use through their road trips across Americain a psychedelically-decorated school bus, which involveddistributing the drug and meeting with major gures ofthe beat movement, and through publications about theiractivities such as Tom Wolfe's The Electric Kool-Aid AcidTest (1968).[26]The Byrds,emerging from the Californian folk scene,and the Yardbirds from the British blues scene, havebeen seen as particularly inuential on the developmentof the genre.[10] Drug use and attempts at psychedelicmusic moved out of acoustic folk-based music towardsrock soon after The Byrds plugged in to produce achart topping version of Dylans Mr. Tambourine Maninthesummer of 1965, whichbecameafolkrockstandard.[34][35][36]A number of Californian-based folk acts followed theminto folk-rock, bringing their psychedelic inuences withthem, to produce the "San Francisco Sound".[10][32] Par-ticularlyprominent products of the scene were TheGrateful Dead (who had eectively become the houseband of the Acid Tests),[33] Country Joe and the Fish,The Great Society, Big Brother and the Holding Com-pany,The Charlatans,Moby Grape,Quicksilver Mes-senger Service and Jeerson Airplane.[10] In 1966, TheByrds moved rapidly away from folk rock with their sin-gle "Eight Miles High", which made use of free jazz andIndian ragas, and the lyrics of which were widely taken torefer to drug use.[10] The result of this directness was lim-ited airplay, and there was a similar reaction when Dylan,who had also electried to produce his own brand of folkrock, released "Rainy Day Women 12 & 35", with itsrepeating chorus of Everybody must get stoned!".[37]In Britain, the Yardbirds, with Je Beck as their guitarist,increasingly moved into psychedelic territory, adding up-tempo improvised rave ups, Gregorian chant and worldmusic (in particular Indian) inuences to their songs, in-cluding Still I'm Sad (1965) and "Over Under SidewaysDown" (1966), and singles such as "Heart Full of Soul"(1965), "Shapes of Things" (1966) and "Happenings TenYears Time Ago" (1966).[28][38][39] They were soon fol-lowed by bands such as Procol Harum, The Moody Bluesand The Nice.[40]3.2 Development in the USATypical psychedelic style poster. Iron Buttery at the CarouselBallroom.The San Francisco music scene continued to developas The Fillmore, the Avalon Ballroom, and The Ma-trix began booking local rock bands on a nightly ba-sis. The rst Trips Festival, sponsored by the MerryPranksters and held at the Longshoremens Hall in Jan-uary 1966, saw The Grateful Dead and Big Brother andthe Holding Company play to an audience of 10,000, giv-ing many their rst encounter with both acid rock, with itslong instrumentals and unstructured jams, and LSD.[41]Also fromSan Francisco, Blue Cheer played psychedelic-inuenced rock in a blues-rock style.[42][43]A major gure in the expansion of the genre was pro-moter Bill Graham, whose rst rock concert in 1965 wasa benet that included Allen Ginsberg and the then un-known Jeerson Airplane on the bill. He produced showsattracting most of the major psychedelic rock bands andoperated The Fillmore. When this proved too small hetook over Winterland and then the Fillmore West (in SanFrancisco) and the Fillmore East (in New York City),4 3 HISTORYwhere the major rock artists, from both the US and theUK, came to play.[44]AlthoughSanFranciscowasthecentreofAmericanpsychedelic music scene, many other American citiescontributedsignicantlytothenewgenre. Therstpsychedelic single to reach the US top 10 was "PsychoticReaction" by San Jose garage band Count Five inJuly1966.[8]Los Angeles boasteddozens of impor-tant psychedelic bands. Besides The Byrds, these in-cluded Iron Buttery, Love, Spirit, Captain Beefheartand his Magic Band, The United States of America, TheWest Coast Pop Art Experimental Band, and the ElectricPrunes;[45]perhaps themost commerciallysuccessfulwere The Doors.[46]Frank Zappa and his group TheMothers of Invention began to incorporate psychedelicinuences in their rst two albums Freak Out! (1966)and Absolutely Free (1967).[47]New York City produced its share of psychedelic bands,such as folk pioneers The Fugs, The Godz, and PearlsBeforeSwine, besides theBlues Magoos, theBluesProject,[48] Lothar and the Hand People[49] and the blues-inuenced Vanilla Fudge.[50] The Detroit area gave riseto psychedelic bands the Amboy Dukes, and the SRC,[51]and Chicago produced H. P. Lovecraft.[52] Texas (par-ticularly Austin) is often cited for its contributions topsychedelic music: besides the 13th Floor Elevators itproduced acts including Bubble Puppy, Lost and Found,The Golden Dawn, The Zakary Thaks, and Red Cray-ola.[53]3.3 Development in the UKCream, one of the psychedelic inuenced bands of the Britishblues movement, c. 1966In the UK before 1967 media outlets for psychedelicculture were limited to stations like Radio Luxembourgand pirate radio like Radio London, particularly the pro-grammeshostedbyDJJohnPeel.[54]Thegrowthofunderground culture was facilitated by the emergenceof alternative weekly publications like IT (InternationalTimes)andOZmagazinewhichfeaturedpsychedelicand progressive music together with the counterculturelifestyle, which involved long hair, and the wearing ofwild shirts from shops like Mr Fish, Granny Takes a Tripand old military uniforms from Carnaby Street (Soho)and Kings Road (Chelsea) boutiques.[55]Soonpsychedelic rockclubs like the UFOClubinTottenham Court Road,Middle Earth Club in CoventGarden, TheRoundhouseinChalkFarm, theCoun-try Club (Swiss Cottage) and the Art Lab (alsoinCovent Garden) weredrawingcapacityaudienceswith psychedelic rock and ground-breaking liquid lightshows.[56] A major gure in the development of Britishpsychedelia was the American promoter and record pro-ducer Joe Boyd, who moved to London in 1966. He co-founded venues including the UFO Club, produced PinkFloyd's rst single, "Arnold Layne", and went on to man-age folk and folk rock acts including Nick Drake, theIncredible String Band and Fairport Convention.[57][58]British psychedelic rock, like its American counterpart,had roots in the folk scene. Blues, drugs, jazz and east-ern inuences had featured since 1964 in the work ofDavy Graham and Bert Jansch.[59] However, the largeststrand was a series of bands that emerged from 1966from the British blues scene, but inuenced by folk, jazzand psychedelia, including Pink Floyd, Trac, Soft Ma-chine, Cream, and The Jimi Hendrix Experience (ledbyanAmerican, but initiallyproducedandmanagedin Britain by Chas Chandler of The Animals).[40] TheRolling Stones had drug references and psychedelic hintsin their 1966 singles "19th Nervous Breakdown"and"Paint It, Black", the latter featuring drones and sitar.[10]The Small Faces managed to get drug references pastthe censors with their rst single "Here Come the Nice"(1967)[60]and introduced phasing on "Itchycoo Park"(1967).[61]The Small Faces in 1965The Crazy World of Arthur Brown added surreal theatri-cal touches to its dark psychedelic sounds, such as the3.5 International expansion 5singers aming headdress.[62] Existing "British Invasion"actsnowjoinedthepsychedelicrevolution, includingEric Burdon (previously of The Animals) and The Who,whose The Who Sell Out (1967) included psychedelic in-uenced tracks "I Can See for Miles" and Armenia Cityin the Sky.[63]3.4 Peak yearsPsychedelic rock reached its apogee in the last years ofthe decade. 1967 saw the Beatles release the doubleA-side "Strawberry Fields Forever" and "Penny Lane",opening a strain of British pastoral[64] or nostalgic[10]psychedelia, followedbythereleaseofwhat isoftenseen as their denitive psychedelic statement in Sgt. Pep-pers Lonely Hearts Club Band, including the controversialtrack "Lucy in the Sky with Diamonds".[65] They contin-ued the psychedelic theme later in the year with the dou-ble EP Magical Mystery Tour and the number one single"Hello, Goodbye" with its B-side "I Am the Walrus".[66]Also enigmatic and surreal was one of the most inuen-tial records of 1967, "A Whiter Shade of Pale" by ProcolHarum, which reached number one in the UK SinglesChart on 8 June 1967, and stayed there for six weeks.[67]The Rolling Stones responded to Sgt Pepper later in theyear with Their Satanic Majesties Request, and Pink Floydproduced what is usually seen as their best psychedelicworkThePiperat theGatesofDawn.[10][68]In 1967the Incredible String Bands The 5000 Spirits or the Lay-ers oftheOniondevelopedtheirfolkmusicintofullblown psychedelia, which would be a major inuence onpsychedelic rock.[69] From 1967 Fairport Convention be-came a mainstay of the London Underground scene, pro-ducing their eponymous rst albumof American-inspiredfolk rock the following year.[70] The Pretty Things' rockopera S.F. Sorrow, released in December 1968, featuredboth heavy psychedelic songs such as Old Man Goingand I See You and poppy numbers like S.F.Sorrow IsBorn and Baron Saturday.[71][72][73] The Small FacesOgdens Nut Gone Flake (1968), released soon after, alsopioneeredtheconcept album, withthetracksonLPtelling a single story.[74]The Redmond Stage at the Woodstock Festival in 1969In America the Summer of Love of 1967 saw a hugenumber of young people from across America and theworld travel to the Haight-Ashbury district of San Fran-cisco, boosting the population from 15,000 to around100,000.[75] It was prefaced by the Human Be-In eventin March and reached its peak at the Monterey Pop Fes-tival in June, the latter helping to make major Americanstars of Janis Joplin, lead singer of Big Brother and theHolding Company, Jimi Hendrix and The Who.[76] Keyrecordings included Jeerson Airplanes Surrealistic Pil-low, the rst album to come out of San Francisco duringthis era, which sold well enough to bring the citys musicscene to the attention of the record industry: from it theytook two of the earliest psychedelic hit singles: "WhiteRabbit" (1967) and "Somebody to Love" (1967).[77] TheDoors' rst hit single "Light My Fire" (1967), running forover seven minutes, became one of the dening recordsof the genre, although their followup albumStrange Daysonly enjoyed moderate success.[78] Santana, led by gui-tarist Carlos Santana, used Latin rhythms as the basis fortheir psychedelic music.[8]Thesetrendsclimaxedinthe1969Woodstockfesti-val, whichsawperformances bymost of themajorpsychedelic acts, including Jimi Hendrix, Jeerson Air-plane, and the Grateful Dead.[79] Psychedelic rock wasglamorized on screen in Easy Rider (1969), which usedsongs including Steppenwolf's "Born to be Wild" as partof its soundtrack.[8]3.5 International expansionThe US and UK were the major centres of psychedelicmusic, but in the late 1960s scenes began to developacross the world, including continental Europe, Australa-sia, Asia and south and Central America.[80]The Bee Gees, one of the most commercially successful survivorsof the psychedelic era, performing on Dutch television in 19686 3 HISTORYInthelater1960spsychedelicscenesdevelopedinalarge number of countries in continental Europe, includ-ing the Netherlands with bands like The Outsiders,[81]Denmark where it was pioneered by Steppeulvene,[82]and Germany, where musicians began to fuse music ofpsychedelia and the electronic avant-garde. 1968 sawthe rst major German rock festival in Essen,[83]andthe foundation of the Zodiak Free Arts Lab in Berlin byHans-Joachim Roedelius, and Conrad Schnitzler, whichhelpedbandslikeTangerineDreamandAmonDlachieve cult status.[84]The edgling Australian and New Zealand rock scenesthat formed in wake of Beatlemania were most inuencedby British psychedelia, often with bands of rst genera-tion immigrants, who returned to further their musicalcareers.[85] Among the most successful were The Easy-beats, formed in Sydney but who recorded their interna-tional hit "Friday on My Mind" (1966) in London and re-mained there for their forays into psychedelic-tinged popuntil they disbanded in 1970.[86] A similar path was pur-sued by the Bee Gees, formed in Brisbane, but whoserst albumBeeGees 1st (1967),recorded in London,gave them three major hit singles and contained folk,rock and psychedelic elements, heavily inuenced by theBeatles.[87] The Twilights, formed in Adelaide, also madethe trip to London, recording a series of minor hits, ab-sorbing the psychedelic scene, to return home to producecovers of Beatles songs, complete with sitar, and the con-cept album Once upon a Twilight (1968).[88] The mostsuccessful New Zealand band, The La De Das, producedthe psychedelic pop concept albumTheHappyPrince(1968), based on the Oscar Wilde childrens classic, butfailed to break through in Britain and the wider world.[89]A thriving psychedelic music scene in Cambodia, in-uenced by psychedelic rock and soul broadcast by USforces radio in Vietnam,[90] was pioneered by artists suchas Sinn Sisamouth and Ros Sereysothea.[91] In South Ko-rea, Shin Jung-Hyeon, often considered the godfatherof Korean rock, played psychedelic-inuenced music forthe American soldiers stationed in the country. Follow-ing Shin Jung-Hyeon, the band San Ul Lim (MountainEcho) often combined psychedelic rock with a more folksound.[92]In Turkey, Anatolian rock artist Erkin Ko-ray blended classic Turkish music and Middle Easternthemes into his psychedelic-driven rock, helping to foundthe Turkish rock scene with artists such as Cem Karaca,Mogollar and Baris Manco.[93]Latin America proved a particularly fertile ground forpsychedelic rock. The Brazilian psychedelic rock groupOs Mutantes formed in 1966, although little known out-side Brazil at the time,have since accrued a substan-tial international cult following.[94] In the late 1960s, awave of Mexican rock, heavily inuenced by psychedeliaand funk emerged, especially in northern border Mexicanstates, in particular, Tijuana, Baja California. Amongthe most recognized bands from this "Chicano Wave"(Onda Chicana in Spanish) were Three Souls in my Mind,Los Gatos in 1967Love Army, El Ritual[95] and Los Dug Dugs.[96] In Chilefrom 1967 to 1973, between the ending of the govern-ment of President Frei Montalva and the government ofPresident Allende, a cultural movement was born froma few Chilean bands that emerged playing a unique fu-sion of folkloric music with heavy psychedelic inuences.The 1967 release of Los Macs album Kaleidoscope Men(1967) inspired bands such as Los Jaivas and Los Blops,the latter going on to collaborate with the iconic Chileansinger-songwriter Victor Jara on his 1971 album El dere-chodevivirenpaz.[97] Meanwhile, in the ArgentiniancapitalBuenos Aires, a burgeoning psychedelic scenegave birth to three of the most important bands in Ar-gentine rock: Los Gatos, Manal and Almendra.[98]3.6 DeclineBy the end of the 1960s,psychedelic rock was in re-treat. LSD had been made illegal in the US and UKin 1966.[99] In 1969, the murders of Sharon Tate andLeno and Rosemary LaBianca by Charles Manson andhis family of followers, claiming to have been inspiredby Beatles songs such as "Helter Skelter", has been seenas contributing to an anti-hippie backlash.[100] At the endof the same year, the Altamont Free Concert in Cali-fornia, headlined by the Rolling Stones, became noto-rious for the fatal stabbing of black teenager MeredithHunter by Hells Angel security guards.[101] Brian Wilsonof the Beach Boys (whose much anticipated Smile projectwould not emerge until 2004),[102][103] Brian Jones of theRolling Stones, Peter Green of Fleetwood Mac and SydBarrett of Pink Floyd were early acid casualties, help-ing to shift the focus of the respective bands of which theyhad been leading gures.[104] Some groups, such as theJimi Hendrix Experience and Cream, broke up.[105] JimiHendrix died in London in September 1970, shortly af-ter recording Band of Gypsys (1970), Janis Joplin died ofa heroin overdose in October 1970 and they were closelyfollowed by JimMorrison of the Doors, who died in Parisin July 1971.[106] Many surviving acts moved away frompsychedelia into either more back-to-basics "roots rock",7traditional-based, pastoral or whimsical folk, the widerexperimentation of progressive rock, or ri-based heavyrock.[10]Jody Grinds One StepOn gatefold record sleeve featuresUV/stroboscopic photography.In 1966, even while psychedelic rock was becoming dom-inant, Bob Dylan spearheaded the back-to-basics rootsrevival when he went to Nashville to record the albumBlonde on Blonde.[107][108] This, and the subsequent moreclearly country-inuenced albums, John Wesley Harding(1967) and Nashville Skyline (1969), have been seen ascreating the genre of country folk.[108] Dylans lead wasalso followed by The Byrds, joined by Gram Parsons torecord Sweetheart of the Rodeo (1968), helping to denethe genre of country rock,[109] which became a partic-ularly popular style in the California music scene of thelate 1960s, and was adopted by former folk rock artists in-cluding Hearts and Flowers, Poco and New Riders of thePurple Sage.[109] Other acts that followed the back to ba-sics trend in dierent ways were the Canadian group TheBand and the Californian-based Creedence ClearwaterRevival.[110] The Grateful Dead also had major successeswith the more reective and stripped back WorkingmansDead and American Beauty in 1970.[111] The super-groupCrosby, Stills and Nash, formed in 1968 from mem-bers of The Byrds, Bualo Springeld, and The Hollies,were joined by Neil Young for Deja Vu in 1970, whichmoved away frommany of what had become the clichsof psychedelic rock and placed an emphasis on politicalcommentary and vocal harmonies.[112]After the death of their manager Brian Epstein and theunpopular surreal television lm, Magical Mystery Tour,theBeatlesreturnedtoarawstylewithThe Beatles(1968), Abbey Road (1969) and Let It Be (1970), beforetheir eventual break up.[10] The back to basics trend wasalso evident in The Rolling Stones albums starting fromBeggars Banquet (1968) to Exile on Main St. (1972).[10]Fairport Convention releasedLiegeandLief in 1969,turning away fromAmerican-inuenced folk rock towarda sound based on traditional British music and foundingthe subgenre of electric folk, to be followed by bandslike Steeleye Span and Fotheringay.[113] The psychedelic-inuenced and whimsical strand of British folk continuedinto the 1970s with acts including Comus, Mellow Can-dle, Nick Drake, The Incredible String Band, Forest andTrees and with Syd Barretts two solo albums.[114]4 Inuence4.1 Other genresMain articles: Psychedelic pop and Psychedelic soulAs psychedelia emerged as a mainstream and commer-The Monkees, one ofthe most successful acts todelve intopsychedelic pop, pictured in 1967cial force, particularly through the work of the Beatles,it began to inuence pop music, which incorporated hip-pie fashions, as well as the sounds of sitars, fuzz guitars,and tape eects.[115] The Beach Boys hit single "GoodVibrations" was one of the rst pop songs to incorpo-rate psychedelic lyrics and sounds.[103][116] Scottish folksinger Donovan's transformation to 'electric' music gavehim a series of pop hits, beginning with "Sunshine Su-perman", which reached number one in both Britain andthe US, to be followed by "Mellow Yellow" (1966) and"Atlantis" (1968).[10][117] American pop-oriented bandsthat followed in this vein included the Electric Prunes,the Blues Magoos and the Strawberry Alarm Clock.[118]International acts such as the Bee Gees and the Easybeatswere also prominent in the development of psychedelicpop.[86][119] Psychedelic sounds were also incorporatedinto the output of early bubblegum pop acts like TheMonkees and The Lemon Pipers.[120]Following the lead of Hendrix in rock, psychedelia beganto have an impact on African American musicians, partic-ularly the stars of the Motown label.[121] This psychedelicsoul was inuenced by the civil rights movement, giv-ing it a darker and more political edge than much acidrock.[121] Building on the funk sound of James Brown,it was pioneered from about 1968 by Sly and the Fam-8 5 NEO-PSYCHEDELIAily Stone and The Temptations. Acts that followed theminto this territory included the Supremes, The ChambersBrothers, The 5th Dimension,[122] Edwin Starr and theUndisputed Truth.[121] George Clinton's interdependentFunkadelic and Parliament ensembles and their variousspin-os took the genre to its most extreme lengths mak-ing funk almost a religion in the 1970s,[123] producingover forty singles, including three in the US top ten, andthree platinum albums.[124] While psychedelic rock be-gan to waver at the end of the 1960s, psychedelic soulcontinued into the 1970s, peaking in popularity in theearly years of the decade, and only disappearing in thelate 1970s as tastes began to change.[121] Acts like Earth,Wind and Fire, Kool and the Gang and Ohio Players, whobegan as psychedelic soul artists, incorporated its soundsinto funk music and eventually the disco which partly re-placed it.[125]4.2 Rock musicRoxy Music in 1973Many of the British musicians and bands that hadembracedpsychedelia went ontocreate progressiverock in the 1970s, including Pink Floyd, Soft MachineandmembersofYes. KingCrimson'salbumIntheCourt of the CrimsonKing(1969) hasbeenseenasan important link between psychedelia and progressiverock.[126]While bands such as Hawkwind maintainedan explicitly psychedelic course into the 1970s, mostdroppedthepsychedelicelementsinfavourofwiderexperimentation.[127] The incorporation of jazz into themusic of bands like Soft Machine and Can also con-tributed to the development of the jazz rock of bandslikeColosseum.[128]Astheymovedawayfromtheirpsychedelic roots and placed increasing emphasis on elec-tronic experimentation, German bands like Kraftwerk,Tangerine Dream, Can and Faust developed a distinc-tive brand of electronic rock, known as kosmische musik,or in the British press as "Kraut rock.[129] The adoptionof electronic synthesisers, pioneered by Popol Vuh from1970, together with the work of gures like Brian Eno(for a time the keyboard player with Roxy Music), wouldbe a major inuence on subsequent electronic rock.[130]In Japan, Osamu Kitajima's 1974 psychedelic rock al-bumBenzaiten utilized electronic equipment such as asynthesizer and drum machine, and one of the recordscontributors was Haruomi Hosono,[131] who later startedthe electronic music band Yellow Magic Orchestra (asYellow Magic Band) in 1977.[132]Psychedelicrock, withitsdistortedguitarsound, ex-tendedsolosandadventurouscompositions, hasbeenseen as an important bridge between blues-oriented rockand later heavy metal. American bands whose loud,repetitive psychedelic rock emerged as early heavy metalincluded the Amboy Dukes and Steppenwolf.[8]FromEngland, two former guitarists with the Yardbirds, JeBeckandJimmyPage, movedontoformkeyactsin the genre,The Je Beck Group and Led Zeppelinrespectively.[133] Other major pioneers of the genre hadbegun as blues-based psychedelic bands, including BlackSabbath,Deep Purple,Judas Priest and UFO.[133][134]Psychedelic music also contributed to the origins of glamrock, with Marc Bolan changing his psychedelic folk duointo rock band T. Rex and becoming the rst glam rockstar from 1970.[135] From 1971 David Bowie moved onfrom his early psychedelic work to develop his ZiggyStardust persona, incorporating elements of professionalmake up, mime and performance into his act.[136]5 Neo-psychedeliaMain article: Neo-psychedelia5.1 1970s and 1980sMy Bloody Valentine performing in 2013Therewereoccasional mainstreamacts that dabbledin neo-psychedelia, including Prince's mid-1980s workand some of Lenny Kravitz's 1990s output, but it hasmainly been an inuence on alternative and indie-rock9bands.[137] Psychedelic rock began to be revived in thelate 1970s/early 1980s by bands of the post-punk scene,includingtheworkofTheTeardropExplodes, EchoandtheBunnymen, TheChurch, theSoft Boys,[137]Siouxsie and the Banshees,[138][139] The Cure,[140] TheGlove,[141]andTheLegendaryPinkDots.[142]IntheUS in the early 1980s these bands were joined by thePaisleyUndergroundmovement, basedinLosAnge-les,with acts like Dream Syndicate,The Bangles andRain Parade.[143] New wave band XTC published recordsunder the pseudonym The Dukes of Stratosphear from1985.[144] Even Gothic rock band The Damned incor-poratedpsychedelicmusicintotheir sound.[145]Thelate1980s sawthebirthof shoegazingintheUK,which, amongotherinuences, tookinspirationfrom1960s psychedelia.[146] Critic Simon Reynolds describedthismovement asarashofblurry, neo-psychedelicbands.[146] With loud walls of sound, where individualinstruments and even vocals were often indistinguishable,they followed the lead of noise pop and dream pop bandssuch as My Bloody Valentine (often considered as the ear-liest shoegaze act),[147] The Jesus and Mary Chain, andthe Cocteau Twins.[148] Major acts included Ride, Lush,Chapterhouse, and The Boo Radleys, who enjoyed con-siderable attention in the UK, but largely failed to breakthrough in the US.[149]5.2 1990s to the presentBlur playing at the Roskilde Festival, Denmark in 1999.In the 1990s the Elephant 6 collective, including actslikeTheApplesinStereo, TheOliviaTremor Con-trol, Neutral Milk Hotel, Elf Power and of Mon-treal, produced eclectic psychedelic rock and folk.[150]Otheralternativeactstopursuepsychedeliafromthe1990s included The Brian Jonestown Massacre, PornoFor Pyros and Super Furry Animals.[137]Stoner rockalso emerged, combining elements of psychedelic rock,blues-rock and doom metal. Typically using a slow-to-mid tempo and featuring low-tuned guitars in abass-heavy sound,[151] with melodic vocals,and 'retro'production,[152] it was pioneered by the Californian bandsKyuss[153] and Sleep.[154] In the UKthe Madchester sceneinuenced the early sound of 1990s Britpop bands likeBlur.[155] The Verve mixed on 1960s psychedelia withthe shoegazing aesthetic.[156] Oasis also drew on 1960spsychedelicpopandrock, particularlyonthealbumStandingontheShoulderofGiants (2000).[157]In theimmediate post-Britpop era Kula Shaker incorporatedswirling, guitar-heavysoundsoflate-'60spsychedeliawith Indian mysticism and spirituality.[158]In the newmillennium neo-psychedelia was continued by bands di-rectly emulating the sounds of the 60s such as The BlackAngels,[159] Tame Impala,[160] Pond,[161] and The EssexGreen,[162] while bands like Animal Collective appliedan experimental approach that combined genres from the1960s and the present.[163] Modern festivals focusing onpsychedelic music include Austin Psych Fest in Texas,founded in 2008[164] and Liverpool Psych Fest.[165]6 See alsoList of electric blues musiciansList of psychedelic rock artists7 Notes[1] P. Prown, H. P. Newquist and J. F. Eiche, Legends of RockGuitar: theEssential ReferenceofRocksGreatest Gui-tarists (London:Hal Leonard Corporation, 1997), ISBN0-7935-4042-9, p. 48.[2] S. Borthwick and R. Moy, PopularMusicGenres: anIntroduction(Edinburgh: EdinburghUniversityPress,2004), ISBN 0-7486-1745-0, pp. 52-4.[3] R. Rubin and J. P. Melnick, Immigration and AmericanPopular Culture: an Introduction (New York, NY: NewYork University Press, 2007), ISBN 0-8147-7552-7, pp.162-4.[4] D. W. Marshall, MassMarket Medieval: EssaysontheMiddleAgesinPopularCulture (Jeerson NC: McFar-land, 2007), ISBN 0-7864-2922-4, p. 32.[5] M. Hicks,Sixties Rock: Garage,Psychedelic,and OtherSatisfactions Music in American Life (Chicago, IL: Uni-versity of Illinois Press, 2000), ISBN 0-252-06915-3, pp.64-6.[6] J. DeRogatis, Turn On Your Mind: Four Decades of GreatPsychedelicRock (Milwaukie,Michigan: Hal Leonard,2003), ISBN 0-634-05548-8, p. 230.[7] R. Unterberger, Samb Hicks, Jennifer Dempsey, MusicUSA: the Rough Guide, (Rough Guides, 1999), ISBN 1-85828-421-X, p. 391.[8] R. B. Browne and P. Browne, The Guide to United StatesPopularCulture (Popular Press, 2001), ISBN 0-87972-821-3, p. 8.10 7 NOTES[9] G. Thompson, Please Please Me: Sixties British Pop, InsideOut (Oxford: Oxford University Press, 2008), ISBN0-19-533318-7, p. 197.[10] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 1322-3.[11] N. Murray, Aldous Huxley: ABiography(Hachette,2009), ISBN 0-7481-1231-6, p. 419.[12] M. Hicks,Sixties Rock: Garage,Psychedelic,and OtherSatisfactions (University of Illinois Press,2000),ISBN978-0-252-06915-4, pp 5960.[13] Logical Outcome of fty years of art, LIFE, 9 Septem-ber 1966, p. 68.[14] J. DeRogatis, Turn On Your Mind: Four Decades of GreatPsychedelicRock (Milwaukie,Michigan: Hal Leonard,2003), ISBN 0-634-05548-8, pp. 8-9.[15] Acid rock, Allmusic. Retrieved 20 March 2012.[16] Eric V. d. Luft, Dieat theRight Time!: ASubjectiveCultural History of the American Sixties (Gegensatz Press,2009), ISBN 0-9655179-2-6, p. 173.[17] J. Campbell, This is the Beat Generation: New York, SanFrancisco, Paris (Berkeley, CA: University of CaliforniaPress, 2001), ISBN 0-520-23033-7.[18] R. Worth, Illegal Drugs:Condone Or Incarcerate? (Mar-shall Cavendish, 2009), ISBN 0-7614-4234-0, p. 30.[19] D. Farber, ThePsychologistsPsychology:TheIntoxi-cated State/Illegal Nation - Drugs in the Sixties Counter-culture, in P. Braunstein and M. W. Doyle (eds), ImagineNation: The Counterculture of the 1960s and '70s (NewYork: Routledge, 2002), ISBN 0-415-93040-5, p. 21.[20] Anne Applebaum, Did The Death Of Communism TakeKoestler And Other Literary Figures With It?", The Hu-ington Post, 26 January 2010.[21] "Out-Of-Sight! SMiLE Timeline. Archived from theoriginalon 3 November 2008. Retrieved 30 October2011.[22] L. R. Veysey, The Communal Experience: Anarchistand Mystical Communities in Twentieth-Century America(Chicago IL, University of Chicago Press, 1978), ISBN0-226-85458-2, p. 437.[23] T. Albright, Art intheSanFranciscoBayarea, 1945-1980: anIllustratedHistory(UniversityofCaliforniaPress, 1985), ISBN 0-520-05193-9, p. 166.[24] J. Shepherd, ContinuumEncyclopedia of Popular Music ofthe World: Media, Industry and Society (New York, NY:Continuum, 2003), ISBN 0-8264-6321-5, p. 211.[25] M. Gray, Song & Dance Man III: The Art of Bob Dylan(NewYork, NY: Continuum, 1999, 2000), ISBN0-8264-5150-0, p. 83.[26] J. Mann, Turn on and Tune in: Psychedelics, Narcotics andEuphoriants (Royal Society of Chemistry, 2009), ISBN1-84755-909-3, p. 87.[27] ThoughLennonhadyet tolaunchhimself intohisfullscale LSD period, he evidently felt suciently versedin the counterculture associated with the drug to pokefun at those who took it without changing their outlook.The lyric of Day Tripper, he later explained, was an attackon weekend hippies - those who donned oral shirts andheadbands to listen to acid rock between 9-to-5 oce-jobs, in I. MacDonald, Revolution in the Head: The Bea-tles Records and the Sixties (London:Vintage, 3rd edn.,2008), ISBN 978-0-09-952679-7, pp. 167-8.[28] R. Unterberger, BritishPsychedelic, Allmusic. Re-trieved 7 June 2011.[29] J. DeRogatis, Turn On Your Mind: Four Decades of GreatPsychedelicRock (Milwaukie,Michigan: Hal Leonard,2003), ISBN 0-634-05548-8, pp. 35-40.[30] Pet Sounds, Revolver and The Piper at the Gates ofDawn, relics of the rst era of psychedelic rock and shin-ing testaments to what can be accomplished in the record-ing studio when folks are fueled on the potent drug of ram-pant imagination J. DeRogatis, Milk it!: collected mus-ings on the alternative music explosion of the 90s, ISBN0-306-81271-1, p. 352.[31] R. Unterberger, Eight Miles High: Folk-Rocks Flight fromHaight-Ashbury to Woodstock (London: Backbeat Books,2003), ISBN 0-87930-743-9, pp. 11-13.[32] Gilliland, John(1969). Show41- TheAcidTest:Psychedelics and a sub-culture emerge in San Francisco.[Part 1] : UNT Digital Library (audio). Pop Chronicles.Digital.library.unt.edu. Retrieved 6 May 2011.[33] M. Hicks,Sixties Rock: Garage,Psychedelic,and OtherSatisfactions Music in American Life (Chicago, IL: Uni-versity of Illinois Press, 2000), ISBN 0-252-06915-3, p.60.[34] R. Unterberger, Eight Miles High: Folk-Rocks Flight fromHaight-Ashbury to Woodstock (London: Backbeat Books,2003), ISBN 0-87930-743-9, p. 1.[35] W. Ruhlmann, Mr. Tambourine Man: review, Allmusic.Retrieved 15 March 2010.[36] R. Unterberger. Folk Rock: An Overview. Richieun-terberger.com. Retrieved 15 March 2010.[37] R. Unterberger, Eight Miles High: Folk-Rocks Flight fromHaight-Ashbury to Woodstock (London: Backbeat Books,2003), ISBN 0-87930-743-9, p. 4.[38] Peter Lavezzoli, The Dawn of Indian Music in the West:Bhairavi (New York, NY: Continuum, 2006), ISBN 0-8264-1815-5, p. 154.[39] P. Buckley, The Rough Guide to Rock (London: RoughGuides, 3rd edn., 2003), ISBN 1-84353-105-4, p. 1144.[40] E. Macan, Rocking the Classics: English Progressive Rockand the Counterculture (Oxford: Oxford University Press,1997), ISBN 0-19-509888-9, p. 20.11[41] B. Jackson, Garcia: An American Life (London: Penguin,2nd edn., 2000), ISBN 0-14-029199-7, pp. 94-5.[42] P. Alexander. Blue Cheer - Disc of the day - Mojo.Mojo4music.com. Retrieved 21 October 2010.[43] Psychedelic rock. Allmusic. Retrieved 7 June 2011.[44] N. Talevski, Knocking on Heavens Door: Rock Obituaries(Omnibus Press, 2006), ISBN 1-84609-091-1, p. 218.[45] P. Buckley, The Rough Guide to Rock (London: RoughGuides, 3rd edn., 2003), ISBN 1-84353-105-4, p. 65.[46] J. E. Perone, Music of the Counterculture Era(Lon-don: Greenwood Publishing Group, 2004), ISBN 0-313-32689-4, p. 120.[47] U. Adelt, Black, white and blue: Racial politics of bluesmusic in the 1960s (ProQuest, 2007), ISBN0-549-34196-X, p. 69.[48] J. S. Harrington, Sonic Cool: the Life & Death of Rock 'n'Roll (Milwaukee, WI: Hal Leonard Corporation, 2002),ISBN 0-634-02861-8, pp. 171-3.[49] A. M. Ashby, The Pleasure of Modernist Music: Listen-ing, Meaning, Intention, Ideology (Woodbridge: Boydell& Brewer, 2004), ISBN 1-58046-143-3, p. 228.[50] S. Huey, Vanilla Fudge, Allmusic. Retrieved 11 Febru-ary 2012.[51] D. A. Carson, Grit, Noise, and Revolution: The Birth ofDetroit Rock 'n' Roll (University of Michigan Press, 2006),ISBN 0-472-03190-2, pp. 5 and 173.[52] P. Auslander, Performing Glam Rock: Gender and The-atricality in Popular Music (Ann Arbor, MI: University ofMichigan Press, 2006), ISBN 0-472-06868-7, p. 76.[53] J. DeRogatis, Turn On Your Mind: Four Decades of GreatPsychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),ISBN 0-634-05548-8, p. 71.[54] Pirate Radio, Ministry of Rock.co.uk. Retrieved 9 Febru-ary 2010.[55] P. Gorman, The Look: Adventures in Pop & Rock Fashion(Sanctuary, 2001), ISBN 1-86074-302-1.[56] C. Grunenberg and J. Harris, Summer of Love:PsychedelicArt, Social CrisisandCountercultureinthe1960s (Liverpool: Liverpool UniversityPress, 2005),ISBN 0-85323-919-3, pp. 83-4.[57] R. Unterberger, Nick Drake: biography, Allmusic. Re-trieved 7 May 2011.[58] B. Sweers, Electric Folk: The ChangingFace of En-glish Traditional Music (Oxford: Oxford University Press,2005), ISBN 0-19-515878-4, p. 86.[59] C. Grunenberg and J. Harris, Summer of Love:PsychedelicArt, Social CrisisandCountercultureinthe1960s (Liverpool: Liverpool UniversityPress, 2005),ISBN 0-85323-919-3, p. 137.[60] B. Eder, Small Faces: Biography, Allmusic, retrieved 15August 2013.[61] D. N. Howard, Sonic Alchemy: Visionary Music Produc-ers and Their Maverick Recordings (Hal Leonard, 2004),ISBN 0634055607, p. 132.[62] The Crazy World of Arthur Brown, Psychedelic Sight.Retrieved 9 February 2010.[63] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 29, 1027 and 1220.[64] I. MacDonald, Revolution in the Head: The BeatlesRecords and the Sixties (London: Vintage, 3rd edn., 2008),ISBN 978-0-09-952679-7, p. 216.[65] I. MacDonald, Revolution in the Head: The BeatlesRecords and the Sixties (London: Vintage, 3rd edn., 2008),ISBN 978-0-09-952679-7, pp. 241-2.[66] I. MacDonald, Revolution in the Head: The BeatlesRecords and the Sixties (London: Vintage, 3rd edn., 2008),ISBN 978-0-09-952679-7, pp. 263-73.[67] S.Whiteley, TheSpaceBetweentheNotes: Rockandthe Counter-Culture (London: Routledge, 1992), ISBN 0-415-06816-9, p. 61.[68] R. Unterberger, Their Satanic Majesties Request: re-view, Allmusic. Retrieved 19 November 2007.[69] J. DeRogatis, Turn on Your Mind: Four Decades of GreatPsychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),ISBN 0-634-05548-8, p. 120.[70] Unhalfbricking, Fairport Convention, ObserverMusicMonthly, 20 June 2004, retrieved on 14 January 2009.[71] N. Strauss, The Pop Life: The First Rock Opera (No, NotTommy)", New York Times, 9 March 1998. Retrieved18 March 2012.[72] S. Mason, Pretty Things: I See You: Review, Allmusic.Retrieved 18 March 2012.[73] S. Mason, Pretty Things: S.F.Sorrow Is Born: Review,Allmusic. Retrieved 18 March 2012.[74] S.Johnstone, Psychedelic rock in P.Childs and M.Storry, EncyclopaediaofContemporaryBritishCulture(London: Routledge, 2013), ISBN 1134755554, p. 434.[75] G. Falk and U. A. Falk, Youth Culture and the GenerationGap (New York, NY: Algora, 2005), ISBN 0-87586-368-X, p. 186.[76] W. E. Studwell and D. F. Lonergan, The Classic Rock andRoll Reader: Rock Music from its Beginnings to the mid-1970s (London: Routledge, 1999), ISBN0-7890-0151-9,p. 223.[77] P. Frame, Rock Family Trees (London: Omnibus Press,1980), ISBN 0-86001-414-2, p. 9.[78] J. E. Perone, Music of the Counterculture Era (London:Greenwood, 2004), ISBN 0-313-32689-4, p. 24.12 7 NOTES[79] A. Bennett, RememberingWoodstock (Aldershot: Ash-gate, 2004), ISBN 0-7546-0714-3.[80] S. Borthwick and R. Moy, PopularMusicGenres: anIntroduction(Edinburgh: EdinburghUniversityPress,2004), ISBN 0-7486-1745-0, p. 44.[81] R. Unterberger, Unknown Legends of Rock 'n' Roll:Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo- Mavericks & More (Miller Freeman, 1998), ISBN 0-87930-534-7, p. 411.[82] P. Houe and S. H. Rossel, Images of America in Scandi-navia (Amsterdam: Rodopi, 1998), ISBN 90-420-0611-0, p. 77.[83] P. Buckley, The Rough Guide to Rock, (Rough Guides ,1999), ISBN 1858284570, p.26[84] P. Stump, Digital Gothic: a Critical Discography of Tan-gerine Dream (Wembley, Middlesex: SAF, 1997), ISBN0-946719-18-7, p. 33.[85] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 1341-3.[86] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 349-50.[87] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 85-6.[88] T. Rawlings, Then, Now and Rare British Beat 1960-1969(London: Omnibus Press, 2002), ISBN 0-7119-9094-8,p. 191.[89] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 635-6.[90] M. Wood, DengueFever: Multiclti Angelanoscraftborder-bluring grooves Spin, January 2008, p. 46.[91] R. Unterberger, Various Artists: Cambodian Rocks Vol.1: review, Allmusic retrieved 1 April 2012.[92] KOREAN PSYCH & ACID FOLK, part 1. Progres-sive.homestead.com. Retrieved 2013-02-03.[93] V. Karaege,Erkin KorayAllmusic. Retrieved 1 April2012.[94] John Bush, Os Mutantes, Allmusic. Retrieved 2 Febru-ary 2010.[95] G. M. JosephandT. J. Henderson, ed., The MexicoReader: History, Culture, Politics (Durham,NC: DukeUniversity Press, 2002), ISBN 0-8223-3042-3, p. 605.[96] J. Ankeny, Dug Dug: Biography, Allmusic, retrieved 6December 2013.[97] B. Keen and K. Haynes, A History of Latin America (An-dover: Cengage Learning, 8th ed., 2008), ISBN 0-618-78318-0, p. 592.[98] S. Bao, Buenos Aires (Footscray, Victoria: Lonely Planet,5th ed., 2008), ISBN 1-74104-699-8, p. 248.[99] I. Inglis, The Beatles, Popular Music and Society: a Thou-sand Voices (London: Palgrave Macmillan, 2000), ISBN0-312-22236-X, p. 46.[100] D. A. Nielsen, Horrible Workers: Max Stirner, Arthur Rim-baud, Robert Johnson, andtheCharlesMansonCircle:Studies in Moral Experience and Cultural Expression (Lan-hamMD: Lexington Books, 2005), ISBN0-7391-1200-7,p. 84.[101] J. Wiener, Come Together: JohnLennoninhis Time(Chicago IL: University of Illinois Press, 1991), ISBN 0-252-06131-4, pp. 124-6.[102] R. Unterberger, SMiLE The Beach Boys:review, All-music. Retrieved 15 March 2012.[103] J. DeRogatis, Turn On Your Mind: Four Decades of GreatPsychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),ISBN 0-634-05548-8, pp. 35-9.[104] Garage rock, Billboard, 29 July 2006, 118 (30), p. 11.[105] D. Gomery, MediainAmerica: the WilsonQuarterlyReader, (Washington DC: WoodrowWilson Center Press,2nd edn., 1998), ISBN 0-943875-87-0, pp. 181-2.[106] S. Whiteley, Too Much Too Young: Popular Music, AgeandGender (London: Routledge, 2005), ISBN 0-415-31029-6, p. 147.[107] R. Unterberger, S. Hicks and J. Dempsey, Music USA: theRough Guide (London: Rough Guides, 1999), ISBN 1-85828-421-X, p. 31.[108] K. Wol and O. Duane, Country Music: The Rough Guide(London: Rough Guides, 2000), ISBN 1-85828-534-8, p.392.[109] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, p. 1327.[110] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 61 and 265.[111] B. Jackson, Garcia: An American Life (London: Penguin,2000), ISBN 0-14-029199-7, pp. 196-200.[112] F. W. Homann, Encyclopedia of Recorded Sound, Vol-ume 1 (London: CRC Press, 2nd edn., 2005), ISBN 0-415-93835-X, p. 253.[113] B. Sweers, Electric Folk: The ChangingFace of En-glish Traditional Music (Oxford: Oxford University Press,2005), ISBN 0-19-515878-4, pp. 45-9.13[114] J. DeRogatis, Turn on Your Mind: Four Decades of GreatPsychedelicRock (Milwaukie MI, Hal Leonard,2003),ISBN 0-634-05548-8, p. 120.[115] Psychedelic pop, Allmusic. Retrieved 27 June 2010.[116] T. Holmes, Electronic and Experimental Music: Technol-ogy, Music, and Culture (London: Taylor & Francis, 3rdedn., 2008), ISBN 0-415-95781-8.[117] C. Grunenberg and J. Harris, Summer of Love:PsychedelicArt, Social CrisisandCountercultureinthe1960(Liverpool: Liverpool UniversityPress, 2005),ISBN 0-85323-919-3, p. 140.[118] Bruce Eder. Strawberry Alarm Clock - biography. allmu-sic. retrieved 16-2-2014[119] Eder, Bruce. Bee Gees 1st. Allmusic. Retrieved 16March 2012.[120] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 646 and 754-5.[121] Psychedelic soul, Allmusic. Retrieved 27 June 2010.[122] G.Case, Out ofOurHeads: Rock'n' Roll BeforetheDrugs Wore O (Milwaukie, MI: Hal Leonard Corpora-tion, 2010), ISBN 0-87930-967-9, pp. 70-1.[123] J. S. Harrington,Sonic Cool: the Life & Death of Rock'n' Roll (Milwaukie, MI: Hal Leonard Corporation, 2002),ISBN 0-634-02861-8, pp. 249-50.[124] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, p. 226.[125] A. Bennett, RockandPopularMusic: Politics, Policies,Institutions (Abingdon: Routledge, 1993), ISBN 0-203-99196-6, p. 239.[126] J. DeRogatis, Turn on Your Mind: Four Decades of GreatPsychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),ISBN 0-634-05548-8, p. 169.[127] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, p. 515.[128] A. Blake, The Land Without Music: Music, CultureandSocietyinTwentieth-CenturyBritain(Manchester:Manchester University Press, 1997), ISBN 0-7190-4299-2, pp. 154-5.[129] P. Bussy, Kraftwerk: Man, Machine and Music (London:SAF, 3rd end., 2004), ISBN 0-946719-70-5, pp. 15-17.[130] V. Bogdanov, C. Woodstra and S. T. Erlewine, All MusicGuide to Rock: the Denitive Guide to Rock, Pop, and Soul(Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN0-87930-653-X, pp. 1330-1.[131] Osamu Kitajima: Benzaiten, Discogs. Retrieved 24February 2012.[132] Harry Hosono And The Yellow Magic Band: Paraiso,Discogs. Retrieved 24 February 2012.[133] B. A. Cook, Europe Since 1945: an Encyclopedia, Volume2 (London: Taylor & Francis, 2001), ISBN0-8153-1336-5, p. 1324.[134] J. DeRogatis, Turn on Your Mind: Four Decades of GreatPsychedelic Rock (Milwaukie, MI: Hal Leonard, 2003),ISBN 0-634-05548-8, p. 212.[135] P. Auslander, Performing Glam Rock: Gender and The-atricality in Popular Music (Ann Arbor, MI: University ofMichigan Press, 2006), ISBN 0-472-06868-7, p. 196.[136] P. Auslander, Watch that man David Bowie:Hammer-smith Odeon, London, July 3, 1973 in I. Inglis, ed., Per-formanceandPopularMusic: History, PlaceandTime(Aldershot: Ashgate, 2006), ISBN 0-7546-4057-4, p. 72.[137] Neo-psychedelia, Allmusic. Retrieved 2 July 2010.[138] J. Marszalek, Siouxsie & the Banshees reissues, Thequi-etus.com, 10 April 2009. Retrieved 19 July 2011.[139] S. Reynolds, Rip It Up and Start Again: Postpunk 1978-1984 (London: Faber and Faber, 2005), p. 428.[140] C. True, The Cure: The Top: review, Allmusic. Re-trieved 23 March 2012.[141] B. Swift, The Glove: Blue Sunshine: review, Allmusic.Retrieved 23 March 2012.[142] S. Huey, The Legendary Pink Dots: Biography, Allmu-sic. Retrieved 23 March 2012.[143] R. Unterberger, S. Hicks and J. Dempsey, Music USA: theRough Guide (London: Rough Guides, 1999), ISBN 1-85828-421-X, p. 401.[144] J. Leckie, Producer John Leckie On The Ten EssentialRecords Hes Worked On Thequietus.com. Retrieved 19July 2011[145] N. Raggett, Phantasmagoria Allmusic. Retrieved22March 2012.[146] P. Sisson, "Vapour Trails: Revisiting Shoegaze", XLR8Rno. 123, December 2008.[147] S. Reynolds, "Its the Opposite of Rock 'n' Roll", SPIN,August 2008, pp. 78-84.[148] N. Raggett, Cocteau Twins: Echoes in a Shallow Bay:review, Allmusic. Retrieved 23 March 2012.[149] Shoegaze, Allmusic. Retrieved 26 January 2011.[150] D. Walk, The Apples in Stereo: Smiley Smile, CMJ NewMusic, Sep 1995 (25), p. 10.[151] G. Sharpe-Young, Kyuss biography, MusicMight. Re-trieved 10 December 2007.[152] Stoner Metal, Allmusic. Retrieved 22 May 2009.[153] E. Rivadavia Kyuss, Allmusic. Retrieved 10 December2007.14 7 NOTES[154] E. Rivadavia, Sleep, Allmusic. Retrieved 22 May 2009.[155] S. Erlewine, Blur Allmusic. Retrieved 6 July 2011.[156] J. Ankeny, The Verve: biography, retrieved 30 Novem-ber 2013.[157] S. Erlewine, Standing on the Shoulder of Giants, Allmusic.Retrieved 7 July 2010.[158] S. Erlewine, Kula ShakerAllmusic. Retrieved 6 July2011.[159] J. Macgregor, The Black Angels, Allmusic. Retrieved26 January 2011.[160] J. Macgregor, Tame Impala, Allmusic. Retrieved 26January 2011.[161] J. Lymangrover, Pond, Allmusic. Retrieved 15 April2013.[162] J. Ankeny, The Green Essex,Allmusic. Retrieved 26January 2011.[163] J. C. Monger, Animal Collective: biography, Allmusic.Retrieved 13 March 2012.[164] E. Gossett, Austin Psych Fest announces 2014 lineup,Paste, 4 December 2013, retrieved 7 December 2013.[165] Liverpool Psych Fest, NME, 30 September 2013, re-trieved 7 December 2013.158 Text and image sources, contributors, and licenses8.1 Text Psychedelicrock Source: https://en.wikipedia.org/wiki/Psychedelic_rock?oldid=675023545 Contributors: Sodium, Mav, The Anome,Sjc, Gareth Owen, JeLuF, Modemac, Hephaestos, Soulpatch, Jazz77, Kwertii, Llywrch, Lexor, Bobby D. Bryant, GTBacchus, Paul A,Ihcoyc, Ronz, TUF-KAT, Andrewa, , Glueball, EdH, Etaoin, Mulad, Htaccess, RodC, Philb, Tpbradbury, Furrykef, Hyacinth,Jph, Robbot, Dale Arnett, Josh Cherry, Dirgela, Nurg, Modulatum, Texture, CdaMVvWgS, Rebrane, Cyrius, Carnildo, Decumanus,DocWatson42, Erics, Bobblewik, Wmahan, Andycjp, Knutux, MistToys, Dunks58, Bodnotbod, Beginning, Auricfuzz, MattKingston,Bornintheguz, Guanabot, Vague Rant, Cnwb, Ld, Florian Blaschke, Dave souza, Exabyte, Goochelaar, Mcpusc, Evand, Jpgordon, 96T,Benfergy, B Touch, Ral315, Dyaimz, Ricky81682, Thoric, Muugokszhiion, Benna, Gdavidp, Saga City, Laciefae, Alfvaen, SteinbDJ, Alai,Archagon, Galaxiaad, Japanese Searobin, Megan1967, Woohookitty, Elmarco, Chochopk, Damicatz, Roda~enwiki, SeventyThree, XiongChiamiov, Gimboid13, Rlw, Bujudude, Kvladiko, SqueakBox, Graham87, Dwarf Kirlston, Kane5187, Sdornan, SMC, Heah, Balys~enwiki,FuriousFreddy, CAPS LOCK, Teppei Aita, Margosbot~enwiki, Gurch, Redwolf24, Gareth E Kegg, DVdm, AllyD, Shomat, YurikBot,Quentin X, RussBot, Quinlan Vos~enwiki, Gaius Cornelius, Theelf29, Friday, Dissolve, Private Butcher, CLW, Tanet, Demonburrito,CincinnatiWiki, Chairman smith, Jogers, Afrank, Hurakan, GraemeL, JoanneB, Red Jay, Alias Flood, Drenei, Captain Cornake, Wes-leyDodds, Sardanaphalus, SmackBot, Down10, Cubs Fan, Simon Beavis, Zazaban, Reedy, Hydrogen Iodide, Jagged 85, Chairman S.,Eaglizard, RockRockOn, Jas168, Doc Strange, Evanreyes, Commander Keane bot, Hmains, Audacity, SchftyThree, Reko, Enrique.haro,Raistuumum, Mladilozof, Chlewbot, Circuitrider, Bububu~enwiki, Strawberryre, Krich, SteveHopson, Aboyall, Kendrick7, Bijun, ErKomandante, Alcuin, Ceoil, Byelf2007, AThing, J 1982, SilkTork, Ishmaelblues, IronGargoyle, ZincOrbie, Drinky Crow, MTN~enwiki,SQGibbon, Joey Q. McCartney, E-Kartoel, Lenn0r, Condem, Robertstjames, StanfordProgrammer, MTSbot~enwiki, Rkelley65, Sifaka,Keahapana, DabMachine, OnBeyondZebrax, Iridescent, JoeBot, Skapur, Panicoce, BaronZemo, Dave420, Aeternus, DougHill, Bucky-boy314, Anger22, Daniel5127, Fdssdf, LessHeard vanU, Greg Fasolino, Mostly Zen, Tankstillton, Aoecean, CmdrObot, Geremia, Harejbot, ShelfSkewed, Andrew Kirschner, Equendil, R4x, Pwr.max, Mcgillionaire, Steel, Michaelas10, Gogo Dodo, Bridgecross, A SofterAnswer, Ss112, Ikcyzrteip, Tawkerbot4, Torc2, RottweilerCS, Chris Henniker, TrevorRC, John R Murray, JamesAM, CrazyChatHomme,PEJL, Sry85, IXIA, Atechi, DanTD, Stoshmaster, All systems go, Bruce Tetlow, PaulVIF, Chubbles, Red157, Jhsounds, Ghmyrtle, Andrze-jbanas, JAnDbot, Dogru144, Kurrgo master of planet x, Matthew Fennell, Dan.mcnabb, MegX, Snowynight, Y2kcrazyjoker4, .anacond-abot, Geniac, Wildhartlivie, Magioladitis, 75pickup, VoABot II, Mclay1, ***Ria777, Twsx, Hifrommike65, JaGa, Jaywhitten, TorbenFrost,Gjd001, Dennis Kussinich 08, Kodoryu, Bruin69, CommonsDelinker, FMAFan1990, Lhynard, FruitMonkey, Petmas1985, Elwood17,Weadmttothetruth, Allreet, Nikhil 1988007, Terraleone, Jampilot, Regenspaziergang, Dwaink, ACSE, CRouleau, Mentzabides, SorrowD,Magnol~enwiki, Chopdawg, Philip Trueman, Mojo78, Butseriouslyfolks, EuTuga, Mercurywoodrose, Davehi1, Asarla, Ridernyc, Sabergirl08, JeBongi, Slysplace, ^demonBot2, Leighu, Enigmaman, IL7Soulhunter, MWielage, Altermike, TMMATT, Lou72JG, Thisismyro,Qworty, Pjoef, Klippa, Munci, Traxinet, Ethylenediamine, Peter Fleet, Strangest1, PlanetStar, Darrell Wheeler, CircafuciX, Saltywood,Windywendy, Carliertwo, Astronurse, The very model of a minor general, Lemonhouse, Nite-Sirk, Wizard909, Aruton, Paul Drummond,LanshinnFrodi, Aspects, Lightmouse, Fratrep, Svick, AlanUS, Glassbreaker5791, MarkinBoston, Fritz Fassbender, ImageRemovalBot,Martarius, ClueBot, Tearaway, Kcl0801, The Thing That Should Not Be, Vacio, Alecsdaniel, Jimpatnmatt, Therey11, CounterVan-dalismBot, Jmn100, InterstellarPsyche, DragonBot, Tarsie, Ktr101, Jusdafax, Jharmer95, Wikiscribe, Wiki libs, Ianjones600, Yonskii,BoxerBrown, Versus22, JTSomers, Berean Hunter, Editor2020, DumZiBoT, Mr. killcool, UltraCaution, XLinkBot, WikHead, Addbot,Nirvanafreak95, Sard112, RandySavageFTW, AVand, Aimulti, Luke Davis, Rank11, Tim atus, Fieldday-sunday, Ironholds, Dyadron,Baz3333, Download, The Shadow-Fighter, 61x62x61, ChenzwBot, Tomtheeditor, RetroS1mone, Doniago, Albertrocker, Tassedethe, East-Ghost, Angrysockhop, Yobot, 2D, Chipthief00, TaBOT-zerem, Ninjacke, Wailer, YHYH, NaidNdeso, Hinio, Eduen, Marshall Williams2,AnomieBOT, 1exec1, Kingpin13, Citation bot, Rvd4life, ArthurBot, LilHelpa, Wikaholic, MauritsBot, Capricorn42, Xx1994xx, Armbrust,Alumnum, RibotBOT, Sabrebd, Scratchy7929, Learner001, Superastig, GripTheHusk, Kohoutek1138, FrescoBot, Rockreport, Sky At-tacker, Petersykes, Forteansta, Ssspam, Pique76, Pekayer11, Adlerbot, Gabriet, Tomcat7, BRUTE, SilverleafandIronwings08, Evanaeus,NeoRetro,Stratosmacker,Mago266,Utility Monster,NerdyMcNerdstein,Violarulez,Augieopfell,Mac9641,Target Jackson,Strop-polo, Meganstewart, Bossanoven, Talon Foot, Woovee, Elitropia, GabeMc, EmausBot, Darknessandwater, Domesticenginerd, Ahbi0302,Mashaunix, Tommy2010, RigbyEleanor, Yeepsi, Aquatarkus90125, NoremacDaGangsta, Chicory Speckled, SporkBot, Justinbowsher,Richardavenger, MusicMan101Float, Mayur, Therewillbehotcake, Drewchas, Grahamhgreen, ClueBot NG, Ric381, SovereignStates, Cac-tusBot, SgtPetsounds, TheBloodrocker666, Loginnigol, Globalform, U.Steele, The blurry world, Zentoad, Bstephens393, Helpful PixieBot, Camborio~enwiki, DBigXray, Lennart97, Murry1975, Ceradon, Northamerica1000, Rockerdude101, Mark Arsten, DeadCute20,Mercurymouth, Snow Blizzard, Summer of Love"67, McLennonSon, Thomas Westermann, Rokysaustin2011, Kavy32, Silk666, Rn,Khazar2, Richabuck, 23mjbulls, Depakin, Immamuso, Immagoner, Garagepunk66, Epicgenius, Epping232, Yamaha5, Samuelpoginavera,Sdhoma, Srich48, BTobelman, Ilovetopaint, Valetude, Ginsuloft, Synthwave.94, Insegrievious, Meteor sandwich yum, BittersweetLucid-ity, Filedelinkerbot, Man010sallow, Improving Articles, Cphwb556, SurabhitheCow, Leominsterresident, Quezerque, Sciophobiaranger,Tango Cash, Ladygaga328, TheCorporalClegg, Emilynatalia, Jagking1967, Danwhitaker7, GeorgeRyanRossTheThird, ZLevesque92, Bil-lyLShears and Anonymous: 7328.2 Images File:Audio_a.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/2b/Audio_a.svg License: Public domain Contributors: 'A'_(PSF).png Original artist: 'A'_(PSF).png: Pearson Scott Foresman File:Blur_at_Roskilde_Festival_1999.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a0/Blur_at_Roskilde_Festival_1999.jpg License: CC BY 2.0 Contributors: Blur (Roskilde Festival 1999) Original artist: Hunter Desportes File:CAROUSEL_BALLROOM_MASTER.jpg Source: https://upload.wikimedia.org/wikipedia/en/4/40/CAROUSEL_BALLROOM_MASTER.jpg License: CC-BY-SA-3.0 Contributors:Own workOriginal artist:Aimulti (talk) (Uploads) File:Cream_Clapton_Bruce_Baker_1960s.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/58/Cream_Clapton_Bruce_Baker_1960s.jpg License: Public domain Contributors: eBay item photo Original artist: General Artists Corporation (management)/Atco Records (the bands record label at one time).16 8 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES File:Folder_Hexagonal_Icon.svg Source: https://upload.wikimedia.org/wikipedia/en/4/48/Folder_Hexagonal_Icon.svg License: Cc-by-sa-3.0 Contributors: ? Original artist: ? File:Ginsberg-dylan.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c3/Allen_Ginsberg_and_Bob_Dylan_by_Elsa_Dorfman.jpg License: CC-BY-SA-3.0 Contributors: Transferred from en.wikipedia Original artist: Elsa Dorfman File:Janis_Joplin_Big_Brother_and_the_Holding_Company.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/79/Janis_Joplin_Big_Brother_and_the_Holding_Company.jpgLicense: Public domainContributors: eBay itemOriginal artist: Albert B.Grossman. His management information is shown on the identical, autographed copy of the image. File:Los_Gatos.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/e4/Los_Gatos.jpg License: Public domain Contributors:Via http://www.rock.com.ar/fotos/0/128.shtml Original artist: ? File:My_Bloody_Valentine_-_Manchester_2013.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/ad/My_Bloody_Valentine_-_Manchester_2013.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Martie Donohoe File:One_Step_On_(Jody_Grind_album_-_cover_art).jpgSource: https://upload.wikimedia.org/wikipedia/en/2/24/One_Step_On_%28Jody_Grind_album_-_cover_art%29.jpg License: CC-BY-3.0 Contributors: ? Original artist: ? File:Portal-puzzle.svg Source: https://upload.wikimedia.org/wikipedia/en/f/fd/Portal-puzzle.svg License: Public domain Contributors: ?Original artist: ? File:Roxy_Music_-_TopPop_1973_06.pngSource: https://upload.wikimedia.org/wikipedia/commons/3/31/Roxy_Music_-_TopPop_1973_06.png License: CC BY-SA 3.0 Contributors: Beeld En Geluid Wiki - Gallerie: Toppop 1973 Original artist: AVRO File:Sitar_full.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/ba/Sitar_full.jpg License: Public domain Contributors:Own work Original artist: Jan Kraus File:Small_Faces_1965.JPGSource: https://upload.wikimedia.org/wikipedia/commons/0/0b/Small_Faces_1965.JPGLicense: Publicdomain Contributors: Billboard page 35 Original artist: Press Records File:Symbol_book_class2.svgSource: https://upload.wikimedia.org/wikipedia/commons/8/89/Symbol_book_class2.svgLicense: CCBY-SA 2.5 Contributors: Mad by Lokal_Prol by combining: Original artist: Lokal_Prol File:The_Bee_Gees.png Source: https://upload.wikimedia.org/wikipedia/commons/d/d0/The_Bee_Gees.png License: CC BY-SA 3.0 nlContributors: Beeld en Geluidwiki - Gallery: TwienOriginal artist: NCRV File:The_Monkees_May_1967.jpgSource: https://upload.wikimedia.org/wikipedia/commons/8/8f/The_Monkees_May_1967.jpgLi-cense: Public domain Contributors: Billboard page 2 Original artist: Colgems Records File:Woodstock_redmond_stage.JPGSource: https://upload.wikimedia.org/wikipedia/commons/b/b8/Woodstock_redmond_stage.JPG License: CC-BY-SA-3.0 Contributors: Own work Original artist: Derek Redmond and Paul Campbell8.3 Content license Creative Commons Attribution-Share Alike 3.0