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Arguably, this is when the LSD genie escaped its bottle and fled into the mainstream. Testing increased and it became a tool of counter-espionage. Joint Intelligence Objectives Agency in Europe launched Operation Paperclip, collaborating with former Nazi chemists led by Nobel Prize winner Richard Kuhn, who realized the power LSD could have in the interrogation of Soviet spies.
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#60S FONTS PSYCHEDELIC FREE#
LSD was linked to the fate of the free world, when during the postwar years, the U.S. Albert Hofmann was among the first to synthesize LSD into usable dosages, but even he didn’t realize its hallucinogenic properties until 1943. Altering consciousness for opportunistic outcomes, LSD, psilocybin and other psychedelic compounds were tested to determine how they could be employed as neuro-medical-military weapons, including how soldiers on the battlefield would perform while in altered states of mind. Nazi scientists were among the first to explore LSD’s psychopharmaceutical potential, followed by international drug companies and ultimately the U.S. Yet before San Francisco exploded with flower power, hippie culture, white rabbits and psychedelic art, the drug had a more nefarious role in the early 20th century’s plunge into mass manipulation.
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(Even the film icon Cary Grant used “therapeutic” hallucinogens.) They made LSD’s very existence define the time and place. The word psychedelic, a meld of the Greek psyche and delos, meaning mind- or soul-manifesting, was promoted by a pantheon of passionate scientists, scholars and thinkers such as Timothy Leary, Ken Kesey and Oswald Stanley. San Francisco in the 1960s was the world capital of counterculture mind expansion, where LSD (lysergic acid diethylamide) was the rocket to an unexplored universe of perception and aesthetics. When tracing the history of groovy patterns and far-out typography, the Doors of Perception don’t always open onto the 1960s.