The pranksters included Neal Cassady, Sandy Lehmann-Haupt, Stewart Mannequin, Carolyn Adams (the partner of Jerry Garcia) and two proto-hippies known as Wavy Gravy and The Cadaverous Cowboy. They rolled east to New York, giving out tabs of acid to strangers, and had been immortalised in Tom Wolfe’s The Electrical Kool-Help Acid Test. It was that kinda time – when, throughout the phrases of William Burroughs, “a tiny psychoactive molecule affected practically each aspect of Western life”. Swirling shapes, paisley patterns, surreally “fats” lettering, howlingly discordant nonetheless vivid colors and many strobe results have been the attribute of acid artwork. The acid style hardly lasted prolonged enough to find out a definite phase in paintings historic previous, nonetheless it loved a considerable vogue on this planet of posters. Between 1967 and 1972, there was hardly a “progressive” rock-gig poster that did not characteristic distorted lettering and swirly colors. A variety of it was the work of Karl Ferris, a Hastings-born photographer who labored on the Psychedelic Going down reveals of the mid-Sixties, and, via them, met John Lennon, Paul McCartney, Graham Nash, Eric Clapton, T Rex and Pink Floyd. He launched his fish-eye lens and infrared shade film to a number of basic LP covers, together with the US variations of Hendrix’s three albums, Donovan’s A Present from a Flower to a Backyard and The Hollies’ Evolution.

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