thumb|right|A group of peyotes, in cultivation. Peyote has been used in ritual contexts for thousands of years.

An entheogen ("God inside us," en εν- "in, within," theo θεος- "god, divine," -gen γενος "creates, generates"), in the strict sense, is a psychoactive substance used in a religious, shamanic, or spiritual context. Historically, entheogens were mostly derived from plant sources and have been used in a variety of traditional religious contexts. With the advent of organic chemistry, there now exist many synthetic substances with similar psychoactive properties, many derived from these plants. Entheogens can supplement many diverse practices for healing, transcendence, and revelation, including: meditation, psychonautics, art projects, and psychedelic therapy.

Entheogens have been used in a ritualized context for thousands of years; their religious significance is well established in anthropological and modern evidences. Examples of traditional entheogens include: kykeon, ambrosia, iboga, soma, peyote, bufotenine, ayahuasca, and Datura. Other traditional entheogens include cannabis, ethanol, ergine, psilocybe mushrooms, and opium. Many pure active compounds with psychoactive properties have been isolated from organisms and chemically synthesized, including mescaline, psilocin/psilocybin, DMT, salvinorin A, ibogaine, and scopolamine. Semi-synthetic (e.g. LSD derived from LSA) and synthetic substances (e.g. DPT used by the Temple of the True Inner Light and 2C-B used by the Sangoma) have also been developed. Entheogens may be compounded through the work of a shaman or apothecary in a tea, admixture, or potion like ayahuasca or bhang.

More broadly, the term ''entheogen'' is used to refer to any psychoactive substances when used for their religious or spiritual effects, whether or not in a formal religious or traditional structure. This terminology is often chosen to contrast with recreational use of the same substances. Studies such as the Marsh Chapel Experiment have documented reports of spiritual experiences from participants who were administered psychoactive substances in controlled trials. Ongoing research is limited due to widespread drug prohibition, however some countries have legislation that allows for traditional entheogen use.

Etymology

The neologism ''entheogen'' was coined in 1979 by a group of ethnobotanists and scholars of mythology (Carl A. P. Ruck, Jeremy Bigwood, Danny Staples, Richard Evans Schultes, Jonathan Ott and R. Gordon Wasson). The literal meaning of the word is "that which causes God to be within an individual". The translation "creating the divine within" is sometimes given, but ''entheogen'' implies neither that something is created nor that that which is experienced is ''within'' the user.

The term is derived from two words of ancient Greek, ἔνθεος (''entheos'') and γενέσθαι (''genesthai''). The adjective ''entheos'' translates to English as "full of the god, inspired, possessed," and is the root of the English word "enthusiasm." The Greeks used it as a term of praise for poets and other artists. ''Genesthai'' means "to come into being." Thus, an entheogen is a substance that causes one to become inspired or to experience feelings of inspiration, often in a religious or "spiritual" manner.

Since the experience originates from an external source, the "divine within" can be illustrated as an absorption or collection of divine, rather than a creation that originates within the person. In other words, an entheogen is something that fills someone with god. Given the broad scope of this statement, it can be argued that the word should be inclusive of substances, objects, and/or experiences beyond psychoactives.

Entheogen was coined as a replacement for the terms ''hallucinogen'' and ''psychedelic''. ''Hallucinogen'' was popularized by Aldous Huxley's experiences with mescaline, which were published as ''The Doors of Perception'' in 1954. ''Psychedelic'', on the other hand, is a Greek neologism for "mind manifest", and was coined by psychiatrist Humphry Osmond; Huxley was a volunteer in experiments Osmond was conducting on mescaline.

Ruck et al. argued that the term ''hallucinogen'' was inappropriate due to its etymological relationship to words relating to delirium and insanity. The term ''psychedelic'' was also seen as problematic, due to the similarity in sound to words pertaining to psychosis and also due to the fact that it had become irreversibly associated with various connotations of 1960s pop culture. In modern usage ''entheogen'' may be used synonymously with these terms, or it may be chosen to contrast with recreational use of the same substances. The meanings of the term ''entheogen'' were formally defined by Ruck et al.:

Synthetic entheogens used by shamans

2C-B is used by the Sangoma over their traditional plants.

María Sabina was celebrating a mushroom velada with pills of Indocybin or synthetic psilocybine.

On the 1962 expedition organized by R. Gordon Wasson to see Maria Sabina, Hofmann came along and brought a bottle of psilocybin pills. Sandoz was marketing them under the brand name "Indocybin"—"indo" for both "Indian" and "indole" (the nucleus of their chemical structures) and "cybin" for the main molecular constituent, "psilocybin." ("Psilo" in Greek means "bald," "cybe" means "head.") Hofmann gave his synthesized teonanacatl to the curandera who divulged the Indians' secret. "Of course," Wasson recalls of the encounter, "Albert Hofmann is so conservative he always gives too little a dose, and it didn't have any effect." Hofmann had a different interpretation: activation of "the pills, which must dissolve in the stomach before they can be absorbed, takes place only after 30 to 45 minutes, in contrast to the mushrooms which, when chewed, work faster because part of the drug is absorbed immediately by the mucosa in the mouth." In order to settle her doubts about the pills, more were distributed, bringing the total for Maria Sabina, her daughter, and the shaman Don Aurelio up to 30 mg., a moderately high dose by current standards but not perhaps by the Indians'. At dawn, their Mazatec interpreter reported that Maria Sabina felt there was little difference between the pills and the mushrooms. She thanked Hofmann for the bottle of pills, "saying that she would now be able to serve people even when no mushrooms were available."

Species

Essentially all psychoactive drugs that are naturally occurring in plants, fungi, or animals, can be used in an entheogenic context or with enthogenic intent. Since non-psychoactive drugs can also be used in this type of context, the term "entheogen" refers primarily to substances that have been categorized based on their historical use. Toxicity does not affect a substance's inclusion (some can kill humans), nor does effectiveness or potency (if a substance is psychoactive, and it has been used in a historical context, then the required dose has also been found).

Archaeological record

R. Gordon Wasson and Giorgio Samorini have proposed several examples of the cultural use of entheogens that are found in the archaeological record. Evidence for the first use of entheogens may come from Tassili, Algeria, with a cave painting of a mushroom-man, dating to 8000 BP. Hemp seeds discovered by archaeologists at Pazyryk suggest early ceremonial practices by the Scythians occurred during the 5th to 2nd century BC, confirming previous historical reports by Herodotus.

Classical mythology and cults

Although entheogens are taboo and most of them are officially prohibited in Christian and Islamic societies, their ubiquity and prominence in the spiritual traditions of various other cultures is unquestioned. The entheogen, "the spirit, for example, need not be chemical, as is the case with the ivy and the olive: and yet the god was felt to be within them; nor need its possession be considered something detrimental, like drugged, hallucinatory, or delusionary: but possibly instead an invitation to knowledge or whatever good the god's spirit had to offer." (Ruck and Staples)

Most of the well-known modern examples, such as peyote, psilocybe and other psychoactive mushrooms and ''ololiuhqui,'' are from the native cultures of the Americas. However, it has also been suggested that entheogens played an important role in ancient Indo-European culture, for example by inclusion in the ritual preparations of the Soma, the "pressed juice" that is the subject of Book 9 of the Rig Veda. Soma was ritually prepared and drunk by priests and initiates and elicited a paean in the ''Rig Veda'' that embodies the nature of an entheogen:

The Kykeon that preceded initiation into the Eleusinian Mysteries is another entheogen, which was investigated (before the word was coined) by Carl Kerényi, in ''Eleusis: Archetypal Image of Mother and Daughter.'' Other entheogens in the Ancient Near East and the Aegean include the poppy, Datura, and the unidentified "lotus" eaten by the Lotus-Eaters in the ''Odyssey'' and ''Narkissos.''

According to Ruck, Eyan, and Staples, the familiar shamanic entheogen that the Indo-Europeans brought with them was knowledge of the wild Amanita mushroom. It could not be cultivated; thus it had to be found, which suited it to a nomadic lifestyle. When they reached the world of the Caucasus and the Aegean, the Indo-Europeans encountered wine, the entheogen of Dionysus, who brought it with him from his birthplace in the mythical Nysa, when he returned to claim his Olympian birthright. The Indo-European proto-Greeks "recognized it as the entheogen of Zeus, and their own traditions of shamanism, the Amanita and the 'pressed juice' of Soma — but better since no longer unpredictable and wild, the way it was found among the Hyperboreans: as befit their own assimilation of agrarian modes of life, the entheogen was now cultivable" (Ruck and Staples). Robert Graves, in his foreword to ''The Greek Myths,'' hypothesises that the Ambrosia of various pre-Hellenic tribes were amanita (which, based on the morphological similarity of the words amanita, amrita and ambrosia, is entirely plausible) and perhaps panaeolus mushrooms.

Amanita was divine food, according to Ruck and Staples, not something to be indulged in or sampled lightly, not something to be profaned. It was the food of the gods, their ambrosia, and it mediated between the two realms. It is said that Tantalus's crime was inviting commoners to share his ambrosia.

The entheogen is believed to offer godlike powers in many traditional tales, including immortality. The failure of Gilgamesh in retrieving the plant of immortality from beneath the waters teaches that the blissful state cannot be taken by force or guile: when Gilgamesh lay on the bank, exhausted from his heroic effort, the serpent came and ate the plant.

Another attempt at subverting the natural order is told in a (according to some) strangely metamorphosed myth, in which natural roles have been reversed to suit the Hellenic world-view. The Alexandrian Apollodorus relates how Gaia (spelled "Ge" in the following passage), Mother Earth herself, has supported the Titans in their battle with the Olympian intruders. The Giants have been defeated:

Judaism and Christianity

According to ''The Living Torah'', cannabis was an ingredient of holy anointing oil mentioned in various sacred Hebrew texts. The herb of interest is most commonly known as ''kaneh-bosm'' (Hebrew: קְנֵה-בֹשֶׂם). This is mentioned several times in the Old Testament as a bartering material, incense, and an ingredient in holy anointing oil used by the high priest of the temple. Although Chris Bennett's research in this area focuses on cannabis, he mentions evidence suggesting use of additional visionary plants such as henbane, as well.

The Septuagint translates ''kaneh-bosm'' as calamus, and this translation has been propagated unchanged to most later translations of the old testament. However, Polish anthropologist Sula Benet published etymological arguments that the Aramaic word for hemp can be read as ''kannabos'' and appears to be a cognate to the modern word 'cannabis', with the root ''kan'' meaning reed or hemp and ''bosm'' meaning fragrant. Both cannabis and calamus are fragrant, reedlike plants containing psychotropic compounds.

In his research, Professor Dan Merkur points to significant evidence of an awareness within the Jewish mystical tradition recognizing manna as an entheogen, thereby substantiating with rabbinic texts theories advanced by the superficial biblical interpretations of Terence McKenna, R. Gordon Wasson and other ethnomycologists.

Although philologist John Marco Allegro has suggested that the self-revelation and healing abilities attributed to the figure of Jesus may have been associated with the effects of the plant medicines, this evidence is dependent on pre-Septuagint interpretation of Torah and Tenach. Allegro was the only non-Catholic appointed to the position of translating the Dead Sea scrolls. His extrapolations are often the object of scorn due to Allegro's non-mainstream theory of Jesus as a mythological personification of the essence of a "psychoactive sacrament". Furthermore they conflict with the position of the Catholic Church in regards to transubstantiation and the teaching involving valid matter, form, and substance — that of bread and wine (bread does not contain psychoactive substances, but wine contains ethanol). Allegro's book, ''The Sacred Mushroom and the Cross'', relates the development of language to the development of myths, religions and cultic practices in world cultures. Allegro believed he could prove, through etymology, that the roots of Christianity, as of many other religions, lay in fertility cults; and that cult practices, such as ingesting visionary plants (or "psychedelics") to perceive the mind of God [Avestan: Vohu Mana], persisted into the early Christian era, and to some unspecified extent into the 13th century with reoccurrences in the 18th century and mid 20th century, as he interprets the Plaincourault chapel's fresco to be an accurate depiction of the ritual ingestion of Amanita muscaria as the Eucharist.

The historical picture portrayed by the Entheos journal is of fairly widespread use of visionary plants in early Christianity and the surrounding culture, with a gradual reduction of use of entheogens in Christianity. R. Gordon Wasson's book ''Soma'' prints a letter from art historian Erwin Panofsky asserting that art scholars are aware of many 'mushroom trees' in Christian art.

The question of the extent of visionary plant use throughout the history of Christian practice has barely been considered yet by academic or independent scholars. The question of whether visionary plants were used in pre-Theodosius Christianity is distinct from evidence that indicates the extent to which visionary plants were utilized or forgotten in later Christianity, including so-called "heretical" or "quasi-" Christian groups, and the question of other groups such as elites or laity within "orthodox" Catholic practice.

Daniel Merkur at the University of Toronto contends that a minority of Christian hermits and mystics could possibly have used entheogens, in conjunction with fasting, meditation and prayer.

Cultural use

Entheogens have been used in various ways, including as part of established religions, secularly for personal spiritual development as tools (or "plant teachers") to augment the mind, secularly as recreational drugs, and for medical and therapeutic use. The use of entheogens in human cultures is nearly ubiquitous throughout recorded history.

Naturally occurring entheogens such as psilocybin and dimethyltryptamine, also known as ''N,N''-dimethyltryptamine, or simply DMT (in the preparation ayahuasca) were, for the most part, discovered and used by older cultures, as part of their spiritual and religious life, as plants and agents which were respected, or in some cases revered for generations and may be a tradition which predates all modern religions as a sort of proto-religious rite.

One of the most widely used entheogens is cannabis, which has been used in regions such as China, Europe, and India; in some cases, for thousands of years. It has also appeared as a part of religions and cultures such as the Rastafari movement, the Sadhus of Hinduism, the Scythians, Sufi Islam, and others. For additional information, see Religious and spiritual use of cannabis.

Africa

The best-known entheogen-using culture of Africa is the Bwitists, who used a preparation of the root bark of Iboga (''Tabernanthe iboga''). Although the ancient Egyptians may have been using the entheogenic blue lotus plant in some of their religious rituals or just symbolically (''Nymphaea caerulea''), a great deal of evidence suggests that Egyptian religion once revolved around the ritualistic ingestion of the far more entheogenic Psilocybe cubensis mushroom, and that the Egyptian White Crown, Triple Crown, and Atef Crown were evidently designed to represent pin-stages of this mushroom. There is also evidence for the use of entheogenic mushrooms in Côte d'Ivoire (Samorini 1995). Numerous other plants used in shamanic ritual in Africa, such as ''Silene capensis'' sacred to the Xhosa, are yet to be investigated by western science.

Americas

Entheogens have played a pivotal role in the spiritual practices of most American cultures for millennia. The first American entheogen to be subject to scientific analysis was the peyote cactus (''Lophophora williamsii''). For his part, one of the founders of modern ethno-botany, the late Richard Evans Schultes of Harvard University documented the ritual use of peyote cactus among the Kiowa who live in what became Oklahoma. Used traditionally by many cultures of what is now Mexico, its use spread to throughout North America in the 19th century, replacing the toxic entheogen ''Sophora secundiflora'' (mescal bean). Other well-known entheogens used by Mexican cultures include psilocybin mushrooms (known to indigenous Mexicans under the Náhuatl name ''teonanácatl''), the seeds of several morning glories (Náhuatl: tlitlíltzin and ololiúhqui) and ''Salvia divinorum'' (Mazateco: Ska Pastora; Náhuatl: pipiltzintzíntli).

Indigenous peoples of South America employ a wide variety of entheogens. Better-known examples include ayahuasca (''Banisteriopsis caapi'' plus admixtures) among indigenous peoples (such as the Urarina) of Peruvian Amazonia. Other well-known entheogens include: borrachero (''Brugmansia'' spp); San Pedro (''Trichocereus'' spp); and various tryptamine-bearing snuffs, for example Epená (''Virola'' spp), Vilca and Yopo (''Anadananthera'' spp). The familiar tobacco plant, when used uncured in large doses in shamanic contexts, also serves as an entheogen in South America. Also, a tobacco that contains higher nicotine content, and therefore smaller doses required, called ''Nicotiana rustica'' was commonly used.

In addition to indigenous use of entheogens in the Americas, one should also note their important role in contemporary religious movements, such as the Rastafari movement and the Church of the Universe.

Asia

The indigenous peoples of Siberia (from whom the term ''shaman'' was appropriated) have used the fly agaric mushroom (''Amanita muscaria'') as an entheogen.

In Hinduism, Datura stramonium and Cannabis have been used in religious ceremonies, although the religious use of Datura is not very common, as the primary alkaloids are strong deliriants, which causes serious intoxication with unpredictable effects.

Also, the ancient inebriant Soma, mentioned often in the Vedas, appears to be consistent with the effects of an entheogen. (In his 1967 book, Wasson argues that Soma was fly agaric. The active ingredient of Soma is presumed by some to be ephedrine, an alkaloid with stimulant and (somewhat debatable) entheogenic properties derived from the soma plant, identified as ''Ephedra pachyclada''.) However, there are also arguments to suggest that Soma could have also been Syrian Rue, Cannabis, Belladonna or some combination of any of the above plants.

Europe

An early entheogen in Aegean civilization, predating the introduction of wine, which was the more familiar entheogen of the reborn Dionysus and the maenads, was fermented honey, known in Northern Europe as mead; its cult uses in the Aegean world are bound up with the mythology of the bee.

The growth of Roman Christianity also saw the end of the two-thousand-year-old tradition of the Eleusinian Mysteries, the initiation ceremony for the cult of Demeter and Persephone involving the use of a substance consistent with an entheogenic known as kykeon (the term 'Ambrosia' is used in Greek mythology in a way that is remarkably similar to the Soma of the Hindus as well). Similarly, there is some evidence that nitrous oxide or ethylene or some other psychoactive may have been in part responsible for the visions of the equally long-lived Delphic oracle (Hale et al., 2003).

In ancient Germanic culture cannabis was associated with the Germanic love goddess Freya. The harvesting of the plant was connected with an erotic high festival. It was believed that Freya lived as a fertile force in the plant's feminine flowers and by ingesting them one became influenced by this divine force. Similarly, fly agaric was consecrated to Odin, the god of ecstasy, while henbane stood under the dominion of the thunder god - Thor in Germanic mythology - and Jupiter among the Romans (Rätsch 2003).

Middle East

It has been suggested that the ritual use of small amounts of Syrian Rue is an artifact of its ancient use in higher doses as an entheogen (possibly in conjunction with DMT containing acacia).

Philologist John Marco Allegro has argued in his book ''The Sacred Mushroom and the Cross'' that early Jewish and Christian cultic practice was based on the use of ''Amanita muscaria'' which was later forgotten by its adherents, and this hypothesis is gaining momentum with the advent of The Internet. Allegro's hypothesis that Amanita use was forgotten after primitive Christianity seems contradicted by his own view that the chapel in Plaincourault shows evidence of Christian Amanita use in the 13th century.

Oceania

Indigenous Australians are generally thought not to have used entheogens, although there is a strong barrier of secrecy surrounding Aboriginal shamanism, which has likely limited what has been told to outsiders. A plant which the Australian Aboriginals used to ingest is called "Pitcheri", which is said to have a similar effect to that of coca. "Pitcheri" was made from the bark of the shrub ''Duboisia myoporoides''. This plant is now grown commercially and is processed to manufacture an eye medication. There are no known uses of entheogens by the Māori of New Zealand aside from a variant species of Kava. Natives of Papua New Guinea are known to use several species of entheogenic mushrooms (''Psilocybe'' spp, ''Boletus manicus'').

Kava or ''Kava Kava'' (''Piper Methysticum'') has been cultivated for at least 3000 years by a number of Pacific island-dwelling peoples. Historically, most Polynesian, many Melanesian, and some Micronesian cultures have ingested the psychoactive pulverized root, typically taking it mixed with water. Much traditional usage of Kava, though somewhat suppressed by Christian missionaries in the 19th and 20th centuries, is thought to facilitate contact with the spirits of the dead, especially relatives and ancestors (Singh 2004).

Russia

It's widely known that Russian culture has a great influence of hallucinogenic mushrooms. One of the most widespread species of such mushrooms in Russian territory is Psilocybe semilanceata. Some historians consider that using different hallucinogenic mushrooms is an integral part of ancient culture of Rus'.

Research

Notable early testing of the entheogenic experience includes the Marsh Chapel Experiment, conducted by physician and theology doctoral candidate, Walter Pahnke, under the supervision of Timothy Leary and the Harvard Psilocybin Project. In this double-blind experiment, volunteer graduate school divinity students from the Boston area almost all claimed to have had profound religious experiences subsequent to the ingestion of pure psilocybin. In 2006, a more rigorously controlled experiment was conducted at Johns Hopkins University, and yielded similar results. To date there is little peer-reviewed research on this subject, due to ongoing drug prohibition and the difficulty of getting approval from institutional review boards.

Literature

Many works of literature have described entheogen use; some of those are: The substance melange (spice) in Frank Herbert's ''Dune universe'' acts as both an entheogen (in large enough quantities) and an addictive geriatric medicine. Control of the supply of melange was crucial to the Empire, as it was necessary for, among other things, faster than light navigation. Consumption of the imaginary mushroom ''anochi'' [enoki] as the entheogen underlying the creation of Christianity is the premise of Philip K. Dick's last novel, ''The Transmigration of Timothy Archer'', a theme which seems to be inspired by John Allegro's book. Aldous Huxley's final novel, ''Island'' (1962), depicted a fictional entheogenic mushroom — termed "moksha medicine" — used by the people of Pala in rites of passage, such as the transition to adulthood and at the end of life. Bruce Sterling's ''Holy Fire'' novel refers to the religion in the future as a result of entheogens, used freely by the population. In Stephen King's ''The Dark Tower: The Gunslinger'', Book 1 of ''The Dark Tower'' series, the main character receives guidance after taking mescaline. The Alastair Reynolds novel Absolution Gap features a moon under the control of a religious government which uses neurological viruses to induce religious faith.

References

Further reading

Roberts, Thomas B. (editor) (2001). ''Psychoactive Sacramentals: Essays on Entheogens and Religion'' San Francisco: Council on Spiritual Practices.

Roberts, Thomas B. (2006) "Chemical Input, Religious Output—Entheogens" Chapter 10 in ''Where God and Science Meet: Vol. 3: The Psychology of Religious Experience'' Westport, CT: Praeger/Greenwood.

Roberts, Thomas, and Hruby, Paula J. (1995–2003). ''Religion and Psychoactive Sacraments: An Entheogen Chrestomathy'' http://www.csp.org/chrestomathy [Online archive]

Stafford, Peter. (2003). ''Psychedlics''. Ronin Publishing, Oakland, California. ISBN 0-914171-18-6.

Carl Ruck and Danny Staples, ''The World of Classical Myth'' 1994. Introductory excerpts

Huston Smith, ''Cleansing the Doors of Perception: The Religious Significance of Entheogenic Plants and Chemicals'', 2000, Tarcher/Putnam, ISBN 1-58542-034-4

Giorgio Samorini 1995 "Traditional use of psychoactive mushrooms in Ivory Coast (Côte d'Ivoire)?" in ''Eleusis'' 1 22-27 (no current url)

M. Bock 2000 "Māori kava (''Macropiper excelsum'')" in ''Eleusis'' n.s. vol 4 (no current url)

''Plants of the Gods: Their Sacred, Healing and Hallucinogenic Powers'' by Richard Evans Schultes, Albert Hofmann, Christian Ratsch - ISBN 0-89281-979-0

John J. McGraw, ''Brain & Belief: An Exploration of the Human Soul'', 2004, AEGIS PRESS, ISBN 0-9747645-0-7

J.R. Hale, J.Z. de Boer, J.P. Chanton and H.A. Spiller (2003) Questioning the Delphic Oracle, 2003, Scientific American, vol 289, no 2, 67-73.

''The Sacred Plants of our Ancestors'' by Christian Rätsch, published in TYR: Myth—Culture—Tradition Vol. 2, 2003–2004 - ISBN 0-9720292-1-4

Yadhu N. Singh, editor, ''Kava: From Ethnology to Pharmacology'', 2004, Taylor & Francis, ISBN 0-415-32327-4

External links

The Vaults of Erowid (Erowid)

Entheogenreview.com Quarterly publication serving as a clearinghouse for current data about the use of visionary plants and drugs.

Council on Spiritual Practices Entheogen Project

* Category:Psychedelics, dissociatives and deliriants Category:Religious behaviour and experience Category:Shamanism

bg:Ентеоген cs:Entheogen de:Entheogen el:Ενθεογενή es:Enteógeno fr:Enthéogène it:Enteogeno he:אנתאוגן nl:Entheogeen no:Enteogen pl:Enteogeny pt:Enteógeno ru:Энтеоген sk:Enteogén fi:Enteogeeni sv:Enteogen tr:Entojen

Coordinates	35°0′41.69″N135°46′5.47″N
region	Western Philosophy
Era	20th century philosophy
Color	#B0C4DE
image	Mckenna1.jpg
name	Terence Kemp McKenna
Birth date	November 16, 1946
Birth place	Paonia, Colorado, United States
Death date	April 03, 2000
Death place	San Rafael, California, United States
School tradition	Metaphysics, phenomenology|
Main interests	shamanism, ethnobotany, metaphysics, psychedelic drugs, futurism, primitivism, environmentalism, consciousness, phenomenology, historical revisionism, evolution, ontology, Mind at Large, virtual reality, dominator culture, criticizing science, the Logos
Influences	psychedelic drugs, Marshall McLuhan, Alfred North Whitehead, Teilhard de Chardin, Aldous Huxley, I Ching, William Blake, Riane Eisler, James Joyce, Vladimir Nabokov, Heraclitus
Influenced	Rupert Sheldrake, Robert Anton Wilson, Ralph Abraham, RU Sirius, Cliff Pickover, Timothy Leary
Notable ideas	Novelty Theory, The "Stoned Ape" Theory of Human Evolution, Machine elves }}

Terence Kemp McKenna (November 16, 1946 – April 3, 2000) was an Irish-American researcher, philosopher, speaker, spiritual teacher and writer on many subjects; such as human consciousness, psychedelic drugs, the evolution of civilizations, the origin and the end of the universe, cybernetics, alchemy, and extraterrestrial beings.

Biography

Early life

Terence McKenna grew up in Paonia, Colorado. He was introduced to geology through his uncle and developed a hobby of solitary fossil hunting in the arroyos near his home. From this he developed a deep artistic and scientific appreciation of nature.

At age 16, Terence moved to Los Altos, California to live with family friends for a year. He finished high school in Lancaster, CA. In 1963, McKenna was introduced to the literary world of psychedelics through ''The Doors of Perception'' and ''Heaven and Hell'' by Aldous Huxley and certain issues of ''The Village Voice'' that talked about psychedelics.

Terence claimed that one of his early psychedelic experiences with morning glory seeds showed him "that there was something there worth pursuing." In an audio interview Terence Mckenna claims to have started smoking cannabis regularly during the summer following his 17th birthday.

Studying and traveling

In 1965, Terence enrolled in U.C. Berkeley to study Art History. In 1967, while in college, he got involved with shamanism after being lead there by studying Tibetan religions That year, which he called his "opium and kabbala phase," he also traveled to Jerusalem, where he met Kathleen Harrison, who would later become his wife.

In 1969, Terence traveled to Nepal lead by his "interest in Tibetan painting and hallucinogenic shamanism." During his time there, he studied the Tibetan language and worked as a hashish smuggler, until "one of his Bombay-to-Aspen shipments fell into the hands of U. S. Customs." He was forced to move to avoid capture by Interpol. He wandered through Southeast Asia viewing ruins, collected butterflies in Indonesia, and worked as an English teacher in Tokyo. He then went back to Berkeley to continue studying biology, which he called "his first love."

After he completed part of his studies and his mother's death from cancer in 1971, Terence, his brother Dennis, and three friends traveled to the Colombian Amazon in search of oo-koo-hé, a plant preparation containing DMT. Instead of oo-koo-hé they found various forms of ayahuasca, or "yagé," and gigantic psilocybe cubensis which became the new focus of the expedition. In La Chorrera, at the urging of his brother, he was the subject of a psychedelic experiment which he claimed put him in contact with Logos: an informative, divine voice he believed was universal to visionary religious experience. The voice's revelations and his brother's simultaneous peculiar experience prompted him to explore the structure of an early form of the I Ching, which led to his "Novelty Theory." During their stay in the Amazon, Terence also got romantically involved with his translator, Ev.

In 1972, Terence returned to Berkeley to finish his studies. There he decided to switch majors to a Bachelor of Science in Ecology and Conservation, in a then-new experimental section of the same university called the Tussman Experimental College. During his studies, he would also develop techniques for cultivating psilocybin mushrooms with Dennis.

In 1975, he parted with his girlfriend Ev, when she left him for one of Terence's friends from Berkeley. Their parting left him "tormented with migraines and living alone." He graduated in 1975. That same year, he began a relationship with a friend he met in Jerusalem, Kathleen.

Soon after graduating, Terence and Dennis published a book inspired by their Amazon experiences, ''The Invisible Landscape: Mind, Hallucinogens and the I Ching.'' Terence also began lecturing. The brothers' experiences in the Amazon would later play a major role in Terence's book ''True Hallucinations'', published in 1993. In 1976, the brothers published what they had learned about the cultivation of mushrooms in a book entitled ''Psilocybin - Magic Mushroom Grower's Guide'' under the pseudonyms OT Oss and ON Oeric.

Later life

In the early 1980s, McKenna began to speak publicly on the topic of psychedelic drugs, lecturing extensively and conducting weekend workshops. Though associated with the New Age and human potential movements, McKenna himself had little patience for New Age sensibilities. He repeatedly stressed the importance and primacy of felt experience, as opposed to dogma. Timothy Leary once introduced him as "one of the five or six most important people on the planet." }}He soon became a fixture of popular counterculture. His growing popularity culminated in the early to mid-1990s with the publication of several books: ''True Hallucinations'', relating the tale of his 1971 La Chorrera experience; ''Food of the Gods''; and ''The Archaic Revival''. He became a popular personality in the psychedelic rave/dance scene of the early 1990s, with frequent spoken word performances at raves and contributions to psychedelic and goa trance albums by The Shamen, Spacetime Continuum, Alien Project, Capsula, Entheogenic, Zuvuya, Shpongle, and Shakti Twins. His speeches were, and are, sampled by many. In 1994 he appeared as a speaker at the Starwood Festival, documented in the book ''Tripping'' by Charles Hayes. His lectures were produced on both cassette tape and CD.

McKenna was a colleague of chaos mathematician Ralph Abraham, and biologist Rupert Sheldrake, creator of the theory of "morphogenetic fields", not to be confused with the mainstream usage of the same term. He conducted several public debates known as ''trialogues'' with them from the late 1980s until his death. Books containing transcriptions of some of these events were published. He was also a friend and associate of Ralph Metzner, Nicole Maxwell, and Riane Eisler, participating in joint workshops and symposia with them. He was a personal friend of Tom Robbins, and influenced the thought of many scientists, writers, artists, and entertainers. His influences include comedian Bill Hicks, whose routines about psychedelic drugs drew heavily from McKenna's works. He is also the inspiration for the Twin Peaks character Dr. Jacoby.

In addition to psychedelic drugs, McKenna spoke on the subjects of virtual reality, which he saw as a way to artistically communicate the experience of psychedelics; techno-paganism; artificial intelligence; evolution; extraterrestrials; and aesthetic theory, specifically about art/visual experience as ''information'' representing the significance of hallucinatory visions experienced under the influence of psychedelics.

In 1985, McKenna co-founded Botanical Dimensions with his then-wife Kathleen, a nonprofit ethnobotanical preserve in Hawaii, where he lived for many years before he died. In 1997 he and Kathleen divorced. Before moving to Hawaii permanently, McKenna split his time between Hawaii and Occidental, located in the redwood-studded hills of Sonoma County, California.

Death

A longtime sufferer of migraines, in mid-1999 McKenna returned to his home on the big island of Hawaii after a long lecturing tour. He began to suffer from increasingly painful headaches. This culminated in three brain seizures in one night, which he claimed were the most powerful psychedelic experiences he had ever known. Upon his emergency trip to the hospital on Oahu, Terence was diagnosed with glioblastoma multiforme, a highly aggressive form of brain cancer. For the next several months he underwent various treatments, including experimental gamma knife radiation treatment. According to Wired magazine, McKenna was worried that his tumour was caused by his 35-years of smoking cannabis; though his doctors assured him there was no causal relation.

In late 1999, Erik Davis conducted what would be the last interview of McKenna. During the interview McKenna also talked about the announcement of his death:

Terence died on April 3, 2000, at the age of 53, with his loved ones at his bedside. He is survived by his brother Dennis, his son Finn, and his daughter Klea.

The library fire

On February 7, 2007, McKenna's library of rare books and personal notes was destroyed in a fire which burned offices belonging to Big Sur's Esalen Institute storing the collection. An index maintained by his brother Dennis survives, though little else.

Ideas

Terence McKenna advocated the exploration of altered states of mind via the ingestion of naturally occurring psychedelic substances. For example, and in particular, as facilitated by the ingestion of high doses of psychedelic mushrooms, and DMT, which he believed was the apotheosis of the psychedelic experience. He spoke of the "jeweled, self-dribbling basketballs" or "self-transforming machine elves" that one encounters in that state.

Although he avoided giving his allegiance to any one interpretation (part of his rejection of monotheism), he was open to the idea of psychedelics as being "trans-dimensional travel"; literally, enabling an individual to encounter what could be ancestors, or spirits of earth. He remained opposed to most forms of organized religion or guru-based forms of spiritual awakening.

Either philosophically or religiously, he expressed admiration for Marshall McLuhan, Pierre Teilhard de Chardin, Gnostic Christianity, Alfred North Whitehead and Alchemy. McKenna always regarded the Greek philosopher Heraclitus as his favorite philosopher.

He also expressed admiration for the works of James Joyce (calling ''Finnegans Wake'' "the quintessential work of art, or at least work of literature of the 20th century") and Vladimir Nabokov: McKenna once said that he would have become a Nabokov lecturer if he had never encountered psychedelics.

The "Stoned Ape" Theory of Human Evolution

In his book ''Food of the Gods'', McKenna proposed that the transformation from humans' early ancestors ''Homo erectus'' to the species ''Homo sapiens'' mainly had to do with the addition of the mushroom ''Psilocybe cubensis'' in its diet - an event which according to his theory took place in about 100,000 BC (this is when he believed that the species diverged from the Homo genus). He based his theory on the main effects, or alleged effects, produced by the mushroom. One of the effects that comes about from the ingestion of low doses, which agrees with one of scientist Roland Fischer's findings from the late 60s-early 70s, is it significantly improves the visual acuity of humans - so theoretically, of other human-like mammals too. According to McKenna, this effect would have definitely prove to be of evolutionary advantage to humans' omnivorous hunter-gatherer ancestors that would have stumbled upon it "accidentally"; as it would make it easier for them to hunt.

In higher doses, McKenna claims, the mushroom acts as a sexual stimulator, which would make it even more beneficial evolutionarily, as it would result in more offspring. At even higher doses, the mushroom would have acted to "dissolve boundaries", which would have promoted community-bonding and group sexual activities-that would result in a mixing of genes and therefore greater genetic diversity. Generally McKenna believed that the periodic ingestion of the mushroom would have acted to dissolve the ego in humans before it ever got the chance to grow in destructive proportions. In this context he likened the ego to a cancerous tumor that can grow uncontrollable and become destructive to its host. In his own words:

The mushroom, according to McKenna, had also given humans their first truly religious experiences (which, as he believed, were the basis for the foundation of all subsequent religions to date). Another factor that McKenna talked about was the mushroom's potency to promote linguistic thinking. This would have promoted vocalisation, which in turn would have acted in cleansing the brain (based on a scientific theory that vibrations from speaking cause the precipitation of impurities from the brain to the cerebrospinal fluid), which would further mutate the brain. All these factors according to McKenna were the most important factors that promoted evolution towards the ''Homo sapiens'' species. After this transformation took place, the species would have begun moving out of Africa to populate the rest of the planet Later on, this theory by McKenna was given the name "The 'Stoned Ape' Theory of Human Evolution".

Bibliography

1975 - ''The Invisible Landscape: Mind, Hallucinogens, and the I Ching'' (with Dennis McKenna) (Seabury; 1st Ed) ISBN 0-8164-9249-2.

1976 - ''The Invisible Landscape'' (with Dennis McKenna, and Quinn Taylor) (Scribner) ISBN 0-8264-0122-8

1976 - ''Psilocybin - Magic Mushroom Grower's Guide'' (with Dennis McKenna: credited under the pseudonyms OT Oss and ON Oeric) (2nd edition 1986) (And/Or Press) ISBN 0-915904-13-6

1992 - ''Psilocybin - Magic Mushroom Grower's Guide'' (with Dennis McKenna: (credited under the pseudonyms OT Oss and ON Oeric) (Quick American Publishing Company; Revised edition) ISBN 0-932551-06-8

1992 - ''The Archaic Revival'' (HarperSanFrancisco; 1st edition) ISBN 0-06-250613-7

1992 - ''Food of the Gods: The Search for the Original Tree of Knowledge - A Radical History of Plants, Drugs, and Human Evolution'' (Bantam) ISBN 0-553-37130-4

1992 - ''Synesthesia'' (with Timothy C. Ely) (Granary Books 1st Ed) ISBN 1-887123-04-0

1992 - ''Trialogues at the Edge of the West: Chaos, Creativity, and the Resacralization of the World'' (with Ralph H. Abraham, Rupert Sheldrake and Jean Houston) (Bear & Company Publishing 1st Ed) ISBN 0-939680-97-1

1993 - ''True Hallucinations: Being an Account of the Author’s Extraordinary Adventures in the Devil’s Paradise'' (HarperSanFrancisco 1st Ed) ISBN 0-06-250545-9

1994 - ''The Invisible Landscape'' (HarperSanFrancisco; Reprint edition) ISBN 0-06-250635-8

1998 - ''True Hallucinations & the Archaic Revival: Tales and Speculations About the Mysteries of the Psychedelic Experience'' (Fine Communications/MJF Books) (Hardbound) ISBN 1-56731-289-6

1998 - ''The Evolutionary Mind : Trialogues at the Edge of the Unthinkable'' (with Rupert Sheldrake and Ralph H. Abraham) (Trialogue Press; 1st Ed) ISBN 0-942344-13-8

1999 - ''Food of the Gods: A Radical History of Plants, Drugs, and Human Evolution'' (Rider & Co; New edition) ISBN 0-7126-7038-6

1999 - ''Robert Venosa: Illuminatus'' (with Robert Venosa, Ernst Fuchs, H. R. Giger, and Mati Klarwein) (Craftsman House) ISBN 90-5703-272-4

2001 - ''Chaos, Creativity, and Cosmic Consciousness'' (with Rupert Sheldrake and Ralph H. Abraham) (Park Street Press; revised ed) ISBN 0-89281-977-4 (Revised edition of Trialogues at the Edge of the West)

2005 - ''The Evolutionary Mind: Trialogues on Science, Spirit & Psychedelics'' (Monkfish Book Publishing; Revised Ed) ISBN 0-9749359-7-2

Spoken word

''History Ends In Green: Gaia, Psychedelics and the Archaic Revival'', 6 audiocassette set, Mystic Fire audio, 1993, ISBN 1-56176-907-x (recorded at the Esalen Institute, 1989)

''TechnoPagans at the End of History'' (transcription of rap with Mark Pesce from 1998)

''Psychedelics in the Age of Intelligent Machines'' (1999) 90 minutes video

''Alien Dreamtime'' with Spacetime Continuum & Stephen Kent (Magic Carpet Media) (CD) video

''Conversations on the Edge of Magic'' (1994) (CD & Cassette) ACE

''Rap-Dancing Into the Third Millennium'' (1994) (Cassette) (Re-issued on CD as ''The Quintessential Hallucinogen'') ACE

''Packing For the Long Strange Trip'' (1994) (Cassette) ACE

Coast to Coast AM with Art Bell, broadcast on May 22, 1997, Five hour interview covering various topics

''Global Perspectives and Psychedelic Poetics'' (1994) (Cassette) Sound Horizons Audio-Video, Inc.

''The Search for the Original Tree of Knowledge'' (1992) (Cassette) Sounds True

Discography

''Re : Evolution'' with The Shamen (1992)

''Alien Dreamtime'' with Spacetime Continuum & Stephen Kent (Magic Carpet Media) (DVD)

2009 - ''Cognition Factor'' (2009)

See also

Ethnomycology

Exopheromone

List of notable brain tumor patients

Machine Elf

References

External links

Terence McKenna Land at Deoxy.org

Terence McKenna at Levity.com

Erowid's Terence McKenna Vault

Botanical Dimensions

Rotten.com bio

FloatingWorldWeb's McKenna Pages

Terence McKenna's Last Trip 2000 Wired Magazine article by Erik Davis

"Mind contagions" (2001) at disinfo.com

Psychedelics, Evolution & Fun 2008 essay by Patrick Lundborg

Machine Elves 101, or Why Terence McKenna Matters - Reallity Sandwish by Daniel Moler

Transcription from 1991 interview regarding cannabis

Audio and video resources

Terence McKenna's interview Conducted by John Hazard in October 1998

Audio and video archive at Deoxy.org

Terence McKenna media archive at EROCx1.com

FutureHi.net MP3 Downloads - Terence McKenna, Albert Hoffman, Robert Anton Wilson, and more

McKenna at the 1999 Entheobotany Seminar - Audio Podcast

Psychedelics in the Age of Intelligent Machines - Video samples from the 1999 DVD

McKenna Video on FloatingWorldWeb - McKenna Video Portal

Over 100 podcasts of Terence McKenna talks - Audio Podcast

Transcripts

MindofMcKenna - McKenna Audio Excerpts, Transcriptions and Quotes

Category:2012 theorists Category:Deaths from brain cancer Category:Cancer deaths in Hawaii Category:Psychedelic drug advocates Category:Psychedelic researchers Category:American cannabis activists Category:American book and manuscript collectors Category:Contemporary philosophers Category:Counterculture festivals activists Category:1946 births Category:2000 deaths Category:American anarchists Category:Philosophers of science Category:Western mystics Category:Ethnobotanists Category:Religious skeptics

bs:Terrence McKenna cs:Terence McKenna de:Terence McKenna es:Terence McKenna fr:Terence McKenna (écrivain) hr:Terrence McKenna it:Terence McKenna nl:Terence McKenna ja:テレンス・マッケナ pl:Terence McKenna pt:Terence McKenna ru:Маккенна, Теренс Кемп sk:Terence McKenna fi:Terence McKenna sv:Terence McKenna tr:Terence McKenna

Coordinates	35°0′41.69″N135°46′5.47″N
name	Bill Hicks
birth name	William Melvin Hicks
birth date	December 16, 1961
birth place	Valdosta, Georgia, U.S.
origin	Houston, Texas, U.S.
death date	February 26, 1994
death place	Little Rock, Arkansas, U.S.
medium	Stand-up, music, philosophy
nationality	American
active	1978—1994
genre	Observational comedy, dark comedy, political satire
subject	American culture, American politics, current events, pop culture, human sexuality, philosophy, religion, spirituality, recreational drug use, entheogens, conspiracy theories, consumerism
website	BillHicks.com. WebCitation archive.
footnotes	}}

William Melvin "Bill" Hicks (December 16, 1961 – February 26, 1994) was an American stand-up comedian, social critic, satirist, and musician. His material largely consisted of general discussions about society, religion, politics, philosophy, and personal issues. Hicks' material was often controversial and steeped in dark comedy. In both his stand-up performances and during interviews, he often criticized consumerism, superficiality, mediocrity, and banality within the media and popular culture, describing them as oppressive tools of the ruling class, meant to "keep people stupid and apathetic."

Hicks was just sixteen years old when started performing stand up comedy at the Comedy Workshop in Houston in 1978. During the 1980s he toured America extensively and performed a number of high profile television appearances. It was in the UK, however, where Hicks first amassed a significant fan base, packing large venues with his 1991 tour. Hicks died of pancreatic cancer in 1994 at the age of 32. In the years after his death, his work and legacy achieved acclaim in creative circles. In 2007 he was voted the sixth-greatest stand-up comic on the UK's Channel 4's 100 Greatest Stand-Ups, and appeared again in the updated 2010 list as the fourth-greatest comic.

Early life

Born in Valdosta, Georgia, Bill Hicks was the son of Jim and Mary (Reese) Hicks and had two elder siblings: brother Steve and sister Lynn. The family lived in Florida, Alabama, and New Jersey, before settling in Houston, Texas when Hicks was seven. He was raised in the Southern Baptist faith, where he first began performing as a comedian for other children at Sunday School.

Hicks was drawn to comedy at an early age, emulating Woody Allen and Richard Pryor, and writing routines with his friend Dwight Slade. Worried about his behavior, his parents took him to a psychoanalyst at age 17 but, according to Hicks, after one session the psychoanalyst informed him that "...it's them, not you."

Career

Change in comic style

Hicks graduated from high school and began touring in the early 1980s. After a few years of performing the same material, he felt that his act wasn't progressing. He wanted to push the boundaries of creativity as his idols Jimi Hendrix and Richard Pryor had done. At 21 years old, Hicks had never consumed alcohol, smoked cigarettes, or tried drugs. He began to experiment to see if intoxication was indeed the key to crossing the line. Although drinking and drugs helped Hicks to loosen his tongue, he eventually had to quit, realizing that it would interfere with his act, making it too controversial (and occasionally shambolic) for the public to handle.

Once Hicks gained some underground success in night clubs and universities, he quit drinking, realizing that it wasn't alcohol that made a comic genius but his ability to express a truth, even if it was an unpopular one. However, Hicks continued to smoke cigarettes. His nicotine addiction, love of smoking, and occasional attempts to quit became a recurring theme in his act throughout his later years.

California and New York

In January 1986, Hicks found himself broke, having spent all his money on a variety of substances. His career soon received another upturn, though, as he appeared on Rodney Dangerfield's ''Young Comedians Special'', in 1987. The same year, he moved to New York City, and, for the next 5 years, performed about 300 times a year. On the album ''Relentless'', he jokes that he quit using drugs because "once you've been taken aboard a UFO, it's kind of hard to top that", although in his performances, he continued to extol the virtues of LSD, marijuana, and psychedelic mushrooms. He fell back to chain-smoking, a theme that would figure heavily in his performances from then on.

In 1988, Hicks signed on with his first professional business manager, Jack Mondrus. Throughout 1989, Mondrus worked to convince many clubs to book Hicks, promising that the wild drug- and alcohol-induced behavior was behind him. Among the club managers hiring the newly sober Hicks was Colleen McGarr, who would become his girlfriend and fiancée in later years.

Hicks quit drinking in 1988, as stated in his 1990 album ''Dangerous'' on the first track, entitled "Modern Bummer".

In 1989 he released his first video, ''Sane Man''. It was reissued in 2006.

Early fame

In 1990, Hicks released his first album, ''Dangerous'', performed on the HBO special ''One Night Stand'', and performed at Montreal's ''Just for Laughs'' festival. He was also part of a group of American stand-up comedians performing in London's West End in November. Hicks was a huge hit in the UK and Ireland and continued touring there throughout 1991. That year, he returned to ''Just for Laughs'' and filmed his second video, ''Relentless''.

Hicks made a brief detour into musical recording with the ''Marble Head Johnson'' album in 1992. During the same year he toured the UK, where he recorded the ''Revelations'' video. for Channel 4 He closed the show with his soon-to become-famous philosophy regarding life, "It's Just a Ride". Also in that tour he recorded the stand-up performance released in its entirety on a double CD titled ''Salvation''. Hicks was voted "Hot Standup Comic" by ''Rolling Stone magazine''. He moved to Los Angeles in 1992.

Hicks and Tool

The progressive metal band Tool invited Hicks to open a number of concerts for it on their 1993 Lollapalooza appearances, where Hicks once famously asked the audience to look for a contact lens he'd lost. Thousands of people complied.

Tool dedicated its triple-platinum album ''Ænima'' (1996) to Hicks. The band intended to raise awareness about Hicks's material and ideas, because they felt that Tool and Hicks "were resonating similar concepts". In particular, ''Ænima''s final track, "Third Eye", is preceded by a clip of Hicks' performances, and both the lenticular casing of the Ænima album packaging as well as the chorus of the title track "Ænema" make reference to a sketch from Hicks' Arizona Bay philosophy, in which he contemplates the idea of Los Angeles falling into the Pacific Ocean. The closing track "Third Eye" contains samples from Hicks' ''Dangerous'' and ''Relentless''. An alternate version of the ''Ænima'' artwork shows a painting of Bill Hicks, calling him "Another Dead Hero," and mentions of Hicks are found both in the liner notes and on the record.

Controversy

Censorship and aftermath

Hicks constantly faced problems with censorship. In 1984, Hicks was invited to appear on ''Late Night with David Letterman'' for the first time. He had a joke that he used frequently in comedy clubs about how he caused a serious accident that left a classmate using a wheelchair. NBC had a policy that no handicapped jokes could be aired on the show, making his stand-up routine difficult to perform without mentioning words such as "wheelchair". Hicks was disappointed that the television audience didn't get to experience the uncensored Bill Hicks that people saw in clubs.

On October 1, 1993, Hicks was scheduled to appear on ''Late Show with David Letterman'', his 12th appearance on a Letterman late- night show, but his entire performance was removed from the broadcast — then the only occasion where a comedian's entire routine was cut after taping. Hicks' stand-up routine was removed from the show allegedly because Letterman and his producer were nervous about a religious joke ("if Jesus came back he might not want to see so many crosses"). Hicks said he believed it was due to a pro-life commercial aired during a commercial break. Both the show's producers and CBS denied responsibility. Hicks expressed his feelings of betrayal in a letter to John Lahr of ''The New Yorker''. Although Letterman later expressed regret at the way Hicks had been handled, Hicks did not appear on the show again. The full account of this incident was featured in a ''New Yorker'' profile by Lahr, which was later published as a chapter in Lahr's book, ''Light Fantastic''.

Hicks' mother, Mary, appeared on the January 30, 2009 episode of ''Late Show''. Letterman played the routine in its entirety. Letterman took full responsibility for the original censorship and apologized to Mrs. Hicks. Letterman also declared he did not know what he was thinking when he pulled the routine from the original show in 1993, saying, "It says more about me as a guy than it says about Bill because there was absolutely nothing wrong with that."

Denis Leary

For many years, Hicks was friends with fellow comedian Denis Leary. But in 1993 Hicks was angered by Leary's album ''No Cure for Cancer.'' Upon hearing the album, "Bill was furious. All these years, aside from the occasional jibe, he had pretty much shrugged off Leary's lifting. Comedians borrowed, stole stuff, and even bought bits from one another. Milton Berle and Robin Williams were famous for it. This was different. Leary had practically line for line taken huge chunks of Bill's act and ''recorded'' it."

The friendship ended abruptly as a result. At least three stand-up comedians have gone on the record stating they believe Leary stole Hicks's material as well as his persona and attitude. In an interview, when Hicks was asked why he had quit smoking, he answered, "I just wanted to see if Denis would, too." In another interview, Hicks said, "I have a scoop for you. I stole his [Leary's] act. I camouflaged it with punchlines, and, to really throw people off, I did it before he did."

The controversy surrounding plagiarism is also mentioned in ''American Scream: The Bill Hicks Story'', by Cynthia True:

}}

During a 2003 Comedy Central roast of Denis Leary, comedian Lenny Clarke, a friend of Leary's, said there was a carton of cigarettes backstage from Bill Hicks with the message, "Wish I had gotten these to you sooner." This joke was cut from the final broadcast.

In a 2008 interview, Leary said, "It wouldn't have been an issue, I think, if Bill had lived. It's just that people look at a tragedy and they look at that circumstance and they go, oh, this must be how we can explain this."

Comic style

Hicks's style was a play on his audience's emotions. He expressed anger, disgust, and apathy while addressing the audience in a casual and personal manner, which he likened to merely conversing with his friends. His material was less focused on the everyday banalities of life and placed greater emphasis on philosophical themes of existence. He would invite his audiences to challenge authority and the existential nature of "accepted truth." One such message, which he often used in his shows, was delivered in the style of a news report (in order to draw attention to the negative slant news organizations give to any story about drugs):

Another of Hicks's most famous quotes was delivered during a gig in Chicago in 1989 (later released as the bootleg ''I'm Sorry, Folks''). After a heckler repeatedly shouted "Free Bird", Hicks screamed that "''Hitler had the right idea, he was just an underachiever!''" Hicks followed this remark with a misanthropic tirade calling for unbiased genocide against the whole of humanity.

Much of Hicks's routine involved direct attacks on mainstream society, religion, politics, and consumerism. Asked in a BBC interview why he cannot do a routine that appeals "to everyone", he said that such an act was impossible. He responded by repeating a comment an audience member once made to him, "We don't come to comedy to think!", to which he replied, "Gee! Where do you go to think? I'll meet you there!" In the same interview, he also said: "My way is half-way between: this is a night-club, and these are adults."

Hicks often discussed conspiracy theories in his performances, most notably the assassination of President John F. Kennedy. He mocked the Warren Report and the official version of Lee Harvey Oswald as a "lone nut assassin." He also questioned the guilt of David Koresh and the Branch Davidian compound during the Waco Siege. Hicks would end some of his shows, especially those being recorded in front of larger audiences as albums, with a mock "assassination" of himself on stage, making gunshot sound effects into the microphone while falling to the ground.

Cancer diagnosis and death

Hicks wrote, "On June 16, 1993 I was diagnosed with having 'liver cancer that had spread from the pancreas.'” He started receiving weekly chemotherapy, while still touring and also recording his album, ''Arizona Bay'', with Kevin Booth. He was also working with comedian Fallon Woodland on a pilot episode of a new talk show, titled ''Counts of the Netherworld'' for Channel 4 at the time of his death. The budget and concept had been approved, and a pilot was filmed. The ''Counts of the Netherworld'' pilot was shown at the various Tenth Anniversary Tribute Night events around the world on February 26, 2004.

After being diagnosed with cancer, Hicks would often joke that any given performance would be his last. The public, however, was unaware of Hicks's condition. Only a few close friends and family members knew of his disease. Hicks performed the final show of his career at Caroline's in New York on January 6, 1994. He moved back to his parents' house in Little Rock, Arkansas, shortly thereafter. He called his friends to say goodbye, before he stopped speaking on February 14, and re-read J.R.R. Tolkien’s ''The Fellowship of the Ring''. He spent time with his parents, playing them the music he loved and showing them documentaries about his interests. He died of side effects of his cancer treatment in the presence of his parents at 11:20 p.m. on February 26, 1994. He was 32 years old. Hicks was buried in the family plot in Leakesville, Mississippi.

On February 7, 1994, Hicks authored a verse on his perspective, wishes, and thanks of his life, to be released after his death as his "last word", ending with the words: "I left in love, in laughter, and in truth and wherever truth, love and laughter abide, I am there in spirit."

Legacy

''Arizona Bay'' and ''Rant in E-Minor'' were released posthumously in 1997 on the Voices imprint of the Rykodisc label. ''Dangerous'' and ''Relentless'' were also re-released by Rykodisc on the same date.

In a 2005 poll to find The Comedian's Comedian, fellow comedians and comedy insiders voted Hicks #13 on their list of "The Top 20 Greatest Comedy Acts Ever". Likewise, in "Comedy Central Presents: 100 Greatest Stand-ups of All Time" (2004), Hicks was ranked at #19. In March 2007, Channel 4 ran a poll, "The Top 100 Stand-Up Comedians of All Time", in which Hicks was voted #6. Channel 4 renewed this list in April 2010, which saw Hicks move up 2 places to #4.

Devotees of Hicks have incorporated his words, image, and attitude into their own creations. By means of audio sampling, fragments of Hicks' rants, diatribes, social criticisms, and philosophies have found their way into many musical works, such as the live version of Super Furry Animals' "Man Don't Give A Fuck". His influence on Tool is well-documented, he "appears" on the Fila Brazillia album ''Maim That Tune'' (1996) and on SPA's self titled album ''SPA'' (1997), which are both dedicated to Hicks; the British band Radiohead's second album ''The Bends'' (1995) is also dedicated to his memory. Singer/songwriter Tom Waits listed ''Rant in E-Minor'' as one of his 20 most cherished albums of all time.

Rappers Adil Omar and Vinnie Paz have also cited Hicks as an influence to their work; contemporary comedians David Cross and Russell Brand have stated that they were inspired by Hicks.

The British actor Chas Early portrayed Hicks in the one-man stage show ''Bill Hicks: Slight Return'', which premiered in 2004. The show was co-written by Chas Early and Richard Hurst, and imagined Hicks' view of the world 10 years after his death.

On February 25, 2004, British MP Stephen Pound tabled an early day motion titled "Anniversary of the Death of Bill Hicks" (EDM 678 of the 2003-04 session), the text of which reads: of inclusion with Lenny Bruce in any list of unflinching and painfully honest political philosophers.}}

Film and documentary

A documentary entitled ''American: The Bill Hicks Story'', based on interviews with his family and friends, premiered on March 12, 2010, at the South by Southwest Film Festival in Austin, Texas.

Discography

References

Notes

Further reading

External links

Sacred Cow Productions

Bill Hicks Quotes

The subversive legacy of comic Bill Hicks, ''Salon.com''

Bill Hicks' releases on Rykodisc

Bill Hicks is Dead: Tribute and Biography, with related videos.

Rock ‘n’ Roll Comedians: Bill Hicks at Love-It-Loud.com

Dark Poet Unofficial Fan site

Category:1961 births Category:1994 deaths Category:American cannabis activists Category:American satirists Category:American social commentators Category:American stand-up comedians Category:Cancer deaths in Arkansas Category:Deaths from pancreatic cancer Category:Free speech activists Category:Former Baptists Category:People from Houston, Texas Category:People from Valdosta, Georgia Category:People self-identifying as alcoholics Category:Psychedelic drug advocates Category:Conspiracy theorists Category:Religious skeptics Category:Rykodisc artists Category:American agnostics

bg:Бил Хикс ca:Bill Hicks de:Bill Hicks el:Μπιλ Χικς es:Bill Hicks fr:Bill Hicks is:Bill Hicks it:Bill Hicks he:ביל היקס mk:Бил Хикс nl:Bill Hicks ja:ビル・ヒックス no:Bill Hicks pl:Bill Hicks ru:Хикс, Билл simple:Bill Hicks sk:Bill Hicks sr:Бил Хикс fi:Bill Hicks sv:Bill Hicks tr:Bill Hicks

Coordinates	35°0′41.69″N135°46′5.47″N
name	Erik Satie
birth name	Erik Alfred Leslie Satie
birth date	May 17, 1866
birth place	Honfleur, France
death date	July 01, 1925
death place	Paris, France
occupation	Pianist, Composer
partner	Suzanne Valadon }}

Éric Alfred Leslie Satie () (17 May 1866 – Paris, 1 July 1925; signed his name Erik Satie after 1884) was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.

An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the ''''. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds") preferring this designation to that of a "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.

In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist ''391'' to the American top culture chronicle ''Vanity Fair''. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as and in some of his published writings.

Early life and training

Satie was the son of Alfred Satie, and his wife Jane Leslie (née Anton) who was born in London to Scottish parents. Erik was born at Honfleur in Normandy; his home there is open to the public. When Satie was four years old, his family moved to Paris, his father having been offered a translator's job in the capital. After his mother's death in 1872, he was sent, together with his younger brother Conrad, back to Honfleur, to live with his paternal grandparents. There he received his first music lessons from a local organist. When his grandmother died in 1878, the two brothers were reunited with their father in Paris, who remarried (a piano teacher) shortly afterwards. From the early 1880s onwards, Satie started publishing salon compositions by his step-mother and himself, among others.

In 1879 Satie entered the Paris Conservatoire, where he was soon labelled untalented by his teachers. Georges Mathias, his professor of piano at the Conservatoire, described his pupil's piano technique in flatly negative terms, "insignificant and laborious" and "worthless". Émile Descombes called him "the laziest student in the Conservatoire". Years later Satie related that Mathias, with great insistence, told him that his real talent lay in composing. After being sent home for two and a half years, he was readmitted to the Conservatoire at the end of 1885, but was unable to make a much more favourable impression on his teachers than he had before, and, as a result, resolved to take up military service a year later. However, Satie's military career did not last very long; within a few weeks he left the army through deceptive means.

Career

Montmartre

In 1887 Satie left home to take lodgings in Montmartre. By this time he had started what was to be an enduring friendship with the romantic poet Patrice Contamine, and had had his first compositions published by his father. He soon integrated with the artistic clientele of the Le Chat Noir Café-cabaret, and started publishing his ''Gymnopédies''. Publication of compositions in the same vein ('''', '''', etc.) followed. In the same period he befriended Claude Debussy. He moved to a smaller room, still in Montmartre (), in 1890. By 1891 he was the official composer and chapel-master of the Rosicrucian Order "", led by , which led to compositions such as '''', '''', and the ''''.

By mid-1892 he had composed the first pieces in a compositional system of his own making (''''), had provided incidental music to a chivalric esoteric play (two ''''), had had his first hoax published (announcing the premiere of '''', an anti-Wagnerian opera he probably never composed), and had broken with Péladan, starting that autumn with the ''Uspud'' project, a "Christian Ballet", in collaboration with . While the comrades from both the and sympathised, a promotional brochure was produced for the project, which reads as a pamphlet for a new esoteric sect.

In 1893 he met the young Maurice Ravel for the first time, Satie's style emerging in the first compositions of the youngster. One of Satie's own compositions of that period, the ''Vexations'', was to remain undisclosed until after his death. By the end of the year he had founded the (the Metropolitan Church of Art of the Leading Christ). As its only member, in the role of "Parcier et Maître de Chapelle" he started to compose a '''' (later to become known as the ''''), and wrote a flood of letters, articles and pamphlets showing off his self-assuredness in religious and artistic matters. To give an example: he applied for membership of the Académie Française twice, leaving no doubt in the application letter that the board of that organisation (presided by Camille Saint-Saëns) as much as owed him such membership. Such proceedings without doubt rather helped to wreck his popularity in the cultural establishment. In 1895 he inherited some money, allowing him to have more of his writings printed, and to change from wearing a priest-like habit to being the "Velvet Gentleman".

Move to Arcueil

By mid-1896 all of Satie's financial means had vanished, and he had to move to cheaper and much smaller lodgings, first at the , and two years later, after he'd composed the two first sets of ''' in 1897, to Arcueil, a suburb some five kilometres from the centre of Paris. During this period he re-established contact with his brother Conrad for numerous practical and financial matters, disclosing some of his inner feelings in the process. The letters to Conrad made it clear that he had set aside any religious ideas.

From 1899 on Satie started making money as a cabaret pianist, adapting over a hundred compositions of popular music for piano or piano and voice, adding some of his own. The most popular of these were '''', text by Henry Pacory; '''', text by Vincent Hyspa; '''', a waltz; ''"'', text by Dominique Bonnaud/Numa Blès; '''', a march; '''', text by Contamine de Latour lost, but the music later reappears in ''''; and many more, many of which have been lost. In his later years Satie would reject all his cabaret music as vile and against his nature, but for the time being, it was an income.

Only a few compositions that Satie took seriously remain from this period: ''Jack-in-the-box'', music to a pantomime by Jules Dépaquit (called a "" by Satie), '''', a short comic opera on a serious theme, text by Lord Cheminot, ''The Dreamy Fish'', piano music to accompany a lost tale by Lord Cheminot, and a few others that were mostly incomplete, hardly any of them staged, and none of them published at the time.

Both '''' and ''The Dreamy Fish'' have been analysed by Ornella Volta as containing elements of competition with Claude Debussy, of which Debussy was probably not aware, Satie not making this music public. Meanwhile, Debussy was having one of his first major successes with '''' in 1902, leading a few years later to ‘who-was-precursor-to-whom’ debates between the two composers, in which Maurice Ravel would also get involved.

In October 1905 Satie enrolled in Vincent d'Indy's Schola Cantorum de Paris to study classical counterpoint while still continuing his cabaret work. Most of his friends were as dumbfounded as the professors at the Schola when they heard about his new plan to return to the classrooms, especially as d'Indy was an admiring pupil of Saint-Saëns, not particularly favoured by Satie. Satie would follow these courses at the Schola, as a respected pupil, for more than five years, receiving a first (intermediate) diploma in 1908. Some of his classroom counterpoint-exercises, such as the '''', were published after his death. Another summary, of the period prior to the Schola, also appeared in 1911: the '''', which was a kind of compilation of the best of what he had written up to 1903.

Something that becomes clear through these published compilations is that Satie did not so much reject Romanticism and its exponents like Wagner, but that he rejected certain aspects of it. From his first composition to his last, he rejected the idea of musical development, in the strict definition of this term: the intertwining of different themes in a development section of a sonata form. As a result, his contrapuntal and other works were very short; the "new, modern" Fugues do not extend further than the exposition of the theme(s). Generally, he would say that he did not think it permitted that a composer take more time from his public than strictly necessary. Also Melodrama, in its historical meaning of the then popular romantic genre of "spoken words to a background of music", was something Satie avoided. His 1913 '''' could be seen as an absurdistic spoof of that genre.

In the meantime, other changes had also taken place: Satie had become a member of a radical socialist party, and had socialised with the Arcueil community: Amongst other things, he'd been involved in the "" work for children. He also changed his appearance to that of the 'bourgeois functionary' with bowler hat, umbrella, etc. He channelled his medieval interests into a peculiar secret hobby: In a filing cabinet he maintained a collection of imaginary buildings, most of them described as being made out of some kind of metal, which he drew on little cards. Occasionally, extending the game, he would publish anonymous small announcements in local journals, offering some of these buildings, e.g. a "castle in lead", for sale or rent.

Height of success and influence

Starting in 1912, Satie's new humorous miniatures for piano became very successful, and he wrote and published many of these over the next few years (most of them premiered by the pianist Ricardo Viñes). His habit of accompanying the scores of his compositions with all kinds of written remarks was now well established so that a few years later he had to insist that these not be read out during performances. He had mostly stopped using barlines by this time. In some ways these compositions were very reminiscent of Rossini's compositions from the final years of his life, grouped under the name Péchés de vieillesse.

However the acceleration in Satie's life did not come so much from the success of his new piano pieces; it was Ravel who inadvertently triggered the characteristics of Satie's remaining years and thus influenced the successive progressive artistic and cultural movements that rapidly manifested themselves in Paris over the following years. Paris was seen as the artistic capital of the world, and the beginning of the new century appeared to have set many minds on fire. In 1910 the "", a group of young musicians around Ravel, proclaimed their preference for Satie's earlier work from before the Schola period, reinforcing the idea that Satie had been a precursor of Debussy.

At first Satie was pleased that at least some of his works were receiving public attention, but when he realised that this meant that his more recent work was overlooked or dismissed, he looked for other young artists who related better to his more recent ideas, so as to have better mutual support in creative activity. Thus young artists such as Roland-Manuel, and later Georges Auric, and Jean Cocteau, started to receive more of his attention than the "".

As a result of his contact with Roland-Manuel, Satie again began publicising his thoughts, with far more irony than he had done before (amongst other things, the '''' and '''').

With Jean Cocteau, whom he had first met in 1915, Satie started work on incidental music for a production of Shakespeare's ''A Midsummer Night's Dream'' (resulting in the ''''). From 1916, he and Cocteau worked on the ballet ''Parade'', which was premiered in 1917 by Sergei Diaghilev's Ballets russes, with sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Through Picasso Satie also became acquainted with other cubists, such as Georges Braque, with whom he would work on other, aborted, projects.

With Georges Auric, Louis Durey, Arthur Honegger, and Germaine Tailleferre Satie formed the , shortly after writing ''Parade''. Later the group was joined by Francis Poulenc and Darius Milhaud. In September 1918, Satie – giving little or no explanation – withdrew from the . Jean Cocteau gathered the six remaining members, forming the Groupe des six (to which Satie would later have access, but later again would fall out with most of its members).

From 1919 Satie was in contact with Tristan Tzara, the initiator of the Dada movement. He became acquainted with other artists involved in the movement, such as Francis Picabia (later to become a Surrealist), André Derain, Marcel Duchamp, Jean Hugo and Man Ray, among others. On the day of his first meeting with Man Ray, the two fabricated the artist's first readymade: ''The Gift'' (1921). Satie contributed writing to the Dadaist publication ''391''. In the first months of 1922 he was surprised to find himself entangled in the argument between Tzara and André Breton about the true nature of avant-garde art, epitomised by the failure of the Congrès de Paris. Satie originally sides with Tzara, but manages to maintain friendly relations with most players in both camps. Meanwhile, an "" had formed around Satie, with young musicians like Henri Sauguet, Maxime Jacob, Roger Désormière and Henri Cliquet-Pleyel.

Finally he composed an "" ballet ('''') in collaboration with Picabia, for the of Rolf de Maré. In a simultaneous project, Satie added music to the surrealist film '''' by René Clair, which was given as an intermezzo for ''''.

Personal life

Satie and Suzanne Valadon, an artists' model and artist in her own right, and a long-time friend of Miguel Utrillo (and mother of Maurice Utrillo), began an affair early in 1893. After their first night together, he proposed marriage. The two did not marry, but Valadon moved to a room next to Satie's at the . Satie became obsessed with her, calling her his '''', and writing impassioned notes about "her whole being, lovely eyes, gentle hands, and tiny feet". During their relationship, Satie composed the '''' as a kind of prayer to restore peace of mind, and Valadon painted a portrait of Satie, which she gave to him. After six months she moved away, leaving Satie broken-hearted. Afterwards, he said that he was left with "nothing but an icy loneliness that fills the head with emptiness and the heart with sadness". It is believed this was the only intimate relationship Satie ever had.

Death

After years of heavy drinking, Satie died on 1 July 1925 from cirrhosis of the liver. Over the course of his 27 years in residence at Arcueil, no one had ever visited his room. After his death, Satie's friends discovered compositions that were totally unknown or thought to have been lost. These were found behind the piano, in the pockets of his velvet suits, and in other odd places, and included the ''Vexations''; ''Geneviève de Brabant'' and other unpublished or unfinished stage works; ''The Dreamy Fish''; many Schola Cantorum exercises; a previously unseen set of "canine" piano pieces; and several other works for piano, many untitled. Some of these would be published later as additional '''', '''', '''', and ''furniture music''.

Media

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Recordings and arrangements

Piano works

Recordings of Satie's piano works have been released by Cristina Ariagno, Jean-Pierre Armengaud, Jean-Joël Barbier, Aldo Ciccolini, Claude Coppens (live recording), Reinbert de Leeuw, Eve Egoyan, Philippe Entremont, Frank Glazer, Olof Höjer, Michel Legrand, Jacques Loussier, Anne Queffélec, Bill Quist, Pascal Rogé, João Paulo Santos, Yūji Takahashi, Branka Parlić, Jean-Yves Thibaudet and Daniel Varsano, among others.

Orchestral and vocal

A recording of historical importance is '''', re-issued by EMI as a 2-CD set, containing among other pieces: ''Geneviève de Brabant'' (in a version before Contamine's text had been recovered), ''Le piège de Méduse'', ''Messe des pauvres'', etc. Many other recordings exist: '''' (Michel Plasson / ), ''Satie: Socrate [etc.]'' (Jean-Paul Fouchécourt / Ensemble), and recordings of songs, e.g., by Anne-Sophie Schmidt.

Arrangements in popular music

In 1968, Blood Sweat & Tears released their eponymous second album, which included an adaptation of Erik Satie's '''' (arranged by Dick Halligan) which they titled as ''Variations on a Theme by Erik Satie (First and Second Movements)''. The first movement is a straightforward elaboration of the basic theme using flutes, an acoustic guitar and a triangle. The second is a far more abstract variation using only brass instruments. In 1969, Halligan received a Grammy Award for Best Instrumental Performance for the piece. In 1974, the jazz flutist Hubert Laws recorded an arrangement by Bob James of the "" in his "In the Beginning" double album. The band featured keyboardist Bob James, guitarist Gene Bertoncini, bassist Ron Carter, drummer Steve Gadd, three strings, and Hubert's brother Ronnie Laws on tenor sax. In 1979 the band "Sky" (Tristan Fry, Francis Monkman, Kevin Peek, Herbie Flowers, and John Williams) included a version of , which was arranged by John Williams, on the band's first album, which was entitled "Sky" In 1980, Gary Numan's 7-inch "We Are Glass" featured " (First Movement)" on the B-side.

In 1990, Movement 98's (Paul Oakenfold and Steve Osborne) single "Joy and Heartbreak" used the opening phrase of Trois Gymnopedies as the intro and instrumental.

In 1994, Malcolm McLaren arranged Gnossinne 3&4 in his concept album ''Paris''.

In 1999, electronic music act Plaid's CD "Restproof Clockwork" included a track called "Tearisci" which is an uncredited version of Satie's "Pièces Froides, No. 2: Danses De Travers: III. Encore".

In 2000, ex-Genesis guitarist Steve Hackett released the album, "Sketches of Satie", performing Satie's works on acoustic guitar, with contributions by his brother John on flute.

The English electronic duo Isan recorded versions of the three for a 2006 7-inch single, "" on the Morr Music record label. The 2nd movement of his '''' has been used in the original soundtrack of 2010 Japanese animated film ''The Disappearance of Haruhi Suzumiya'' by Kyoto Animation studio. The full ''Gymnopédies'' as long as ''Gnossiennes'' are included in the 2nd CD of this OST.

Ogive Number 2 (incorrectly labelled Ogive Number 1) was re-recorded electronically by William Orbit on his album Pieces in a Modern Style

See also

Ambient music

Dada

Impressionist music

List of compositions by Erik Satie

Surrealism

References

Sources

''In English, unless indicated:''

Writings by Satie

''A Mammal's Notebook: Collected Writings of Erik Satie'' (Serpent's Tail; Atlas Arkhive, No 5, 1997) ISBN 0-947757-92-9 (with introduction and notes by Ornella Volta, translations by Anthony Melville, contains several drawings by Satie)

'''' (Paris: Fayard/Imes, 2000; 1265pp) ISBN 2-213-60674-9 (an almost complete edition of Satie's letters, in French)

Books and Articles on Satie

Allan, Kenneth R. “Metamorphosis in ''391'': A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie.” ''Art History'' 34, No. 1 (February, 2011): 102-125.

Davis, Mary E., ''Erik Satie''. Reaktion Books – Critical Lives. June 2007. ISBN 9781861893215

Gillmor, Alan M., ''Erik Satie'' (Twayne Pub., 1988, reissued 1992; 387pp) ISBN 0-393-30810-3

Myers, Rollo H., ''Erik Satie.'' (Dover Publications, New York 1968.) ISBN 0-486-21903-8

Orledge, Robert, ''Satie Remembered'' (London: Faber and Faber, London, 1995)

Orledge, Robert, ''Satie the Composer'' Cambridge University Press: 1990; 437pp – in the series ''Music in the Twentieth Century'' [ed.] Arnold Whittall) ISBN 0-521-35037-9

Templier, Pierre-Daniel (translated by Elena L. French and David S. French), ''Erik Satie'' (The MIT Press, 1969, reissued 1971) ISBN 0-262-70005-0 ''and'' (New York: Da Capo Press, 1980 reissue) ISBN 0-306-76039-8. Note: Templier extensively consulted Conrad, Erik Satie's brother, when writing this first biography that appeared in 1932. The English translation was, however, criticised by John Cage; in a letter to Ornella Volta (25 May 1983) he referred to the translation as disappointing compared to the formidable value of the original biography.

Volta, Ornella and Simon Pleasance, ''Erik Satie'' (Hazan: The Pocket Archives Series, 1997; 200pp) ISBN 2-85025-565-3

Volta, Ornella, transl. Michael Bullock, ''Satie Seen Through His Letters'' (Marion Boyars, 1989) ISBN 0-7145-2980-X

Whiting, Steven, ''Satie the Bohemian: from Cabaret to Concert Hall'' (Oxford: Clarendon Press, 1999; 596pp). A fully researched account of Satie's musical career in what then was regarded as popular music.

Other

Satie Home page – Niclas Fogwall's website dedicated to Satie

External links

Information and listening

Biography and photos

UbuWeb's Erik Satie pages – including an Erik Satie Primer and downloadable recordings

About Erik Satie – The eccentric Impressionist French composer and musician

Erik Satie at Pytheas Center for Contemporary Music

Three Gymnopedies by Eric Satie

erik-satie.com Website dedicated to the musician, with blog, timeline, gallery, biography

Scores

Public domain scores Satie's Scores + Audio

www.kreusch-sheet-music.net Free Scores by Satie

Satie's Scores – by the Mutopia Project

Category:1866 births Category:1925 deaths Category:20th-century classical composers Category:French socialists Category:French people of Scottish descent Category:Cabaret Category:Dada Category:Fin de siècle Category:French classical pianists Category:French composers Category:Neoclassical composers Category:People from Calvados Category:Schola Cantorum de Paris alumni Category:Blue plaques Category:Les six

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