Nature is perfect, and it seems we can never learn or figure out all its mysteries and secrets. It can often create some ideal coincidences that illustrate its power and potential, so we are left bewildered and startled.
Photographer Daniel Biber from Hilzingen, Germany, captured one of these unique moments in Costa Brava, in Northeastern Spain.
Namely, a mass of starlings started gathering into a shape-shifting cloud, known as a murmuration, and the hundreds of birds moved and twisted in a coordinated organism that can quickly morph into some startling shapes.
Biber witnessed the true spectacle, and as a predator like a falcon or a hawk was in the vicinity, the starlings started twisting and turning in a way that eventually formed a shape of a giant, single bird in less than 10 seconds.
However, he took the photos but realized the formation they created only when he came home and checked them on his computer later. Previously, he was so focused on taking the pictures, that he didn’t see the giant bird they made on the sky. He then realized that his snapshot was unique, sharp, and in high quality.
He was trying to capture the murmuration of starlings for 4 days in a row, but when he finally succeeded, it was a real masterpiece.
He then submitted the images to an international photography competition run by the bird observatory Vogelwarte Sempach in Switzerland in 2017. Organizers received 6,800 images submitted by 540 photographers from 15 countries, but the amazing one-in-a-million images helped Biber won the competition.
A new solar power plant in Datong, China, however, decided to have a little fun with its design. China Merchants New Energy Group, one of the country's largest clean energy operators, built a 248-acre solar farm in the shape of a giant panda.
The first phase, which includes one 50-megawatt plant, was completed on June 30, according to PV magazine. The project just began delivering power to a grid in northwestern China, and a second panda is planned for later this year.
Called the Panda Power Plant, it will be able to produce 3.2 billion kilowatt-hours of solar energy in 25 years, according to the company. That will eliminate approximately million tons of coal that would have been used to produce electricity, reducing carbon emissions by 2.74 million tons.
China Merchants New Energy Group worked with the United Nations Development Program (UNDP) to make the Panda Power Plant a reality. The project is part of a larger effort to raise awareness among young people in China about clean energy, the UNDP wrotein a statement.
The groups hope to build more panda-shaped solar plants throughout China in the next five years.
For years, artist and photographer Fong Qi Wei has been skillfully slicing photographs into awe-inspiring scenes showcasing the passage of time. Known as “time slice” photographs, each work of art combines several photos taken at different times of day to produce a single, strikingly cohesive composition. To create each piece, Wei snaps several photographs of the same location over a period of several hours. He then digitally divides the images and extracts a single strip from each. Finally, he pieces together these strips, creating a harmonized scene that beautifully depicts a range of time.
While time slice photography is a prevalent practice among contemporary artists, Wei’s work is renowned for its creative compositions. Rather than simply combining the “slices” into vertical stripes, the artist experiments with angles, shapes, and placement.
Some are arranged into ray-like formations, for example, while others are split into series of circles. Though Fong Qi Wei notes that he has been working as a photographer for over 10 years and that he creates his time slice photos using a digital camera, he also recognizes the painterly quality of his work and practice. “Photographic galleries call my work paintings, while traditional galleries specializing in paintings call my work photographs,” he explains. His work, however, is not affected by these classifications or genres. Instead, it is defined by its effect on the viewer and its ability to resonate. “I strive to make images [that touch] both the feeling part and the thinking part of your mind.
My art seeks to get your attention and hopefully engage you on a deeper level as you look at it for longer.”
Original article: Mymodernmet.
Prison involves many things associated with bad trips: enclosed spaces, law enforcement, and violent people who might fuck with your psychedelic-stuffed head. For prisoners, though, a hit of LSD can expand the mind, as well as the walls of their cells.
Inside the belly of the beast isn’t the ideal place to take a hit of acid. Prison involves most things people associate with bad trips: enclosed spaces, law enforcement, ugly rooms, and bleak environments—plus, violent people who might fuck with your psychedelic-stuffed head. For lack of a better comparison, it’s more Shawshank Redemption than Alice in Wonderland.
Prisoners like drugs, though. When you’re locked up, it’s easy to want to escape reality through any means possible, and drugs are an effective method to make that happen. Many will settle for weed, hooch, or synthetic shit, but name a substance and chances are there’s a way to smuggle it into your cell unit, regardless of where you’re incarcerated.
I was a nonviolent offender who got sentenced for an LSD conspiracy, and met a variety of psychedelic enthusiasts during my 20-plus years behind bars. I found a way to get my hands on some acid when I was in jail, and it was a severely fucked experience. For other people, though, taking a hit didn’t just expand the mind, it expanded the prison walls. It’s a far cry from a rave or a Grateful Dead show, but it can be a life-changing experience. Below are three stories about what it’s like to trip while living in a high security prison, starting with my own experience.
44 Years Old
Served 21 Years for an LSD Conspiracy Charge
You could say I’m an acid veteran. Prior to spending over 20 years behind bars for an LSD conspiracy conviction , I had taken legitimately thousands of hits. After I ended up in prison, though, I didn’t really think about tripping much, likely because it was what got me locked up in the first place. Instead, I became a weed man. I would smuggle it in, sell it, smoke it; I didn’t let a 25-year sentence stop me from selling drugs in any of the seven prisons I lived in. Regardless of where I was locked up, I’d manage to smuggle in bud by swallowing balloons full of the stuff.
Fast forward a couple years, and I began thinking about changing my outlook on life in prison. A hit of acid sounded like the necessary remedy. Being in prison can feel like having blinders on reality, and sometimes you just have to open the doors of perception. It was time for me to expand my awareness outside of the bubble of incarceration that I found myself trapped in.
In 2005, I was at the Federal Correctional Institution Fairton, New Jersey, and my girl was supposed to bring some balloons of weed for me to swallow during a visit. I asked her in advance if she could bring me some acid, too.
When I hit the dance floor, what prisoners call the visiting room, my girl arrived with bad news. She couldn’t score any good pot to balloon up in time, but she did have a tab of “Blue Unicorn” LSD for me. She went to the vending machine, bought me a hamburger, put it in the microwave, and put the tab of acid in the mustard she spread on the snack. I greedily devoured the sandwich, expecting to be tripping in the visiting room with my girl very soon. But things turned out a bit differently.
It felt like a movie, but it would take a seriously twisted individual to imagine a more existentially fucked psychedelic experience.
I had been bringing a lot of weed in to Fairton, and this happened to be the day a compound snitch ratted me out to the correctional officers. Not even an hour into the visit, they pounced on me, made my girl leave (after searching her and coming up empty handed), and dragged my sorry ass to the hole. The spiked burger was likely settling in my big intestine by the time they made their move.
As my pupils began to dilate and my vision got funny, I was brought to what they call a dry cell in the Special Housing Unit: No running water, no mattress, no pillow, no toilet… nothing. They stripped me naked and checked my orifices to make sure I wasn’t concealing anything before giving me a bed sheet and a pair of underwear. They had a big window in the front of the cell so they could observe me, and there was a video camera set up to keep an extra eye on me, too. I’m not sure what the guards manning the camera were expecting to see, but the footage probably only showed a terrified inmate who happened to be tripping balls on the low. It felt like a movie, but it would take a seriously twisted individual to imagine a more existentially fucked psychedelic experience.
I splayed my sheet on the metal bed and laid down under the bright lights that were shining on me. I was familiar with the narc routine, even though I’d never been in a dry cell before. Over the next 48 hours—longer than the trip itself—the guards would make me defecate at least five times in a plastic bowl lined with a clear garbage bag so they could search through my shit and look for drugs.
As the prison lieutenant searched my shit bowl, I anxiously watched him as the acid toyed with my senses. I knew I was clean (for once), but the drugs triggered an inescapable paranoia that they’d find something. What if there were balloons in my shit? What if there was one baggie that somehow got stuck in my gut and was finally coming out now? I was fucking losing it. By the time I passed every possible inspection, my psyche felt like it had been put in a microwave alongside that burger. To say the experience was a living hell would be an understatement.
I chilled out a bit once the hallucinogen wore off, but it’s not like you can immediately snap out of something like that. For the remainder of my time in the hole, I mostly laid down on the cold, metal bed and tried not to melt into a puddle as the cameras continued to watch my every move and the fluorescent lights remained on.
I imagined my first psychedelic experience in prison to be an escape outside the barbed wire-lined walls, but it ended up bringing me deeper into the incarceration abyss. Needless to say, I have never taken a hit of acid since.
John ‘Judge’ Broman
35 Years Old
Serving 16 Years for a Bank Robbery Charge
I was a Deadhead while living on the outside—a yoga-loving, marijuana-smoking, LSD-tripping hippie fool. I also dabbled in heroin, and that’s how I ended up in federal prison with a 16-and-a-half-year bid for a bank robbery that was committed to feed my habit. I smoked tons of weed and drank massive quantities of hooch in jail, but I’d never come up on any acid until I was eight years into my sentence.
I believe that LSD is a sacrament. It should be used as a tool to “get you there,” but where you go is all a matter of perspective. I was locked up in United States Penitentiary Pollack when I had the chance to take that journey after my conviction. A Deadhead buddy of mine had already done time in the feds, and he knew how to get all sorts of contraband into a prison like the one I was in. When he sent me a healthy stash of LSD through the mail, though, it looked like the most obvious shit in the world: a Dr. Seuss card that said, “Oh the places you’ll go!” with a huge, noticeable splotch on it where he’d squirted the acid. He had tried masking the splotch by using markers to color around it, but that made it even less subtle. Regardless, it still made its way into the prison and into my hands.
Pollack was a pen where violence was common, and walking around during the day with a head full of acid was not a reality I wanted to experience. They say you can turn your back on a man, but never turn your back on a drug. In jail, I didn’t want to turn my back on either. So I schemed in advance and gathered a crew of trusted cellmates and planned where and when we’d eat the psychedelics. The gang included my celly, fresh in for drug trafficking with a couple life sentences under his paisley bandana, and a 20-something former tweaker who had never done acid but always wanted to. We planned to drop the LSD at night, after they locked us into our cell unit where it was safe and secure.
They say you can turn your back on a man, but never turn your back on a drug. In jail, I didn’t want to turn my back on either.
Around 9 PM, the drugs started kicking in. In our cell, we had two acoustic guitars, a bass, and a bumping sound system with an amp and stolen speakers we racked from the laundry room. With the acid coursing through our bodies, we needed something to vibe on.
We turned off the lights and lit homemade candles and incense throughout the cell. The three of us then started playing punk songs with the volume down low so we wouldn’t get caught, and we spent the next couple hours jamming quietly into the night. It felt like a séance with live music.
After a certain point, my celly fell into a depression as the fact that he was doing a life sentence started to seep into his brain. I, on the other hand, got back to “me,” and started thinking about the eight years of prison I had ahead of me. For the first time since being locked up, the idea that I’d eventually get out felt real. I was stuck in the penitentiary, but not forever. I had a date. My incarceration wouldn’t define the entirety of my life—an epiphany that was life-changing itself.
The rest of the trip was smooth, but the experience marked a checkpoint for me. The remainder of the time I had left to serve became shorter. When people would ask me how long I had left, I’d reply, “I’m going home soon.” They’d ask how long and I’d say eight years. They’d laugh and tell me not to hold my breath, or whatever. When you are doing multiple decades as a young man, the sentence seems endless. But thanks to that Dr. Seuss card, I knew “The places you’ll go!” line meant anywhere other than the pen.
47 Years Old
Serving a Life Sentence for an LSD Conspiracy Charge
In 1993, I was stuck in a county jail, waiting to be sent to the feds for a long time for an LSD conspiracy charge. I had been there six months and was spending my time sleeping 22 hours a day and eating Twinkies from the commissary nonstop to help me cope with the severe depression I was feeling about my impending sentence. In less than six months in the county jail, I gained 55 pounds.
I knew if I could get some acid then I’d have a chance of living before going to the pen. My birthday came, and friends on the outside sent me 30 hits of acid through the mail—six of them under each postage stamp like how the Deadheads would send LSD across the country. I took three tabs later that night.
As I tripped, I imagined seeing a world stage with the Grateful Dead there, along with a man I’d identify as President Obama years later, believe it or not. This was before he was president and I didn’t know who he was at the time, but I believe I saw him, or someone who looked like him. I imagined walking on to the stage and shaking his hand. It was an eye-opening experience and it snapped me out of the malaise I was drowning in. The next day I started exercising and decided I wanted to live again, despite the time I was facing.
When I went to actual prison at USP Atlanta in 1994, a friend was sent an eight-and-a-half-by-eleven piece of paper that was covered with hits of acid. Somehow they missed it in the prison mailroom. There had to be over 1,000 hits on the sheet. After that, me and my prison friends were tripping all the time. It was like being on tour with the Dead.
For the most part, I only took LSD at night in prison so I could remember the band and appreciate the drug as a sacrament. One time, though, my friends talked me into taking some at 7 AM. As fate would have it, they called me into the Lieutenant’s office at nine. I’d taken three hits and was flying. I played it cool, but it was enough to make me think before taking it so casually in the pen again.
Several years after tripping in the county jail, I received a book filled with a dozen hits as another unreal birthday gift. When I took this acid, I saw the same stage with the president and the Dead I had imagined nearly two decades priors. I recognized Obama this time, and came to the conclusion that it must have been him I envisioned during that first trip in prison. Maybe it had to do with fantasies of being granted clemency from Obama—cause that’s the only way I’m getting out of my life sentence. If I didn’t eat those three hits hidden under the postage stamps so many years ago, I don’t think I would have survived this long.
Psychedelia in film is characterized by distortion (both in image and in sound), experimentation in narrative and editing, and sometimes drug-inspired hallucinations. Like the psychoactive drugs which produce heightened sensory perceptions and distortion, psychedelic films present to their audience an unfamiliar and/or dream-like view of reality.
The following films use cinematography, narration, editing, sound design, and music to create worlds of distortion. Whether the film is depicting drug-induced madness or creating an atomsphere of existential confusion, these films somehow experiment with the audience’s sensory perceptions in order to uproot the viewer from reality. These films welcome (or in some cases, force) the audience to interact with a plethora of psychedelic imagery, sounds, and/or narration.
1. Un Chien Andalou (1929) dir. Luis Buñuel
Even though Buñuel’s classic surrealist short film precurses psychedelia, the distorted narrative and dream-like imagery give it a psychedelic presence that influenced many films later on. His film is a perfect example of surrealism, a style of art which utilizes symbolism and the irrationality of the unconcious mind.Un Chien Andalou was Buñuel’s first film, and was written in conjunction with Salvador Dalí, the prominent surrealist painter. The film opens with a barber slicing open a woman’s eye, as if to suggest to the viewer to symbolically throw off preconcieved notions and to see with new eyes.The 20 minutes that follow are set to fragments of Wagner’s “Liebestod,” a dramatic piece of opera from Tristan und Isolde, that never quite comes to climax, making the film even more unnerving. Buñuel confuses his viewer by jumping back and forth in time with subtitles that proclaim “Eight years later” or “Sixteen years ago.” There is no overt plot, but rather an amalgam of surrealistic images. We are presented with distorted religious symbology, such as ants crawling out from a stigmatic hand of the protagonist (a young unnamed man played by Pierre Batcheff), and dream-like scenarios- for instance, the young man dragging a piano topped with a dead donkey carcass and two priests in his pursuit of a young woman (Simone Mareuil).Such images, surrealistic in nature, create a distorted sense of reality, a quality found in many psychedelic films.
2. The Red Shoes (1948) dir. Michael Powell and Emeric Pressburger
Michael Powell and Emeric Pressburger’s classic film The Red Shoes incorporates Expressionistic sets and costumes, subjective point of view shots, and passionate performances to tell the story of a young woman, dancer Victoria Page (Moira Shearer), torn between her love for a young man and her love of dance. The dance sequence performed toward the end of the film captivates the viewer with its mesmerizing, painted landscapes and POV shots which sublty bring Victoria’s subconcious thoughts and fears to the forefront. Victoria “Vicky” Page is a young talented ballet dancer, eager to join a company. She meets the fierce Boris Lermontov (Anton Walbrook), director of a renown ballet company. After realizing her talent in a small production of Swan Lake, Lermontov casts Vicky in his ballet of The Red Shoes, based on the Hans Christian Andersen fairy tale of a young woman whose red shoes possess her to dance to death. Vicky then meets the young composer of the ballet, Julian Craster (Marius Goring) and the two fall in love, to the distress of Lermontov. Vicky is soon caught between the two men, forced to choose between the love of her life and her passion for her art. Powell and Pressburger’s glorious Technicolor illuminates the passions of the film’s characters. The Oscar-winning sets provide an hallucinatory backdrop to the exceptional dance sequence, which brings Vicky’s fiery and tormented emotions to the limelight. The subtle POV shots during this sequence add to the psychological drama, and bring the viewer even further into Vicky’s mind. A precursor of psychedelic filmmaking, The Red Shoes fuses hallucinatory elements into a mainstream film, which makes it a classic that continues to inspire modern filmmakers, such as Martin Scorsese and Brian de Palma.
3. Daisies (1966) dir. Věra Chytilová
Made during the Czech New Wave film movement by Czechoslovakia’s first female film director, Daisies is a revolutionary experimental film. Without following any real plot, the film is led by two impish young women as they whip up fun for themselves (and cause trouble in the process).Věra Chytilová turns social mores on their head, as her two heroines, both named Marie (Jitka Cerhová and Ivana Karbanová) frolic through the film without a care. The two Maries laze around in bikinis and lingerie, create drunken mayhem at a nightclub, and destroy a fancy banquet, among other subversive acts.The film explores different film stocks, spontaneous eruptions into collage, and otherwise consistently plays with the medium of film itself, creating a highly self aware piece of art. Banned upon release, the film depicts a destructive playfulness that Czech authorities apparently found dangerous. There is a political undertone to the film with World War II film stock intercut amongst the characters’ antics. Daisies stirs up the audience with its Puckish protagonists and psychedelic imagry and editing.
4. Point Blank (1967) dir. John Boorman
John Boorman’s neo-noir thriller, Point Blank is an hypnotic film of a man’s thirst for revenge. The pacing, color choices, and atmospheric music, led by Lee Marvin’s deadpan portrayal of Walker, yields a mesmerizing experience for the viewer.Shot and left for dead on Alcatraz Island, Walker returns to San Francisco to take revenge and claim his half of a crime he helped commit. With the help of the mysterious Yost (Keenan Wynn), Walker sets off on his journey for retribution.Along the way, he finds that the man who wronged him, Reese (John Vernon) not only stole his money and left him on Alcatraz, but he stole his wife Lynn (Sharon Acker), who is now a depressive, emotionless wreck living in guilt for double crossing Walker. After Lynn overdoses on sleeping pills, Walker finds Lynn’s sister Chris (Angie Dickinson) who helps him get closer to Reese.The film’s pacing, which goes from a slow and moody atmosphere to periods of intense violence and action creates a lulling hypnosis which the viewer is then startled from. Color plays a role in the atmospheric tone of the film- for example, Lynn’s silver grey apartment reflects her drab unfeeling character, riddled with guilt.Walker’s suits change color based on his location, giving him a mysterious chameleon-like quality. The story ends where it begins, on Alcatraz Island, leaving the film ambiguous as to whether the events that occur are a dream, reality, or if Walker is in fact a ghost.
5. 2001: A Space Odyssey (1968) dir. Stanley Kubrick
Stanley Kubrick’s science fiction masterpiece is an awe-inspiring, brilliant piece of art. The film’s stunning visuals combined with the grandeur of the classical music scores and György Ligeti’s haunting, dissonant avant garde music produces a filmic experience like no other. Kubrick’s exploration of the history and future of humankind excites the viewer’s senses as it leads us to confront the great unknown of space and time. The film opens with the dawn of man as we witness the first protohumans utilizing tools for the first time in history. Through a graphic match cut, the prehuman tool becomes a spacecraft and we are transported to the future as humans have evolved and are now masters of their tools. The space craft is on a mission to investigate a mysterious object recently uncovered on a lunar crater. A giant black monolith, also discovered on Earth by the protohumans earlier in the film, looms in this crater. We are to rediscover this black monolith again in the film. Next, we are on the Discovery One, a spaceship headed for Jupiter. Dr. David Bowman (Keir Dullea), Dr. Frank Poole (Gary Lockwood), and three other astronauts, in a state of cyrogenic slumber, are on a secret mission guided by the ship’s talking computer, HAL 9000 (voiced by Douglas Rain). At this point, man loses control of his tools, as the computer’s intelligence superceeds that of the astronauts. Pitted against HAL, Bowman manages to take control of the ship and continues on the mission alone, traversing the wild unknown. The film’s Beyond the Infinite sequence with its streaks of light in space and Ligeti’s dissonant chorus produce an intensely psychedelic experience. 2001’s enigmatic ending leaves the viewer spellbound and speechless. Kubrick exquisitely captures man’s existential journey into uncharted territory.
6. Easy Rider (1969) dir. Dennis Hopper
One of the America’s first counterculture films, Easy Rider captures the lifestyle of the hippie movement and how it interacts with the mainstream. Director Dennis Hopper and producer Peter Fonda also star in this pop culture hit as two hippie motorcyclists traveling through the American Southwest into the deep South. The film is not only historic in its depiction of the counterculture, but also in its realistic drug scenes (the actors actually injested the drugs their characters are shown using). Wyatt (Peter Fonda) and Billy (Dennis Hopper) sell cocaine to a dealer and use their earnings to fund their roadtrip to New Orleans for the upcoming Mardi Gras celebration. Along the way, the two pick up a hitchhiker who lead them to a commune, filled with young hippies practicing free love and shared living. Continuing on their journey, the two are arrested in a local town for “parading without a permit.” There, Wyatt and Billy meet George Hanson (Jack Nicholson), a drunkard lawyer in jail. George helps them out of jail and the three of them resume their pilgramage to Mardi Gras. The three are confronted with the ignorant, “square” communities in the South, who see the trio’s presence as a threat. The film does an amazing job capturing the sociopolitical climate of the time. We see firsthand how feared the hippies were to mainstream culture, and how the counterculture was driven by a yearning for freedom. The scenes depicting drug use, especially the cemetary sequence in which Wyatt and Billy drop acid with two prostitutes, Karen (Karen Black) and Mary (Toni Basil), give the film an intense and disorienting component. The unscripted LSD scene involves jump cuts, displaced, fear-filled and remorseful dialogue, and a mix of distorted imagery, such as the use of a fish-eye lense and close-ups of the sun. The psychedelic scenes mixed with the documentary style realism gives the film a palpable sense of the time.
7. Zabriskie Point (1970) dir. Michelangelo Antonioni
One part documentary-like realism, one part fanciful psychedelic desert trip, Antonioni’s American film offers its audience various aspects of life during the height of the counterculture. Although not critically well received, Antonioni’s cult classic remains a milestone of psychedelic filmmaking with its beautiful desert landscapes, hypnotic fantasy sequences, and a tailor made soundtrack from artists such as The Grateful Dead and Pink Floyd. The plot is pieced around two young adults, Mark (Mark Frechette) and Daria (Daria Halprin), who meet in Death Valley. The film opens at a students’ protest meeting, where Mark is in attendance, with the overarching question of what makes a revolutionary. We follow Mark as he watches his friends in this group get tear-gassed, beaten, and one student shot by the police in a protest. A police officer is shot and Mark is their suspect after he runs from the scene. He steals a small plane at a local airport and flies to the desert. Meanwhile, Daria is driving through a ghost town on her way to Pheonix to meet her corporate boss (and perhaps also her lover), Lee (Rod Taylor). Mark spots Daria’s car in the sky and flies down to meet her. The two cavort through the desert together before facing the dim realities that lie before them in civilization.Antonioni’s film captures the recklessness of youth in this film that explores revolution and America’s counterculture. The dream-like scenes (including a sensual desert love scene that erupts into an orgy of sand covered bodies) transport this film from realism into earthy psychedelia.
8. The Devils (1971) dir. Ken Russell
Ken Russell’s controversial 1971 film incorporates sexually explicit hallucinatory sequences into this story based on the supposed demonic possessions in that took place in 17th Century Loudon, France. An order of Ursuline nuns begin to exhibit wild, uncontrolled behavior thought to be led by Urbain Grandier (Oliver Reed), a proud priest, who has recently gained political control of Loudon. Sister Jeanne des Anges (Vanessa Redgrave), the sexually repressed hunchback Mother Superior of the convent becomes infatuated with Grandier, and her striking sexual fantasies haunt her guilty conscious.Once word of Grandier’s secret marriage to another woman reaches Jeanne, she collapses into fits of hysteria and claims to have been possessed by the Devil through Grandier. Other nuns in the convent also claim to be possessed and the convent explodes into a frenzy of sexual outbursts and bizarre public exorcisms.Russell boldly depicts the effects of sexual oppression mixed with religious mania. The censored scenes of the “demonic possessions” include a psychedelic orgy of naked nuns “raping” a statue of Christ and Sister Jeanne masturbating with a human bone. The uncut version of The Devils is a mind blowing, audacious exploration of ecstasy (both religious and sexual).
9. Wake in Fright (1971) dir. Ted Kotcheff
A relatively unnoticed 1971 Austrialian film, which was only recently restored in 2009 and released by Drafthouse Films, Wake in Fright is a nightmarish slice of life set in a barren small town in Australia. With its psychological, eerie tone (evoking an episode of The Twilight Zone), it puts the viewer in the mind of John Grant (Gary Bond), the film’s protagonist, as he slowly succumbs to his fate within “the Yabba.” John Grant is a school teacher in the tiny town of Tiboonda in the Austrialian Outback, who is eager to travel to Sydney to meet his girlfriend over Christmas Break. With luggage in hand he gets on a bus to Bundanyabba (affectionately nicknamed “the Yabba” by its inhabitants), in order to fly to Syndey the next morning. During his night there, John is immediately struck by an indefinable strangeness of the town. He is beckoned to join the drunken stupor that characterizes the town’s male population by the forceful friendliness of Jock Crawford (Chips Rafferty), a local policeman. After a few drinks, John participates in the town’s favorite gambling game, to which he loses all his money, and his ticket out of the Austrialian Outback. Taken under the wing of Doc Tydon (Donald Pleasence), a self aware cynic and (the town’s only intellectual), John is driven to the point of desperation and the brink of insanity in his dusty prison. The film’s moody tone as well as the superb characterization of life in an empty mining town puts the viewer in same psychological state of despair as John Grant. His intermittent daydreams, fantasies, and drunken hallucinations give us insight into his mind as we see and feel first-hand how his hopes are crushed by the stark desolation of the Yabba.
10. The Devil (Diabel) (1972) dir. Andrzej Żuławski
Żuławski takes his viewer to the roots of insanity through his passionate saga vividly illustrating the monstrosties of war. The sensational performances and dynamic camera work take the audience on an emotional rollercoaster through the depths of hell. Amid the Prussian Invasion of Poland in 1793, a Polish nobleman named Jakub is imprisoned in a destroyed monestary turned hospital/jail/insane asylum. A mysterious, diabolical stranger on a white horse saves Jakub and the two of them, as well as a silent nun, embark to visit Jakub’s family and friends, whose lives are now crumbling. Jakub is driven to madness by the horrors around him, and with the stranger’s fiendish coaxing, Jakub commits brutal acts of violence (mirroring the all encompassing violence that surrounds him).Originally banned in Poland upon release, Żuławski’s film delves into the shattered psyche of the inhabitants of war ravaged Poland. There are no understated emotions in Żuławski’s film; every character in the film goes through hysterical fits of rage, devastation, and/or lunacy. With the emotional extremes expressed by the characters, the disorienting camera work (that includes POV shots and handheld roving shots), and the wild, lo-fi musical score, The Devil presents its viewer with the chaotic sensory experience of a living nightmare.
11. Behind the Green Door (1972) dir. Artie Mitchell and Jim Mitchell
This feature-length pornographic film, released during the Golden Age of American porn, is as psychedelic as it is sexy. A young woman (Marilyn Chambers) is kidnapped and taken to a mysterious location where she is hypnotised and led on stage in front of an audience. In a state of hypnosis, she takes part in a series of erotic performances. During the sexual activites, the music slows into a ritualistic drone while the images saturate in color and overlap, lulling the audience into a trace-like state. Through the use of color saturation, music, and slow motion, the Mitchell Brothers mimick the state of hypnosis, creating a kinky psychedelic experience.
12. The Holy Mountain (1973) dir. Alejandro Jodorowsky
No psychedelic film list would be complete without a Jodorowsky film. The Holy Mountain, a surreal masterpiece abundant with religious symbology and references to Christianity, Tarot, and Alchemy, takes the viewer on a mind-bending spiritual journey. Like Buñuel’s Un Chien Andalou, the film opens with a symbolic and ritualistic action. A cloacked figure takes two women dressed like Marilyn Monroe and sheds them of their societal regalia, removing their make-up, stripping them naked, and shaving their heads. Similar to Buñuel’s slicing of the eye, Jodorowsky is making a symbolic statement to the audience, to shed themselves of their societal standards and cultrually biased values. He then presents to the viewer a film that follows one man, known as the Thief (Horacio Salinas), and his mystical odyssey. A Christ-like figure, the Thief, is found laying in pile of mud and garbage by a little person without hands or feet. The two go into town, where the people are performing a kind of religious ceremony, carrying crucified dogs while simutaneously executing groups of people, to the entertainment of tourists. After the people of the town make a wax cast of his body for their mass-produced sculptures resembling Christ, the Thief journeys up a mysterious red tower and meets an Alchemist (Alejandro Jodorowsky), who leads the Thief on a path of enlightenment. Jodorowsky has a way of creating original religious iconography. His film uses entracing music, symbolic characters, and surreal visuals in order to dissociate the viewer from common religious beliefs and typical cultural values. Jodorowsky immerses the viewer in his own world, an amalgam of mystical philosophies.
13. Fantastic Planet (La Planète sauvage) (1973) dir. René Laloux
This French/Czechoslovakian animated film introduces a strange, alien world in which tiny humans are governed by large humanoid creatures within a desert landscape brimming with monstrous exotic animals. This psychedelic science fiction adventure enmeshes the viewer into its bizarre microcosm. In this realm, humans, known as Oms, live in tribes in the wild, while the large blue humanoid creatures with unblinking red eyes, known as Traags, control the planet. One day, a few young Traags are playing with an Om and her infant child. Things get a little rough and the Om is killed, leaving her orphan son.A young Traag named Tiwa is passing by with her father and asks to take the baby Om home as a pet, to which her father agrees. Tiwa raises her pet Om, naming him Terr, and begins to form a strong bond with him. As Tiwa recieves her daily lessons through a portable headset, Terr listens and discovers the history behind Oms and Traags. He escapes with the headset, joins a group of Oms, and educates them, leading to an Om uprising.Laloux’s imaginative story serves as a socio-political allegory, perhaps alluding to the Soviet forces controlling Eastern European states at the time. Regardless, the creative cut-out stop motion animation, with its foreign landscape, freakish creatures, and occasional hallucinagenic movement creates an eccentric head trip of a film.
14. The Wicker Man (1973) dir. Robin Hardy
This 1973 British cult film is experimental at its core as it plays with genre expectations, which baffle its viewer, and create an unusual filmic experience. One part investigative suspense, one part musical, and one part psychological horror, The Wicker Man infuses ancient pagan practices into the story of a police officer uncovering the mystery of a lost Scottish girl. A young girl named Rowan Morrison is reported missing on a Scottish island called Summerisle and Sergant Howie (Edward Woodward) goes to investigate. Once on the island, Howie, who is a pious Christian saving himself for his wedding night, is shocked by the sacreligious pagan beliefs carried on by the people of the island. They are sexually free and seem to communicate mainly through song. Undetered, Howie attempts to get to the bottom of the Rowan Morrison disapperance, but instead finds himself delving deeper into Summerisle’s traditions of Druidism. Robin Hardy has no problem experimenting with style in storytelling and genre. The folk music in the film acts as a storytelling device, mainly by issuing information subconciously to the protagonist (and the audience) as to the pagan belief systems that exsist on the island. The Wicker Man’s soundtrack is well known to folk music fans, and may have influenced later psychedelic folk (a song from the film is included on a Psychedelic Folk compliation A Monstrous Psychedelic Bubble Exploding in Your Mind: Volume 1). Genre in the film is not clear cut, as it experiments with multiple tools from various genres. The aforementioned musical aspects mixed with the unsettling suspense and dark religious undertones yields a compelling and unique movie experience.
15. 3 Women (1977) dir. Robert Altman
Robert Altman’s enigmatic film captures the subtle strangeness of his characters within a destitute desert landscape. The psychedelic aspect of the film comes out in its ethereal tone, which, from start to finish, remains somewhat unsettling. The eerie music combined with the dreamy performances result in an otherworldly feel that sticks with the audience even after the film has ended. The film begins at a health spa for the elderly and disabled, where Pinkie Rose (Sissy Spacek) is starting work. She meets Millie Lammoreaux (Shelley Duvall), and answers Millie’s ad for a roommate. Somewhat spaced-out, Pinkie struggles to appease Millie, who herself struggles for the attention and popularity she feels she deserves. The two of them regular a local bar/shooting range where the bar owner, Edgar (Robert Fortier), and his wife Willie (Janice Rule) live. The very pregnant Willie quietly paints ominous murals while Millie vies for the attention of the drunken Edgar. After a failed suicide attempt on the part of Pinkie, the dynamics (and identities) of the women begin to shift. The film reportedly was inspired by a dream Robert Altman had, which he adapted into a screenplay, and filmed, with the complete financial support of 20th Century Fox due to the director’s reputation. Altman achieves his dream-like state in this film, with its illusive characters, moody music, and exquisite direction.
16. Suspiria (1977) dir. Dario Argento
With its expressionistic production design and creepy soundtrack from Italian prog rock band Goblin, Argento’s cult classic is as trippy as it is eerie. A young American ballet dancer, Suzy (Jessica Harper), moves to Germany to join a reknown ballet academy. However, upon arrival she realizes something at this school is awry: when she rings the front buzzer for entry, a mysterious woman doesn’t let her in, and that night two women are brutally murdered. After a weird encounter with one of the academy’s servants, Suzy faints. Things only get weirder during the course of the film with a variety of strange occurances and more mysterious deaths. The film’s striking colors (especially the vivid reds), Art Nouveau-inspired architecture, and chilling musical score create a stylish and frightful hallucination.
17. Nosferatu: Phantom of the Night (1979) dir. Werner Herzog
Werner Herzog’s remake of the classic vampire tale takes the time-honored story to another level with his darkly poetic and hypnotic film. Herzog’s Dracula, played by the fascinating Klaus Kinski, is characterized as more of shriveled old man yearning for love than a fierce blood-thirsty monster. This interpretation of the character gives the film a poetic depth, which along with the trance-like music of Popul Vuh and gorgeous dreamy landscapes makes the film an entracing, meloncholic fantasy. Jonathan Harker (Bruno Ganz), a real estate agent from Wismar, Germany travels to Transylvannia to meet Count Dracula and finalize the documents for the Count’s purchase of an estate in Wismar. On his travels, he is warned by local townfolk not to venture any further because of rumors that the Count is a vampire. Jonathan brushes them off as superstitious and continues on his journey. Meanwhile Lucy (Isabelle Adjani), Jonathan’s newly married wife, suffers night terrors that seem to signify to her immanent doom. While doing business at Dracula’s estate, Jonathan’s locket with a picture of Lucy opens, and the ghostly Count becomes enchanted by her image. Growing increasingly unsettled by the Count’s strange behavior, such as trying to lick the blood off a fresh cut, Jonathan investigates the Count’s castle and finds him asleep in a coffin. Jonathan escapes the castle, but the Count follows close behind, eager to arrive at his newly purchased estate and meet Lucy in person. Kinski’s expressive moon-faced Count Dracula cross-cut with Adjani’s terrorized Lucy gives the viewer the impression that the two are metaphysically linked, even before they share the screen. This mystical bond the two share add to the dream-like aspects of the film. The misty landscapes that permeate the film’s cinematography similarly place the viewer within this hypnotic countryside, set to the spellbinding score by the German avant garde band Popul Vuh. Nosferatu: Phantom of the Night is a mystic reverie that transports the viewer into that bewitching limbo between dreaming and wakefulness.
18. Altered States (1980) dir. Ken Russell
Ken Russell’s foray into the science fiction genre explores the mystical experience of one man’s hallucinations and the concept of these hallucinations becoming phyisically manifest. The film’s psychedelic sequences are vivid visual representations of the protagonist’s psychological devolution into increasingly primative forms of being. A psychologist, Edward Jessup (William Hurt), fascinated with altered states of consciousness, undertakes a scientific experiment wherein he takes hallucinatory drugs while in a sensory deprivation tank. The combination of an untested Native American drug and sensory deprivation cause him to mentally and physically degenerate from man to proto-human to primordial being. The sequences depicting Jessup’s hallucinations utilize bright colors and fast editing in order to show the viewer his altered sensory perceptions. We see religious and primal symbology, suggesting Jessup’s spiritual associations with his memories and unconcious thoughts. Toward the end of the film, his hallucinations become a wild daze of microscopic cellular movement. Altered States is an excellent melding of science fiction and psychedelia in film. The surreal imagery adds insight into the consciousness of the main character while under the influence of his mind-altering experiences. There is a certain level of suspense during Jessup’s transformations, which make it hard for the viewer to determine what is real and what’s imagined.
19. Son of the White Mare (Fehérlófia) (1981) dir. Marcell Jankovics
This 1981 Hungarian animation uses bright colors, symbolic, geometric shapes, and pulsating movement to tell the mythic tale of a man with superhuman strength, Fehérlófia, born from a white horse. The film, abundant with allusions to ancient Hungarian history and folktales, visually captures the magic embedded in fairy tales. We follow Fehérlófia through his heroic journey to exact revenge on the dragons that imprisoned his mother years prior. The film begins with his mother running for shelter and giving birth to him in the hollow of a tree. She tells her young son the story of how evil dragons overcame the magic kingdom and imprisoned her. After having two sons, who disappeared from the eyes of the dragons, she escaped, pregnant with Fehérlófia. As he grows older, Fehérlófia receives advice from the spirit of the Forefather to suckle at his mother’s breast for 14 years in order to become strong. At the end of the 14 years, his mother dies of exhaustion and he leaves home with his newfound strength to find his long lost brothers. The three of them then journey to the underworld to find the dragons who jailed their mother. The striking, prismatic visuals lead us through this adventure rich with folkloric archetypes and symbolism. Jankovics creates a magical world with this fantastic story told through the colorful, psychedelic animation. The entirity of this film is one swirling mass of sensory delight.
20. Come and See (Idi i smotri) (1985) dir. Elem Klimov
This twisted coming of age tale illustrates the horrors of war as seen and heard by a Belarussian boy during the Nazi occupation of the Soviet Union during the Second World War. The film’s haunting imagry and sound design appropriately places the viewer in the vulnerable position of the impressionable young man as he sees his village viciously destroyed. Flyora (Aleksei Kravchenko) is digging in the sand, looking for a rifle in order to join the Soviet forces. Once he finds his weapon, the wide-eyed youngster marches off to become a soldier, much to the dismay of his mother. On his troop’s first mission, Flyora is left behind with a beautiful young woman, Glasha (Olga Mironova), the troop’s nurse. German warplanes circle overhead and drop bombs on their camp site, deafening Flyora. The film follows Flyora as he journeys back to his village, only to find it ravaged and occupied with sadistic Nazis. Once Flyora loses much of his hearing, the film takes a drastic turn, using warped sounds to mimic the sounds Flyora can hear. The drone of the airplanes overhead, the muffled voices of the people around him, and imagined radio broadcasts create the symphony of sound that permeate Flyora’s broken psyche.At the start of the film we are presented with a bright eyed, bushy tailed boy ready for the adventures of war. However, we are only to see him traumatized and prematurely aged; he is driven mad by the terrors of death. The sound design mixed with the powerful performances (which oftentimes break the fourth wall) create a living nightmare that enmeshes the audience within the tortured mind of Flyora.
21. Dead Man (1995) dir. Jim Jarmusch
Jim Jarmusch’s atmospheric, existential western takes the viewer on the lonely, dreamy journey (accompanied by the sparse, electric strummings of Niel Young) of William Blake (Johnny Depp) as he finds himself wandering through a forest, led by a Native American named Nobody (Gary Farmer).William Blake comes to the rusty industrial town of Machine with the prospects of a job. After his job falls through, he kills a man out of self-defense, and wounded, steals a horse and rides out of town. Nobody finds him unconcious in the woods and after learning William Blake’s name, thinks he is a reincarnation of the Romantic poet. William Blake takes a spiritual journey with Nobody through the white winter forest, realizing his place as a “dead man.”Jarmusch himself dubbed the film a “Psychedelic Western,” and Dead Man lives up to the name through the use of Robby Müller’s exquisite, otherworldly black and white photography, Niel Young’s intense, yet minimal, music, and the philosophic musings of the characters.
22. Fear and Loathing in Las Vegas (1998) dir. Terry Gilliam
Based on Hunter S. Thompson’s novel (using semi-autobiographical events), Fear and Loathing in Las Vegas takes the viewer on a two hour psychedelic trip to the heart of debauchery. Consisting mostly of distorted caricatures and hallucinations, the film successfully envelops the viewer in the drug-fuelled reality of the characters. Hunter S. Thompson’s alter-ego Raoul Duke (Johhny Depp) and his attorney, Dr. Gonzo (Benicio del Toro) take a road trip to Las Vegas from Los Angeles on the assignment of covering the Mint 400 motorcycle race. The pair feast upon their collection of illegal drugs, making their stay in Vegas memorable (well, from what they can remember). Duke narrates their indulgent exploration, bringing up themes of the American Dream.In what could be considered the director’s cult masterpiece, Gilliam distorts the reality of the characters to the point of ridicule. As Duke and Gonzo cavort through the extravagant city of Las Vegas, with a multitude of drugs turning an already bizarre environment chaotic, they hit upon the emptiness of American culture.
23. Requiem for a Dream (2000) dir. Darren Aronofsky
Aronofsky’s melodramatic tragedy is a brutal tour de force. Depicting the mountainous highs and devastating lows of drug use and addiction, Requiem for a Dream goes far beyond any other cautionary tale with its horrifyingly distorted visuals, heartbreaking scenarios, and epic musical score. The film follows four characters, Harry (Jared Leto), his mother Sara (Ellen Burstyn), Harry’s girlfriend Marion (Jennifer Connelly), and Harry’s best friend and drug dealing partner Tyrone (Marlon Wayans). Each character struggles to accomplish his or her ambitions, but is ultimately overtaken by their drug addition: Harry, Marion, and Tyrone to heroin and Sara to amphetamines in disguise as diet pills. Aronofsky amplifies the drug use with continual close up shots of the characters injecting or ingesting their drug of choice. We see the routine that begins to develop and how it leads to the characters’ ultimate downfall. Visual and auditory hallucinations abound as the characters all try to maintain a grasp on their goals and in some instances, reality. Each characters’ descent is illustrated beautifully with Aronofsky’s masterful direction, with his emphasis on the distortion of reality that comes with drug use.
24. Enter the Void (2009) dir. Gaspar Noé
Gaspar Noé’s frightening, hallucinatory masterpiece is a sensory overload of bright lights and neon colors, a swirling soundscape, and unparalled visual effects. Noé’s hardcore mind trip transports the viewer into a phantasmagoric world of life, death, and nightmare. Loosely based on the Tibetan Book of the Dead, the film follows Oscar (Nathaniel Brown), an American, Toyko-based drug dealer and his sister Linda (Paz de la Huerta). Oscar and Linda were orphaned at a young age, when their parents died in a car crash (that they were also in). The two promise to always stick together, and Oscar swears to protect Linda, no matter what. One night, Oscar meets up with his friend Alex (Cyril Roy) on his way to a bar to sell some product to a young guy. The meeting turns out to be a set up, and Oscar is shot and killed by the police. For the rest of the film, Oscar’s spirit floats through the streets of Toyko reexperiencing old memories, watching over Linda and Alex, and delving into alternate versions of reality.Told completely from Oscar’s point of view (the camera mimicks Oscar’s vision and hearing), the film captures every aspect of Oscar’s sensory perceptions, including a five minute DMT trip at the beginning of the film. The maelstrom of dazzling lights, neon colors, and distorted imagry that the viewer encounters both before and after Oscar’s death is nothing short of a tour de force in psychedelic filmmaking.
25. A Field in England (2013) dir. Ben Wheatley
A film made up of only five characters in one location, A Field in England takes the viewer on a psychological trip involving war deserters, witchcraft, and the supernatural. Set during the English Civil War, an alchemist’s assistant, Whitehead (Reece Shearsmith) and three other deserters wander through the English Countryside in search of an ale house. The men come across a mysterious Irishman named O’Niell (Michael Smiley), whom Whitehead soon realizes is the man he was instructed by his master to find in order to obtain some stolen manuscripts. However, O’Niell pursuades the group of men to help him search and dig for a treasure buried in a specific field within a fairy ring, where the men soon unravel. Ben Wheatley (Kill List, Sightseers) incorporates history and folklore into his very simple, yet compelling and extremely psychedelic film. The ancient superstition behind mushroom circles say that all those who enter are transported into a magical (but dangerous) realm.Wheatley plays upon that superstition with psychedelic sequences that include mirroring one side of the frame to the other, and very fast editing which disrupts the viewer’s persistence of vision to the point of assault (there’s even a notice at the start of the film warning the viewer about the “flashing images and stroboscopic sequences”). The film achieves the perfect blend of historical realism and occult psychedelia.
Which one is your favorite?
For a lot of people, consuming weed is a way to tap into creative thinking. If that’s true, then the folks responsible for a new edible product must have consumed a ton of weed. Half Lit cannabis-infused organic lollipops are one of the most creative takes on edibles to hit the market. These lollipops combine getting high with growing weed.
How Does It Work?
The process is super simple.
Eat the THC-infused hard candy.
Plant the stick
Grow Your Cannabis
What Does The Lollipop Contain?
The half-spherical lollipop—designed to look like a half moon—is jam packed with cannabinoids.
The company behind Half Lit cannabis-infused organic lollipops has so far released seven flavors. Lunar Lavender, Watermelon Wonderland, Hot Mama Mango, Calming Caramel Açaí, and Lit Lemonade all come with 25 milligrams of THC.
The seventh flavor, CBD Lunar Lavender, has 25 milligrams of CBD instead of THC. This one is designed for anyone looking for the medical and health benefits of cannabis, but who doesn’t want any psychoactive effects.
According to Half Lit’s website, the hard candies are made with organic, pesticide-free, and non-GMO cannabis. This is important if you have any concerns about weed products that may be contaminated by fertilizers or pesticides that could be harmful.
And while this is already enough to get excited about, it’s only half of what these lollipops have to offer. Once you’re done eating your lollipop and your high is setting in, it’s time to put the stick to good use.
Instead of throwing it away, plant it. The sticks used in Half Lit lollipops have a cannabis seed embedded inside them. When you plant it and start watering it, the stick breaks down so the seed can germinate and begin to grow.
Feed, water, and take care of your plant. In just a few months, you’ll have your own weed plant full of crystal-covered buds.
Addition To The Edibles Scene
Edibles are some of the hottest products on the legal cannabis market. Edibles are popular for a variety of reasons. For starters, it’s a great way to get high—or to use medical cannabis—without having to smoke. If you don’t like the idea of inhaling smoke, but you still want the benefits of cannabis, edibles are a good option.
Similarly, eating edibles is one of the most discreet ways to get high. Edibles also produce a unique kind of high. It takes longer to set in, but when it does, it’s usually super intense. Expect to stay high for a much longer time than you would if you smoked your weed.
Given the huge popularity of edibles, cannabis companies have come up with all sorts of edible and drinkable products. You can buy everything from cannabis-infused soft drinks to chocolates, popcorn, cookies, muffins, and even pizza sauce.
While infusing THC and CBD into hard candies isn’t anything new, Half Lit’s idea of putting it on top of a seed-laced stick is an innovative addition to the edibles scene.
To make the whole thing even better, it’s also a waste-free way to consume weed. After planting your stick and letting it grow into a cannabis plant, there’s nothing left to throw into the landfill.
You won’t be dunking hemp-flavored Oreos into a tall glass of milk anytime soon, but the brand behind some of the country’s favorite munchies is already entertaining the idea of a CBD play.
It seems like everywhere you look these days, from head shops and health food stores to pet shops and trendy coffee shops, CBD is everywhere. Now, the hemp-derived cannabinoid is coming for your grocery store snack aisle.
According to a new report from CNBC, Mondelez, the Illinois-based multinational snack conglomerate behind munchie favorites like Oreo, Nilla Wafers, Ritz, Chips Ahoy!, and more is preparing to dip its spoon in the world of cannabidiol. Like Coca-Cola and other large companies looking to dive into CBD, though, Mondelez CEO Dirk Van de Put has said that the brand will enter the world of weed with caution.
“Yes, we’re getting ready, but we obviously want to stay within what is legal and play it the right way,” Van de Put said Wednesday on the CNBC show “Squawk on the Street.”
Since Donald Trump signed the 2018 Farm Bill into law last year, it is technically legal to produce and distribute CBD products made from hemp plants with less than 0.03% THC across America. But because the FDA has not yet set clear standards for the production of food and beverages made with hemp cannabidiol, the edible CBD market is still fraught with lingering questions and complications.
“The space is not clear,” Van de Put said. “It’s a bit clearer in non-food products. In food products, I’m hoping that the FDA will bring some clarity in the coming months.”
If Mondelez does get into the CBD game, Van de Put made it clear that the company will not be rolling out hemp-flavored Oreos anytime soon. He noted that the weed-adjacent product might be too risque for its “family” brands, and could be used in other product lines, or in a new snack altogether. In addition to Oreo, Nabisco, and Chips Ahoy!, Mondelez owns Toblerone chocolate, gluten free cookie company Tate’s Bake Shop, and a huge variety of other food-related brands.
Taken properly, CBD has been known to reduce anxiety, encourage relaxation, help inflammation, and promote a number of health benefits. It is not exactly clear how the benefits of CBD will transfer to a serving size of cookies or chips, but Van de Put told CNBC that Mondelez is currently investigating the cannabis compound and its potential benefits if added to their products.
So next time you’re perusing the supermarket shelves and you see those three familiar letters popping off a bag of cookies or a pack of crackers, don’t say we didn’t warn you.