Праздники у хиппи

Недавно мы рассказывали о современных хиппи, их философии, мировоззрении и самых известных коммунах и поселениях, куда можно приехать и поближе познакомиться с культурой “детей цветов”.

Единение с природой, жизнь в мире и согласии и любовь к свободе и творческому самовыражению – основные принципы идеологии хиппи – воплотились в традиции проведения музыкальных фестивалей, зародившейся в 1966 году. О самых крупных и известных из них мы расскажем в этой статье. 

Bonnaroo Music Festival

Bonnaroo Music and Arts Festival – ежегодный четырехдневный фестиваль под открытым небом, который проходит с 2002 года на территории Грэйт Стейдж Парк в Манчестере (Теннесси, США). Фестиваль традиционно начинается во второй четверг июня. На нескольких сценах с полудня и до рассвета проходят концерты живой музыки самых разных жанров: инди-рок, хип-хоп, джаз, американа, кантри, фолк, госпел, регги, поп – список можно продолжать.

За годы существования фестиваля на его сцене выступали такие легенды музыки, как Red Hot Chili Peppers, Radiohead, Tom Petty and the Heartbreakers, Phish, Bob Dylan, Willie Nelson и многие другие. В перерывах между концертами скучать тоже не приходится: можно посетить ярмарку ремесел и приобрести товары, изготовленные своими руками, принять участие в многочисленных воркшопах или позаниматься йогой, сходить на дискотеку или посмотреть кино и даже покататься на колесе обозрения. Ежегодно фестиваль принимает около 100 тысяч гостей.

По теме: Экопоселения: европейский опыт

Burning Man

Burning Man – ежегодный фестиваль, проходящий в пустыне Блэк-Рок, штат Невада.

Это социальный и художественный эксперимент, основы которого заложены в 10 главных принципах, включающих “радикальную” вовлеченность в жизнь сообщества, самостоятельность и самовыражение, кооперацию и уменьшение ущерба для окружающей среды.

Впервые фестиваль прошел в 1986 году на Baker Beach в Сан-Франциско – тогда это было совсем небольшое мероприятие, организованное Ларри Харви с группой единомышленников. С тех пор он проводится ежегодно между последним воскресеньем августа и первым понедельником сентября: так, Burning Man 2016 прошел с 28 августа до 5 сентября.

Burning Man – современное выражение альтернативной культуры, близкое по духу к мероприятиям хиппи. Фестиваль ежегодно превращает участок пустыни в настоящий город с причудливыми кемпингами, арт-объектами и художественно оформленными транспортными средствами. Участники выражают свою индивидуальность через необычные и яркие костюмы, частью которых практически всегда становятся защитная маска и очки – в пустыне нередки песчаные бури.

По слухам, с Burning man связана идея выкупа 4000 акров земли и образования на этой территории постоянной коммуны, живущей по принципам и законам фестиваля. Некоторые источники называют в качестве инициаторов изобретателя Илона Маска и основателя Google Сергея Брина. Таким образом, у ежегодного мероприятия есть все шансы однажды превратиться в бесконечный праздник.

Oregon Country Fair

“Хиппи не исчезли – они просто переехали в Орегон” – так говорят в этом штате, где хиппи чуть ли не больше, чем остального населения, а отношение к ним самое дружелюбное. Особого внимания заслуживает город Юджин, в свое время ставший вторым домом для легендарной рок-группы Grateful Dead.

В Юджине провел свои студенческие годы и называл его своим родным городом Кен Кизи, которому здесь установлен памятник. Скульптурная композиция «Рассказчик» (Storyteller) изображает Кизи читающим книгу своим внукам.

В окрестностях города Венета, в 15 милях к западу от Юджина, каждый год проходит одно из главных событий хиппи – Oregon Country Fair (OCF) – трехдневная ярмарка, история которой началась с расцветом движения хиппи – в 1969 году. Организованная для сбора средств для школы, костюмированная ярмарка превратилась в центр альтернативного искусства и представлений, а в 1972 и 1982 годы принимала концерты Grateful Dead.

Oregon Country Fair традиционно проходит во второй уикенд июля. Здесь можно посмотреть выступления музыкантов, артистов и фокусников, попробовать вкуснейшую экологическую еду, а также приобрести сувениры, украшения и предметы искусства, сделанные своими руками.

Каждый год мероприятие, известное своей контркультурной направленностью и заботой об окружающей среде, посещает более 45 тысяч людей.

Starwood Festival

The Starwood Festival – семидневный неоязыческий фестиваль, посвященный культурному разнообразию, альтернативному образу жизни, духовным практикам и верованиям.

В 2016 году мероприятие прошло 12-18 июля на территории Wisteria Campground and Event Site в городе Померой, Огайо.

Участники живут в кемпинге и участвуют во множестве воркшопов, классов и церемоний под руководством известных преподавателей. Воркшопы делятся на пять групп: «Новые рубежи», «Магия и дух», «Музыка, ритм и движение», «Ремесло и творчество», «Здоровье и исцеление» и включают в себя как эзотерические руководства, так и неожиданно прагматичные курсы вроде «Создания собственного бизнеса».

Также проводятся музыкальные live-концерты местных талантов и исполнителей мирового уровня. Неделю танцев, игры на барабане и других инструментах, презентаций и прочих мероприятий, не последнее место среди которых занимает общение и обмен опытом с самыми необычными людьми, увенчивает костер, который традиционно собирает вокруг себя участников фестиваля в субботнюю ночь.

Rainbow Gathering

Rainbow Gathering – ежегодное собрание единомышленников во многих странах мира. Они следуют идеалам мира, любви, уважения, гармонии, свободы и человеческого единства и позиционируют себя как альтернативу потребительскому обществу, капитализму и господству масс-медиа. Примкнуть к «Семье Радуги» может любой желающий.

Первое Собрание племен Радуги (Rainbow Gathering of the Tribes) произошло в Колорадо в июле 1972 года и продлилось четыре дня, объединив более 20 тысяч людей вопреки протестам полиции. С тех пор мероприятие проводится регулярно, собирая всевозможных представителей контркультурных движений, нью-эйдж и хиппи.

Их идеологические корни можно найти в утопических традициях XIX века – и в «пророчествах индейцев хопи», предрекающих появление на «заболевшей» Земле племени «Воинов Радуги», которое объединит людей разных культур, верящих в дело, а не в слово, и исцелит мир. Некоторые считают пророчество журналистской фикцией, но индейские ритуалы и традиции прочно легли в основу движения, которое с тех пор разрослось и впитало в себя этнические особенности множества культур.

Несмотря на то, что местные жители часто негативно относятся к этим собраниям, а СМИ еще с 1980-х годов пренебрежительно называют Семью Радуги «постаревшими хиппи» и акцентируют внимание на самых спорных сторонах сообщества – наркотиках, нудизме, происшествиях и так далее – Rainbow Gatherings существуют вот уже 40 лет, оставаясь международным феноменом.

Российская радуга

Российская Радуга — региональное ответвление Rainbow Gathering и крупнейшее собрание хиппи и других представителей контркультуры в России. Она проводится с 1990 года в разных регионах страны и достаточно сильно отличается от своих западных аналогов. В частности, это в меньшей степени эзотерическое и нью-эйдж движение и в большей – просто палаточный лагерь единомышленников со своими обычаями и традициями. Здесь собирается молодежь, верящая в гармоничный мир, общечеловеческие ценности, любовь и понимание, заядлые путешественники и те, кто желает расширить свои горизонты, вырвавшись из привычной обстановки. Не все из участников причисляют себя к движению хиппи, но это мероприятие определенно близко по духу к фестивалям 1960-1970-х годов.

Обычно в год Радугу посещает около 2-3 тысяч человек. Помимо Радуги, российские хиппи собираются на фестивалях «Пустые Холмы», «Чаща всего», «ИнЛакЕш» и других.

Mystic Rising

Фестиваль Mystic Rising появился 17 лет назад на горячих источниках Велспрингс в Эшленде – все в том же «хиппейском рае» Орегоне. Его ключевые темы – здоровый образ жизни, забота об экологии, гармония, творчество и самопознание через духовные практики. В этом году на нем выступят Chris Berry & Bana Kuma Orchestra, Freedom Tribe, Jah Levi, Sasha “Butterfly”, Bhagavan Das и многие другие, также организуется множество мастер-классов, церемонии, танцы и уроки йоги. По мнению организаторов, опыт пребывания на всевозможных фестивалях, собраниях и мероприятиях и общение с единомышленниками может открывать участникам новые горизонты, учить их прислушиваться к себе и жить более яркую и здоровую жизнь.

В 2016 году фестиваль состоится уже в десятый раз. Он прошло 5-7 августа.

Electric Forest

Electric Forest Festival – четырехдневное многожанровое мероприятие, на котором выступают в основном электронные и jam-группы.

С 2008 года он традиционно проводится в Ротбери, Мичиган, на территории курорта Double JJ, и изначально назывался Rothbury Festival. Несмотря на то, что участники живут в кемпинге, условия более чем привлекательные, а поблизости находятся поле для гольфа, озеро и аквапарк. Фестиваль продолжает психоделическую традицию, заложенную еще «Кислотными тестами» Кизи: те, кому посчастливилось там побывать, сравнивают его с «Алисой в Стране чудес» и фильмами Тима Бертона. Неоновая подсветка леса создает галлюциногенный эффект не хуже пресловутых ЛСД и превращает Electric Forest в очень атмосферное мероприятие.

В 2015 году на фестиваль приехало более 45 тысяч посетителей.

Beloved Festival

Очередное орегонское мероприятие – музыкальный Beloved Festival, проходящий у небольшого городка Тайдуотер к западу от Корваллиса. Фестиваль длится четыре дня и посвящен всему «святом и божественному».

Все ожидающиеся группы, от Total Experience Gospel Choir до DJ Anjali и the Incredible Kid, так или иначе можно отнести к формам «священной музыки», служащей для духовного поиска и объединения сообщества. «Расцвет электронной танцевальной музыки в наше время стал для миллионов людей языком их народа, места и времени», – считают организаторы.

В отличие от большинства современных фестивалей, организующих концерты на нескольких сценах, на Beloved Festival сцена только одна. По мнению организаторов, сцена – это эпицентр фестиваля, который должен аккумулировать энергию на всей его протяженности, вместо того чтобы позволять ей рассеиваться в разных направлениях.

Немузыкальная часть фестиваля разделена между разными видами экспериментального искусства. Известными писателями, мыслителями и художниками будет проведена серия лекций и мероприятий с такими интригующими названиями, как «Руководство квантового активиста по социальному предпринимательству» и «Знакомство с водой». И, конечно же, в программе фестиваля много разнообразных уроков йоги.

Фестиваль прошел 12-15 августа 2016 года.

Shangri-La

«Шангри-Ла известна как мифическая утопия и рай на земле, изолированная от окружающего мира страна, где люди вечно молоды, вечно счастливы и практически бессмертны. Это место великой красоты и умиротворения» – пишут организаторы этого фестиваля, ставя себе целью хотя бы на один уикенд перенести участников в эту волшебную страну.

Wookiefoot, Nahko and Medicine for the People, Stick Figure, The Flobots, TAUK и другие заявлены в списке исполнителей, которые должны превратить трехдневный фестиваль в незабываемое переживание.

Ближайшее мероприятие состоится 8-10 сентября в Harmony Park, Кларкс Гроув, Миннесота.

Gathering of the Vibes

Gathering of the Vibes (GOTV) – ежегодный четырехдневный фестиваль-кемпинг, посвященный музыке и искусствам.

Фестиваль восходит к традициям легендарных Grateful Dead, вокруг которых образовалась целая фан-субкультура Deadhead. Смерть вокалиста группы Джерри Гарсии в 1995 году стала ударом для многих фанатов, поэтому идея мемориального концерта под названием «Deadhead Heaven – A Gathering of the Tribe» была встречена с большим энтузиазмом и вскоре превратилась в ежегодный фестиваль «Gathering of the Vibes».

С 1996 года GOTV собирает множество групп, выступающих в жанре рок, фанк, блюграсс, джаз, регги, R&B и фолк. На двух главных сценах музыка не смолкает весь день и большую часть ночи, а если прогуляться по береговой линии, можно послушать самых талантливых исполнителей северо-востока США на Green Vibes Stage.

В промежутке между концертами следует заглянуть на местную Shakedown Street. Такие пространства, названные в честь песни Grateful Dead, встречаются на многих фестивалях – как правило, на парковках. Исторически это было место, где фанаты Grateful Dead и Phish продавали и обменивали всевозможные вещи, от предметов одежды до наркотиков, чтобы заработать денег на следующий концерт или бензин – так им удавалось проводить в поездках долгие месяцы. Кроме того, такая торговля между участниками фестиваля играла объединительную роль, предоставляя фанатам площадку для общения и дискуссий. Сейчас там можно приобрести сувениры и предметы искусства, произведенные вручную.

Следующий фестиваль Gathering of the Vibes пройдет в 2017 году.

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Вечный праздник: волонтерство на карнавалах

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Виктория Позднякова

Содержание:

• Оформление
• Фотозона
• Пригласительные
• Костюмы
• Меню, сервировка
• Развлечения

Духовная свобода и телесная раскованность, единение с природой и позитивный настрой. Нет соперничеству. Нет запретам. Нет разрушениям. Вечеринка в стиле хиппи – оригинальная тема для проведения любого праздника в кругу друзей. Особенно на природе, в объятиях леса, на день рождения у воды или в атмосферном сельском домике.

Оформление

Начните оформление с организации пространства: мусорная корзина, костер, туалет, зона отдыха. Проникнитесь духом субкультуры – отношение к Природе должно быть бережным. Уголь привезите с собой или наберите сушняка, ведь рубить деревья совсем не в стиле хиппи. Декор для вечеринки закрепляйте веревками или скотчем, не используя гвозди.

Если планируете остаться на ночь, прихватите с собой теплые одеяла и позаботьтесь о месте для палаток, индийских типи или тенте. Можно взять напрокат или сделать своими руками из яркой ткани, цветастых платков.

Для комфорта, если не хочется сидеть на пледах/бревнах, привезите с собой мебель из ротанга. Пластиковые столы/стулья задрапируйте тканью с этническим орнаментом. Разложите яркие подушки, разбросайте марокканские и полосатые «бабушкины» коврики.

Украсьте деревья бумажными фонариками, гирляндами – цветочными, тематическими из бумаги, электрическими на батарейках. Расставьте большие свечи в глиняных/деревянных плошках. Иллюминация на вечеринке будет весьма эффектной!

Можно украсить бутылки наклейками, раскрасить акрилом – силуэты хиппи, цветы, кляксы, символ пацифистов. Или просто покрасить бутылки/банки, чтобы свет получился цветным. Такие «подсвечники» можно использовать и в доме, расставив по комнате или развесив под потолком.

Погода не располагает к отдыху на свежем воздухе? В помещении хиппи-декор тоже уместен, ведь дети цветов не все время проводили под открытым небом. Только уберите лишнее, по возможности. Почти все следующие идеи для хиппи вечеринки можно воплотить и на природе, если описанного выше недостаточно.

• спрячьте громоздкие шкафы, современные обои. Для этой цели используйте фото хиппи 60-х, легендарных Rolling Stones и Beatles, тематические постеры, плакаты. Нарисуйте абстрактные картины в стиле хиппи – для вечеринки подойдет даже ватман с психоделическими разводами/кляксами. Если «кислотность» нежелательна, нарисуйте яркие цветы, солнце, облака;

Слишком яркие «кислотные» цвета – это скорее утрированное представление. Хиппи ценили натуральность, близость к природе. Но для стилизации можно выбрать и этот вариант. Только без перебора – обилие кричащих оттенков порой создает давящую атмосферу.

• украсьте потолок гирляндами ленточек, бумажных картинок (автобус, гитара, пацифика), помпонов, ватных облаков. Для антуража хаотично закрепите на гирляндах фенечки, деревянные бусы, нити бисера, кусочки джинсовой ткани, кисточки, монетки;

• замените текстиль натуральными тканями, разложите яркие подушки, коврики. То, о чем мы уже говорили выше;

• расставьте живые цветы, идеально – горшечные, не срезанные. Можно своими руками раскрасить в стиле хиппи небольшие кадки/ящики, насыпать земли и посадить растения. Получится оригинальный декор для вечеринки – яркий и целиком в тему;

• используйте в оформлении элементы, намекающие на тематику праздника: фигурки хиппи, индийские статуэтки, ловцы снов, картонные музыкальные инструменты и т.п. Отлично впишутся лавовые и ароматические лампы, кальян (необязательно курить, просто для антуража). Замечательно, если удастся найти гитару, барабан, губные гармошки, маракасы и другие этнические инструменты – пригодятся для фото и развлечения гостей;

• принесите пару настольных ламп и торшер, с абажурами под ретро. О свечах мы говорили выше. Верхний свет приглушите (бумажные, плотные тканевые чехлы на плафоны).

Фотозона

Подготовьте для друзей забавные аксессуары на палочках-держателях, с ними фото получатся оригинальными и веселыми: картонные очки, губки, пацифика, таблички с лозунгами. Для тематической вечеринки в стиле хиппи фотозону можно организовать так:

• цветастый микроавтобус Volkswagen. На день рождения можно арендовать настоящий и, прямо как хиппи, покататься по городу! А можно просто нарисовать его на плотном картоне, вырезать окошки, поставить сзади опоры;

• фон с хиппи-узорами, разводами, цветами, радугой. Повесьте несколько гирлянд, хаотично напишите «Make love, not war», «Hell No, We Won’t Go!» и другие лозунги. Можно нарисовать известных хиппи или музыкантов 60-х, вырезать окошки лиц – получится тантамареска;

• отличной фотозоной станет хиппи-палатка или типпи. Цветные платки, коврики, подушки, гитара, блюдо фруктов – стилизованный этнический декор. Ее легко соорудить в одном из углов помещения. Перед типпи пусть «горит» картонный костер. Помимо фото, тут смогут отдохнуть гости вечеринки.

Пригласительные

Приглашение на хиппи-вечеринку должно быть ярким, тематически узнаваемым – тот же автобус, гитара, палатка. Нарисуйте или распечатайте картинку, приклейте на основу. Можно вырезать символ пацифистов, написать текст по кругу.

Вместо обычного бумажного приглашения можно сделать миниатюрные топиарии, а текст написать прямо на горшочке. Или отправить друзьям почтовых голубей (символ мира). Конечно, не настоящих – фигурки или открытки, сделанные своими руками.

Костюмы

Главные принципы стиля хиппи – одежда должна быть удобной, не сковывающей движений, преимущественно из натуральных тканей. Цвета костюмов лучше выбирать яркие, но природные – «кислотными» были украшения, и то не всегда. Приветствуется смешение этнических стилей, бохо, творческая небрежность.

Модно одеться на вечеринку в стиле хиппи не составит труда – сегодня это направление очень популярно! Девушкам подойдут длинные юбки, свободные сарафаны, туники. Парням – легкие рубашки, туники, футболки. Независимо от пола, актуальны майки, жилеты, джинсы, свободные штаны, клеш. Обувь – босоножки, сандалии, мокасины, сапоги.

Косметику хиппи не уважали – это не натурально, производство вредит Природе, да еще и бедные лабораторные животные! Поэтому макияж лучше nude, совсем-совсем натуральный. Прическа без сложных деталей, естественной формы (тоже «nude»).

Помимо одежды, не забудьте аксессуары в стиле хиппи. Их легко собрать/сплести своими руками. Украшения носили все, независимо от пола:

• хайратник, не дающий волосам лезть в глаза. Плетеный из кожи, полосок ткани;
• этнические бусы, подвески на шее;
• много разноцветных фенечек/браслетов на запястьях и щиколотках, если обувь открытая;
• серьги из перьев, бисера, деревянных бусин. Драгоценные камни и металлы неуместны – хиппи презирали материальные ценности. А вот фурнитура под серебро и полудрагоценные камни целиком в стиле;
• платок на шее или вокруг талии, сумка с бахромой, круглые ретро-очки с цветными линзами.

Меню, сервировка

Для тематической вечеринки оформлять стол в стиле хиппи… не надо вообще! Конечно, если вам интересна достоверность. Да и от стола можно избавиться, заменив его накрытой «поляной», будто вы на пикнике. На природе тем более не стоит устраивать пышное застолье – хиппи скромно питались, считая чревоугодие недостойным их культуры (а может, просто денег не всегда хватало?).

Если все-таки стол, то накройте его льняной скатертью. Расставьте полевые цветы, глиняные блюда, разномастные вазочки, металлические емкости. Должно сложиться впечатление, будто посуду собирали тут и там, с каждого «по нитке». Уместна одноразовая посуда, но обязательно картонная – пластик вреден Земле.

Хиппи любят создавать что-то своими руками. Например, можно подарить вторую жизнь виниловым пластикам – атмосферный декор:

С другой стороны, речь идет о вечеринке. Поэтому в стиле хиппи можно украсить буквально все! Получится сумасшедше-ярко, особенно если накупить всего и побольше. Наборы посуды, шары, скатерти, трубочки, карточки для оформления блюд, наклейки – все есть в магазинах для организации вечеринок.

Над меню ломать голову не стоит. Изысканные блюда и гастрономические шедевры не в стиле детей цветов. Простые идеи:

• меню хиппи – натуральная еда, много овощей и фруктов, любые напитки. Все самобытное, даже деревенское;

• подача такая, будто вы на природе – в общих больших тарелках, на подносах (горками, рядочками);

• конфеты в ярких фантиках положите в прозрачные банки, украсьте блюда конопляными листочками (бутафорскими);

• горячее и салаты можно раскладывать прямо из кастрюли;

• придумайте некоторым угощениям названия, сделайте таблички: «Радужное настроение», «Не грусти – похрусти!», «Может содержать следы запрещенных веществ»;

• на день рождения закажите торт в стиле хиппи – вкусный сюрприз имениннику и всем гостям!

Развлечения

Один из главных постулатов хиппи – никакого соперничества. Но так как это вечеринка, можно добавить в сценарий пару-тройку конкурсов. На дружеской ноте, без награждения победителей. Памятные мелочи лучше вручить в конце вечеринки, всем гостям.

Зажигательная и расслабляющая музыка в стиле хиппи создаст неповторимую атмосферу! Легендарные Beatles и Rolling Stones, The Doors, Grateful Dead и другие популярные группы 60-х. Из нашего – музыка и песни групп «Машина времени», «Ковчег», Калинов мост», «Аквариум». Несколько композиций инди, регги, джаз, блюз, этническая музыка – выбор огромен.

Музыка для хиппи – способ самовыражения. Любые исполнители подойдут, если их песни отражают вкусы и настроение вашей компании.

Непременно спойте наш супер хиппи-гимн из «Бременских музыкантов». Мультик создавался под влиянием именно этой субкультуры и группы Битлз:

Весь сценарий вечеринки в стиле хиппи может быть построен на творческих развлечениях:

• пойте под гитару и караоке, танцуйте, сочиняйте тематические тосты;

• все вместе раскрасьте футболку в технике тай-дай. На день рождения напишите поздравления поверх украшенных своими руками джинсов, майки или платка;

• можно украсить бутылку или шкатулку, собирайте бусы, плетите фенечки и хайратники, делайте обереги, раскрасьте игрушечный автобус или настоящую гитару.

Конкурсы, как мы уже говорили, без особого соперничества. Несколько идей для сценария:

Посвящение в хиппи

Для разогрева проведите викторину на знание темы. Вопросы такого рода: кто на фото (известные хиппи, музыканты), что означает слово (сленг хиппи), любимое занятие хиппи (кто что придумает).

А у нас коммуна!

Все люди братья и в таком духе (для подводки). А мы (гости вечеринки) так вообще одна большая дружная семья! Под веселую музыку надо стать «единым целым». Для этого бельевую веревку нужно пропустить через рукава так, чтобы все гости оказались «связаны» вместе цепочкой.

Любовь-морковь

Делимся с миром любовью! Но для начала – со своими друзьями, гостям хиппи-вечеринки. Возможно несколько сценариев: две команды, тройки или пары. Для каждой команды приготовьте тазик, терку, одноразовые перчатки и много очищенной моркови (такой вот рифмованный символ любви).

Выбираем по одному из членов команд. Они быстро натирают морковь в свои тазики, не забыв надеть перчатки. Остальные быстро едят морковь. В конце подсчитать, в чьей кучке осталось меньше «любви» (кто щедрее раздавал, тот и молодец).

И вновь любовь

Парный конкурс, смешной и не совсем пуританский. По очереди, ведущий засекает время. Цель – справиться как можно быстрее.

Понадобится много цветных прищепок, на обычные легко приклеить яркие цветочки. Или использовать детские заколочки, которые можно «прищипнуть» на одежду. Паре участников завязывают глаза. Ведущий на обоих цепляет прищепки, десятка по два. Пара влюбленных/друзей должна снять эти «украшения» друг с друга наощупь. Степень «развязности» конкурса зависит от фантазии ведущего, который будет крепить прищепки.

Дети, и не только цветов

Море волнуется раз, бутылочка, твистер, крокодил, яблоко на веревочке и карандаш на ней же, но пониже спины. Стульев опять нехватка, яйцо из ложки выпадает, а спичечный коробок накрепко «завис» на носу! Детсадовские развлечения будто придумывали хиппи – такие игры целиком в стиле вечеринки. Веселитесь!

Идеи для улицы, для самых смелых:

• фанты «с прохожими». Сделай комплимент, подари цветок, обменяй бусы на еду и т.п.

• облагородить… да хоть собственный двор! Шумной компанией разбить клумбу под окнами – то еще зрелище!

• организовать благотворительный сбор в пользу… да любой организации, детдома, приюта животных.

Мир, любовь и свобода — вечеринка в стиле хиппи

Когда-то движение хиппи – яркое, свободное привлекало тысячи людей по всему миру. Сейчас оно превратилось в бохо – более эстетичное и утончённое направление. Но кое-что остаётся общим: стремление к свободе и самовыражению. Вечеринка в стиле хиппи позволит почувствовать, что по-настоящему значит атмосфера.

Дизайн и интерьер

Хиппи называли детьми цветом. Они любили единение с природой и много путешествовали. Для хиппи-вечеринки идеальная пора – конец весны или лето. Если устроить праздник в лесу или у реки, получится в полной мере почувствовать дух хиппи.

Однако если не позволяет погода или вы не хотите уезжать, празднование дома или в кафе – тоже хороший вариант. Однако придётся большее внимание уделить интерьеру и оформлению помещения. Компромиссный вариант – вечеринка на даче. Это позволит побыть на природе, но укрыться в помещении и отдохнуть, как только захочется.

Если вы задумали вечеринку в кафе или баре, подбирайте не гламурное, не тёмное и не пафосное место. Пусть в нём будет много воздуха и простора.

Как подготовить праздник на природе

На вечеринку в стиле хиппи придётся подготовиться, так как именно через детали вы сможете передать ту особую атмосферу. Именно оформление задаёт тон. Однако многое можно сделать своими руками.

Если вы устраиваете вечер на природе, подготовьте палатки или тенты. Украсьте их тканями, платками и цветами. Вместо мебели используйте брёвна и пледы. Однако если вам хочется удобства, привозите с собой мебель из ротанга или пластиковую мебель, задрапированную тканью. На траве разбросайте подушки и коврики.

На деревья повесьте фонарики и гирлянды: из цветов, бумаги или электрические. В сумерках будут красиво смотреться свечи в глиняных или деревянных подставках. Красивый свет получается, если свечи поставить внутрь бутылок, раскрашенных краской. На них можно нарисовать цветы, кляксы или символ мира.

Вечеринка в стиле бохо дома

Прежде всего уберите или задекорируйте все современные детали интерьера. То, что нельзя вынести, спрячьте под плакатами с группами 1960-х, тематическими постерами, фотографиями хиппи. Самый простой вариант – взять ватман и нарисовать на нём абстракцию. Кстати, это можно использовать как интерактив, если дать гостям возможность дополнить картину.

Важно! Принято считать, что хиппи – это всё яркое. Цвета должны быть близкими к кислотным и притягивать внимание. На самом деле они ценили всё естественное и близкое к природе. Для декора выбирайте те цвета, которые можно встретить в природной палитре. Атмосфера должна получиться лёгкой и воздушной.

Как организовать помещение правильно:

• Разложите повсюду подушки и коврики, текстиль замените на натуральные ткани.
• Потолок украсьте лентами и бумажными картинами в виде автобуса, гитары, пацифика и т.д.
• Разложите повсюду фенечки, бисер, деревянные бусы, кусочки джинсовый ткани и т.д. Хорошо впишутся аромалампы, музыкальные инструменты, ловцы снов, индийские статуэтки. Однако не переборщите с деталями, чтобы не перегрузить интерьер.
• Здорово будут смотреться цветы в горшках, раскрашенных в соответствующем стиле.

Фотозона

После такой яркой вечеринки нужно обязательно оставить воспоминания. Подготовьте фотозону, где каждый желающий сможет сфотографироваться. Подойдут:

• Плакаты с лозунгами про мир, свободу и любовь.
• Тантамареска в виде цветастого автобуса.
• Картонный фон с надписями, разводами, узорами, радугой.
• Палатка с ковриками, подушками, гитарой.

Образы на вечеринку

Костюмы подбирайте на основе нескольких принципов: простота, практичность, натуральность, удобство. Чаще всего хиппи носили старые отреставрированные вещи, а при необходимости делали на них яркие заплаты.

В костюмах и девушки, и парня часто присутствовали абстрактные рисунки и этнические мотивы. Они носили самодельные украшения и не боялись смешивать одежду разных культур. Сейчас, превратившись в бохо, эта культура стала более аккуратной и продуманной. В образе должна сквозить этакая творческая небрежность.

Для девушек

Девушке наряд подобрать достаточно просто, подойдут практически любые летние вещи. Как одеться, женские образы:

• Подойдут длинные свободные сарафаны, лёгкие летящие платья, расклешённые джинсы, майки-оверсайз, кофты с цветочным принтом, плетёная одежда.
• Из обуви – это плетёные босоножки, сандалии. Часто хиппи ходили босиком.
• Для культуры характерно обилие украшений: фенечек, шнурков, бус, подвесок, кулонов. Один из самых характерных аксессуаров – очки с круглыми стёклами. Дополнить образ можно повязкой на лоб и крупными серьгами. В волосы можно вплести цветы, бусины или перья.
• Сделайте лёгкий нюдовый макияж или приходите без косметики.

Для мужчин

Мужской костюм может выглядеть так:

• Джинсы-клёш или широкие штаны, рваные джинсы с заплатами, разноцветные футболки, свободные рубашки и жилеты.
• На ноги наденьте мокасины, лёгкие парусные туфли, старые кроссовки.
• И для девушек, и для мужчин было характерно обилие аксессуаров. Яркий образ можно создать с помощью повязок на голову и круглых очков. Дополните его фенечками на руках.

Еда и напитки

Прелесть хиппи-вечеринки в том, что для неё не нужна сервировка вообще. И стол не нужен тоже. На природе устройте пикник, а дома положите яркую скатерть прямо на пол, точно вы собрались у костра.

Если же стол остаётся, постелите на него льняную скатерть. Поставьте полевые цветы. Стеклянную посуду замените глиняной. Блюда подавала в вазочка и металлических тарелках. Оформление должно получиться разномастным, точно по кусочку от каждой культуры. Если вы хотите использовать одноразовую посуду, то подойдёт только деревянная – хиппи старались не использовать пластик.

Многие из них были вегетарианцами и никогда не стремились к изыскам. Меню должно быть простым и лёгким:

• Свежие и печёные овощи. Обилие трав: петрушка, укроп, базилик, сельдерей и т.д.
• Маринованные или печёные грибы.
• Лёгкие канапе.
• Барбекю, отварное мясо, рыба, запечённая в фольге.
• На десерт – ягоды и фрукты.
• Из напитков – зелёный или травяной чай, сок, ягодные отвары.

Обратите внимание на подачу блюд. Можно делать это на больших тарелках или подносах, точно вы находитесь на природе. Горячие и салаты раскладывайте из кастрюли. Положите деревянные приборы или ешьте руками, если блюда это позволяют. Мясо или рыбу стоит заранее нарезать.

Что делать во время вечеринки

Сценарий для вечеринок просто обязателен. Да, досуг хиппи был прост: песни, разговоры у костра – однако, чтобы гости не заскучали, организацию продумать необходимо, и несколько конкурсов и игр не помешают.

Продумайте тайминг вечера, чтобы хватило времени и на разговоры, и на танцы, и на конкурсы. Однако не делайте его слишком жёстким: гости должны веселиться и не чувствовать ограничения.

Подготовку сценария начните с музыкальной составляющей. Музыка задаёт настроение и помогает почувствовать атмосферу. Для разговоров и застолья подберите более лёгкие спокойные композиции, для активной части вечера – весёлые и бодрые.

Настоящая классика – это рок-н-ролл, в меньшей степени – регги, инди и джаз. Составьте подборку из таких исполнителей и групп, как: Джимми Хендрикс, Джон Ленном, Джим Моррисон, Rolling Stones,The Beatles, The Doors и др. Из русской музыки подойдут «Аквариум», «Машина времени», «Калинов мост».

Под конец вечера можно включить музыку для медитаций. Здорово, если кто-то играет на гитаре – так воссоздать атмосферу получится наиболее правдоподобно. Если вы вместе споёте под гитару, это оставит тёплые приятные воспоминания.

Конкурсы и игры

Хиппи не хотели соперничать, они жили в мире, поэтому при выборе конкурсов и игр сделайте упор на то, чтобы они были весёлыми, а не разжигали спортивный интерес.

• Аквагрим. Подготовьте краски и кисточки. Разбейтесь на пары и нарисуйте на любой части тела друг друга пацифик, сердце, цветок, напишите название любимой группы или лозунг и т.д.
• «Лотерейный билет». Каждый пишет на листочке задание: спеть, станцевать, обнять прохожего и т.д. Все бумажки складываются в мешок и перемешиваются, затем каждый вытягивают по заданию.
• «Застывшая фигура». Эта игра из детства очень подойдёт к вечеринке. Участники танцуют под музыку, затем она неожиданно останавливается. Каждый должен застыть в одной позе. Игроки с помощью голоса и мимики пытаются расшевелить друг друга. Зашевелившийся выбывает, а побеждает самый стойкий.
• Фенечки. Проведите мастер-класс по плетению фенечек. Для этого понадобятся бисер, бусины и леска. Такая фенечка станет хорошим памятным сувениром о прошедшем вечере.
• Посвящение в хиппи. Проведите викторину на знание культуры хиппи: что означает слово, кто изображён на фото, различные вопросы о движении и т.д.
• «Лимбо». Два человека встают по разные стороны. Они держат в руках ленточку или верёвку. Включается музыка, и третий участник должен пройти под ней, наклонившись. С каждым разом лента или верёвка опускаются всё нижи.

Вечеринка в стиле хиппи получается лёгкой и весёлой. Удобство, простота и натуральность – под таким девизом она проходит. Чтобы воплотить ту самую атмосферу, стоит заранее продумать интерьер помещения и подобрать образ, составить сценарий. Если вы хотите отдыхать не только во время праздника, но и при его подготовке, команда PartyToday поможет с организацией яркой запоминающейся вечеринки.

Уже много лет подряд, а точнее, как зафиксировано в хрониках – с 1981 года, в первый день лета, на большой поляне в парке «Царицыно» собираются сотни людей. Пожилых и молодых, волосатых и не очень, обвешанных «фенечками» и расписанных всеми цветами радуги, а порой и абсолютно цивильного вида. Все они приходят сюда, чтобы в День детей, отпраздновать свой праздник – День детей цветов, проще говоря, хиппи. «Олдовые», разменявшие шестой, а то и седьмой десяток, приходят на свою на свою «земляничную поляну», чтобы как близкие родственники порадоваться и погрустить по поводу изменения их количества.

Мальчики и девочки 70-80-х стоят, сидят, беседуют и обнимаются, рядом с нынешней дредастой молодежью, на чьих плечах уже появился свежий крымский загар, а сандалии запылились на новых трассах.

Разговоры о том, что одна из самых ярких субкультур испарилась вместе с молодостью первопроходцев движения – всего лишь разговоры. Хиппи живы до тех пор пока на свете есть любовь, музыка и дороги к новым городам, морям и странам. Накануне Дня хиппи обозреватель m24.ru встретился с теми, для кого хипповская система, рожденная в начале семидесятых, стала главной системой жизненных координат.

Мамедовна и Йоко

– Давайте с самого начала: как вы дошли до жизни такой?

Йоко: Перед институтом, в 1976 году я работала в архиве. Там и познакомилась с волосатыми ребятами. А встретить таких людей давно хотелось. В 1977 году пришла на тусовку, в систему, в общем, нашла, что искала. Никто никуда не втягивал. Исключительно добровольно.

Мамедовна: У меня примерно в то же время, чуть позже… И началось все с «Машины времени» (во всем виновата «Машина», ха!), которая приехала играть к нам на сейшн в Менделеевке. Мы, студенточки, тогда с подругой былиТатьяной Ц. Она блондинка, я брюнетка – прямо «АББА». И к нам подошел знакомиться звуковик «Машины» и пригласил на следующий концерт. Конечно, мы не отказались, а потом вообще очень подружились с Наилем, благодаря чему бывали почти на всех концертах «Машины», которые проходили тогда в основном на окраинах или в Подмосковье. Веселое время было. Я, помню, рванула с практики из славного города Ровно на московский рок-фест, никого не предупредив. Жила несколько дней по флэтам, а родители объявили меня во всесоюзный розыск. Что удивительно, нашли на генеральской флэте подруги недалеко от дома. А летом 77-го или 78-го (не помню), узнав, что «Машина» будет рядом с Гурзуфом на какой-то базе, мы туда рванули с подругой. В Гурзуфе тогда была чуть не вся московская системная тусовка. Там мы и познакомились с легендарным Эдиком Маминым, Гариком Прайсом, Филом, Смайлом и другими. Причем, тусовка это была именно «центровая – стритовая»: Пушка, Труба, Квадрат, в отличие от Ароматской (Вавилонской) тусовки Йоко. Вот так это все и началось.

Йоко: Нет, почему, я на Пушке тоже была, но мне там очень быстро не понравилось, и я оттуда резко скипнула.

Мамедовна : Ну да, там тусовались в основном «дринкачи»: Солнце, Красноштан, Юрай, мама Ира, Галя Рыбий Глаз, Бася…. И много других замечательных и талантливых людей!

Йоко: Ну, не моя там была публика.

– Может сложиться ошибочное впечатление, что у хиппи были свои кафе на манер клубов…

Йоко: …Были тусовочные места: кафе «Аромат» на Суворовском, он же «Вавилон». «Этажерка» на стриту, потом уже «Чайник», «Турист», кафе на Ослиных ушах (напротив памятника Крупской на Сретенском бульваре) Но «Вавилон» был для меня самым первым и главным. Там можно было сидеть целыми днями, попивая чаек из огромного самовара, как-то очень было уютно, и несмотря на то, что периодически винтили, чувствовала я себя там, как дома. Конечно, перед Олимпиадой его закрыли как бы на ремонт и больше не открыли. Этот «рассадник» всем, «кому надо» уже глаза намозолил.

Мамедовна: Ну и Гоголя… Но я туда позже стала ходить, когда уже с мужем Сергеем познакомилась. Кстати, 3 раза нас пытались знакомить именно по ФИО: он Мамедов, я Мамедовна, и лишь на третий раз удалось. Благодаря братьям-художникам Анохиным, у которых я частенько бывала, а Серега жил по соседству. Вместе с Серегой я получила еще более обширный круг знакомых и друзей среди системных. Причем среди самых олдовых и суперолдовых, ибо мы были уже третьей волной.

Мы и хиппи-то себя не называли. Хотя именно так и выглядели. С одной стороны, стрит с его неизменным аском, сейшены (спасибо Эдику, всегда нас проводил), тусовки, выставки, хиппятники в Царицыно, марши мира, хэппенинги. В «Аромат» тоже захаживали, но редко. Ходили на культовые фильмы, на том же «И все таки я верю» или «Обыкновенном фашизме», на мульфильмах Норштейна можно было почти всю тусню встретить… Кстати, в книге Василия Лонга «Мы –Хиппи!» четко и интересно описаны некоторые моменты стритовой и вообще хиппово-системной жизни.

С другой стороны, мы были такими «полудомашними хиппи» – ни в Среднюю Азию, ни на Гаую, ни по стране стопом не ездили… Но у нас на флэту кто только ни собирался: художники, музыканты, поэты, киношники, ну, в общем, богема всякая. Читали ксероксный самиздат, говорили о культовых режиссерах типа Фассбиндера, Йонаса Лукаса и куче других, щеголяли такими именами, как Джерри Рубин, Эбби Хоффман и т.п., много читали. Сам-то Сергей был художником недоучившимся, но знал массу всего. Даже в иняз меня потом готовил. Хиппи же всегда были в авангарде, да еще плюс внутренняя свобода. И ощущение того, что ты живешь в параллельном мире. И полный пофигизм. И в совок только по надобности…

Йоко: Антисоветчины у всех хватало. На флэту у Олеси Троянской, к примеру. К нам с Джузи как-то пришли оперативники под видом хиппарей, но у них на рожах все было написано. И начинается: «Можно вписаться? Мы из Питера». – «Ну ладно». Сидим, еще гости какие-то, но все уже понятно. Мы, конечно, не сильно испугались, но состояние неприятное, потому что у нас лежала фотокопия «Архипелага ГУЛАГа» Солженицына. Джузи быстренько ее под рубашку и к родителям. Мама с папой сидят, телевизор смотрят, говорят ему: «Ленька, опять наркотики?» – «Нет, мама, это антисоветчина!» – «А-а, ну ладно».

Мамедовна: Самое интересное, что у Троянской мы с Йоко не пересеклись. Были в разные периоды. Йоко – в 1978-79, а мы в начале 80-х.

Йоко: После того, как Олеся рассталась с Сережей, мы перестали у нее бывать. А потом встретились как-то мельком, через несколько лет.

Мамедовна: Звонок в четыре часа ночи нам с Сережей: «Привет, это Троянская, что делаете?» – «Как что делаем? Спим, блин». – «Так, быстро ловите тачку и ко мне, я продала дачу, гуляем». И вот мы с Сережей, я уж не помню, ночью ли, утром ли, рванули к Олесе и, наверное, на две недели там и зависли. Вообще к Олесе на флэт на денек приехать и зависнуть на недельку-две, это в порядке вещей. Народец там постоянно разный тусовался, вписывался, найтал, жил.

Йоко: Квартира была абсолютно мистической, бывало, что в пустоте слышались какие-то шорохи, странные звуки. И люди там бывали самые разные. Диссиденты, хиппи, наркоманы, музыканты, художники, в общем, всякой твари по паре. Настоящий Ноев ковчег.

Мамедовна: Ну да… Пипл всякий… Можно было заснуть с фенечками, браслетами на руках и с сережками в ушах. А проснуться уже без оных. Мистика!!!

– Но все-таки костяк хиппарей составляли люди из какого-то определенного сословия?

Йоко: Самые разные. В основном, дети интеллигенции, но это вовсе необязательно. Вообще-то никогда не озадачивалась этим вопросом, кто из какой семьи вышел.

Мамедовна: С самого начала это была в основном «золотая молодежь». Дети, внуки дипломатов, генералов-адмиралов, партработников, актеров и т.д. В общем, совэлиты. Те, кто мог выезжать за бугор и привозить пластинки, журналы о той жизни. У них были родные джинсы, не самострок. Классные музинструменты, не самопал. А потом уже разные попадались. Я, например, из простой семьи инженеров, а вот мой муж был из очень непростой семьи. Ну как-то и вправду на этом никто не циклился.

– Темы для разговоров и для общих тусовок должны были быть общими, как вы вычленяли своих?

Йоко: Общность взглядов на мир, на жизнь, и конечно, музыка. Хотелось как-то отстраниться еще и от серого, унылого совка.

Мамедовна: Ну, про разговоры я уже упоминала… Своих узнавали в том числе и по внешним атрибутам. Я не могу сказать, что все тогда ходили в фенечках, пацификах и расшитых штанах. Ходили, конечно. Сами шили и расшивали, один дзен-баптист чего стоит! Но мы с Серегой , например, носили черные водолазки или свитера или джинсовый прикид, тем не менее нас свои всегда узнавали. Как-то шли по Гоголя, вдруг навстречу необычная троица чуваков. Подошли к Сереге: «Привет-привет!» и разошлись. Мы прифигели. Потому что это был БГ с друзьями. То есть мы его знать не знали и знакомы не были, но по внешним атрибутам (хаер, хайратник, джинса рваная и особое выражение лица) они сразу признали своих.

Йоко: Кстати сказать, помимо общего живописного вида, были и кое-какие отличия. В Москве предпочитали вышивку и аппликации на одежде, а в Питере и Прибалтике – просторные свитера и джинсы. Еще питерские предпочитали ходить с регланами. Где они их брали, до сих пор для меня загадка. И какие-нибудь две-три изящные фенечки.

Мамедовна: А в Москве-то еще и на Тишинке одевались. Тогда там барахолка была – и классные, как сейчас говорят, винтажные вещи можно было откопать.

Йоко: Да, тогда совсем другая Тишинка была…

– Вы уже упоминали Олесю Троянскую – культового персонажа в среде московских хиппи. Расскажите о ней.

Йоко: Олеся была сложным человеком, довольно злая на язык, но голос у нее был уникальный! Когда она была в ударе, это было что-то потрясающее! Я так жалею, что не успела ее записать. Хотя где-то наверняка сохранились ее записи. Не только же я хотела это записать. Просто тогда эти катушечные бандуры вроде «Маяка» таскать было сложно. Так вот, она просто брала гитару, и что творилось дальше – передать невозможно!

Мамедовна: Да, язычок у Олеси был весьма острый. И вообще Олеся была атаманшей. Как ее мужики слушались – не передать! Со свитой всегда ходила. И очень четко видела людей. А голос – да… Иногда мы выходили на улицу большой командой, Олеська с гитарой и пела прямо на ходу. Народ обалдевал! Такой голос с хрипотцой, как у Дженис. Она вообще артистичная натура была, очень любила устраивать всякие представления, хеппенинги. Кстати, Олеся рассказывала, что именно она учила петь Агузарову, когда та у нее на вписке была.

– Если говорить про музыку, то это?

Йоко: классика рок-музыки, которую можно долго перечислять – битлы, роллинги, «Лед Зеппелин»…

Мамедовна: По роллингам у нас Эдик асом был… Ну еще Пёпл, Криденсы, Грэнд фанк, , Кинг Кримсон, Йес, Юрай Хип..… ой, нет .. длиннющий список.. На рок-фестивали ходили. Лужники. Марш мира, где Сантана выступал. Тушино уже позже.

Йоко: У Джузи был друг и сосед, занимался дисками, большая часть новой музыки шла от него.

Мамедовна: А у нас с Серегой была целая коллекция рок-винила. И даже если иногда пластинки бились, то мы конверты не выбрасывали, потому что они тоже ценились, особенно, если родные. Откуда мы весь этот винил брали, точно не помню, но явно не покупали – меняли, частенько даже и на фотки. К нам один классный чувак приходил, он сейчас старец, не буду говорить где. Так вот он просто приходил, ставил рекорда, тихо садился в углу и слушал музыку. А коллекцию потом у нас украли. Местная урла. Тупо взломали замок . Их нашли потом, но от коллекции осталось всего несколько пластинок.

– А российские команды?

Мамедовна: «Машина», «Високосники», «Воскресение», «Рубины», «Удачное приобретение», «ДК», «Веселые картинки»… Куда удавалось попасть и что удавалось послушать… Конечно, Олесино «Смещение». Еще она записывала песни с «Автоматическими удовлетворителями». И эти композиции есть в Сети. А что касается сейшенов, то в те годы никто не знал наверняка, сколько продлится действо. Мы один раз с Серегой приехали на «Смещение», опоздали на полчаса, а там уже концерт прекратили, и всех свинтили.

– Какими проблемами это могло обернуться?

Мамедовна: Ну, забирали в ментовку, если докапывались, то составляли протокол, допустим «в нетрезвом виде» или «нарушение общественного порядка», могли написать в институт, на работу… Если кто учился, работал. А если нет – могли припаять за тунеядство Тогда статья была. Поэтому все старались где-то числиться.

Йоко: Во-первых, винтили настолько часто, что это уже переставало быть проблемой, а во-вторых, большинство работало на таких работах, что это мало, чем могло навредить «карьере». Дворниками, сторожами, натурщиками….

Мамедовна: Я, например, была «молодой специалист в ящике». И в таком статусе загремела в ментовку за то, что укусила мента за палец на собственном флэту на собственном безнике. Народ гуляет, я уже сплю, пятый сон вижу – и вдруг кто-то тормошит. Ну и я цапнула… Оказался мент Якушкин, которого вызвал сосед (тоже мент) и который составил на меня протокол. Всех забрали, потом всех отпустили, а меня оставили найтать в ментовке. Протокол же ж. Хулиганство, а то и легкие телесные. Но менты какие-то добрые попались, чаем напоили, шинелькой накрыли, а наутро в суд повезли. И вот стою я перед судом, такая несчастная, красивая и хрупкая (не как сейчас), и вид у меня невинный, а вокруг синяки да алкаши. И видит судья, что если мне впаять 15 суток, ничего с меня не возьмешь, а если штраф, то всем хорошо. Вызвала к себе в комнатку. «Деньги есть?» – «Не-е-еет, но у меня сегодня зарпла-а-та…» Так, быстро метнулась туда сюда и привезла мне штраф 30 рублей. Прямо в руки. Ну, я метнулась, привезла, отдала – и на свободу с чистой совестью. И никакой телеги на работу не пришло. А могли бы.

А вообще сосед-мент – это было что-то. Как я уже говорила, народ у нас собирался очень разный. И разговорчики были стремные. А мент под дверью подслушивал и постоянно стучал на нас в места посерьезнее. И все ждал, когда ж нас всех окончательно повяжут и отвезут на Лубянку, и наши гости перестанут таскать у него еду из холодильника. А нас все не вязали и не везли. Ну, мент же не знал, что дед у Сереги был отставным генералом из тех серьезных мест, поэтому ментовские доносы рубились на корню или растворялись в воздухе.

Йоко: Да, жизнь была сплошным приключением. Сидели это мы как-то раз в бомбоубежище на Чехова, было одно время такое теплое местечко, собирались ехать в Азию, и вдруг прибегает один наш друг и зовет в гости, в Мурманск. У него мама оттуда, а папа из Туапсе, вот мама как раз к морю и уехала, он ее случайно на вокзале встретил. «Ребята – говорит, – поехали, там флэт свободный! Недели на две». Азия отпала сама собой, команда собралась, и поехали. Добрались до Мурманска, по пути прихватив еще одну львовскую барышню. Приехали, весело пожили пару дней, погуляли по городу, а потом нас всех взяли прямо из дома и посадили на 10 суток, толком ничего не объяснив. Повод был стандартный: «сопротивление властям», которым, разумеется, никто не собирался сопротивляться. Они там просто никогда таких, как мы не видели, и предпочли на всякий случай от нас избавиться.

Слегка придя в себя, мы нарисовали карты, и все 10 суток, в основном, резались в покер, и развлекались, как могли. Держались дружно, поэтому нас не только не трогали, а даже вполне дружелюбно восприняли товарки по несчастью. Выпустили нас через 10 суток, прямо в засыпанный белым снегом город. Разноцветные сопки стали белыми, а мы от холода – синими. И выглядели как остатки наполеоновской армии: кто в чем, кто в плед завернут, кто в шинельке неподрубленной, у одной барышни вообще на ногах сабо, и каблук все время отлетает. В общем, доехали мы до Кандалакши, на дальнейшую дорогу денег не было. До Петрозаводска добирались на попутном товарняке, под открытым небом, когда ночью приехали, пальцы не сгибались, чтобы за железную лесенку ухватиться, еле выползли. А потом до Питера на электричках, и домой.

Мамедовна: Ой, а у меня один раз Серега с утра за пивом пошел и пропал на целый день. Я уж заволновалась, где что, мобильных-то не было… А он мне вечером из Питера звонит. Попили пивка и рванули командой.

– Одним из самых знаменитых для выездов мест был хипповский лагерь в Латвии на реке Гауе. Почему именно там?

Йоко: Почему именно там? Просто так получилось, до этого собирались в Эстонии, было такое место Вилянди. Но там вроде винтили. Решили собраться на Чудском, в местечке Муствэ. Народ приехал, собралось нас немало, но всех в тот же вечер свинтили и увезли в Кохтла-Ярве. Ночь продержали, взяли у всех подписку покинуть Эстонию в 24 часа и вывезли в Ленобласть. А там нас уже встречали менты областные. Снова всех посадили и вывезли на тихий эстонский полустанок, в какую-то немыслимую глушь, не обращая внимания на наши протесты. Тогда решили поехать на Витрупе, под Ригой, место это было уже кое-кому знакомо, и мы потихоньку, разделив общий скарб, стали перебираться туда парами и поодиночке. Место и впрямь оказалось чудным, на берегу моря, в сторонке от кемпинга. Стояли там несколько дней, народ подтягивался и подтягивался. Спасибо, Миша Бомбин из Риги взял на все свои отпускные палатки в прокате, так что все устроились замечательно. Потом под видом туристов приехали граждане из уфимских компетентных органов. В футбол они играли неподалеку от нас, и уфимские даже подарили им журнал «Футбол–Хоккей». И когда потом дружную уфимскую команду стали дергать и спрашивать, был ли кто на Витрупе, все, конечно, отказывались, а этот журнал стал железной уликой!

Потом приехал какой-то мужик, явно кагебешник, присел, поболтал и сказал, что все хорошо, но погода портится. Конечно, все стали уверять, что он ошибается, но мужик твердо пообещал, что погода испортится завтра-послезавтра, и намек был понят. Вот тогда Миша Бомбин и рижане и предложили Гаую. Место дивное, укромное, с озерами, соснами, до моря не так далеко. Мы оставили в кемпинге несколько человек, посмотреть, что будет, и уехали. Так и началась Гауя. А за нами действительно приезжали, если бы мы остались, погода для нас уж точно бы испортилась.

– Для расширения сознания и приятного времяпрепровождения использовали портвейн?

Мамедовна: Портвейн был в то время натуральный и самый доступный по цене (сушняк тогда никто и за вино-то не держал). Схема выглядела так: вышел на стрит, встретил себе подобных, нааскал ( один или в паре), часть заныкал бывало (на джинсы), на оставшиеся купил то, на что нааскал, остальные сели на хвост и все выпили по бульку. Как говорил Сеня Скорпион: «А на оставшиеся деньги оптом дешевого портвешку!» Бася хорошо аскала, Рыба, а также Прайс – высший пилотаж. Про него тогда статья вышла в газете «Принц–нищий». Стрелял иногда по чирику. Угощал потом шартрезом в баре на последнем этаже гостиницы «Москва». Но не портвейном единым… Ибо выпив свой бульк, кто-то мог начать читать свои стихи, телеги рассказывать. У некоторых был (и есть) настоящий поэтический и литературный дар. Как, например, у Сени, Миши Красноштана, у многих других. Вот и проводились эдакие «портвейно-литературные чтения» в каком-нибудь элитном парадняке за Елисеевском или в саду Эрмитаж. Да много мест было, не только Пешков-стрит. Частенько ехали к кому-то на флэт музыку послушать.

– Наркотики появились позже?

Йоко: Наркотики появились почти сразу. Хотя очень многие вообще ничего не употребляли, должна заметить. А кто-то только курил, да и то нечасто. Как-то это не было всеобщим поветрием. Самая страшная, на мой взгляд, штука «винт», появилась во второй половине 80-х. Я его всегда боялась. Он был распространен не то что массово, но у меня перед глазами было несколько примеров, когда замечательные люди действительно начисто съезжали крышей или просто пропадали… Последствия были страшные!

– На какое время, на ваш взгляд, пришелся пик хипповского движения?

Йоко: Мне кажется, на 75-78-й годы, но это на мой взгляд. Потому что есть старшие товарищи, и у них свои пики

Мамедовна: А у меня был свой такой длинный пик – с конца 70-х и до конца 80-х. Но, как уже сказала Йоко, у более олдовых, для коих мы пионеры, иные пики. Некоторые говорят, что к концу 70-х уже все закончилось. Исчезла контркультурная составляющая и т.п.

– Хиппи – это люди крупных городов, насколько они были в большей степени порождением Москвы, Питера, Таллинна?

Йоко: Совсем необязательно. Была своя большая и дружная тусовка в Могилеве, Смоленске, с легкой руки Паши Смоленского сотоварищи были львовские, минские, уфимские, казанские, иркутские и ангарские. Может, забыла какие-то еще, прошу простить! Большое уважение вызывали уфимские и казанские, из-за обилия в этих городах абсолютно дикой урлы.

– Кто на ваш взгляд максимально точно передал дух тусовки хиппи тех лет?

Йоко: Из поэтов – Гуру, Шамиль, Сеня Скорпион, хотя, конечно, это далеко не все, кого хотелось бы и стоило бы упомянуть. Что поделаешь, склероз!

Мамедовна: Умка. Олеся.

Йоко: Умка глубже, но Олеся, конечно, эмоциональнее!

Мамедовна: Скорпион, Солдат, Шамиль, Кест, Вася Лонг, Володя Борода. Еще целый ряд. Очень много талантливых людей среди хиппи, умеющих передать дух.. Я даже и не перечислю тут всех..

Йоко: Диверсант! Он и рисовал, и стихи писал замечательные.

Мамедовна: Саша Пессимист, Мата Хари.

Йоко: Да, Пессимист очень талантливый человек. Система вообще была богата на таланты. И трудно перечислить всех поэтов, художников и музыкантов, это тема отдельная. Кстати, много интересного можно найти в журнале «Забриски Райдер».

– Фильм Гарика Сукачева «Дом Cолнца» хотя бы в какой степени отразил эпоху?

Йоко: Он ее в какой-то степени затронул и сделал розовую сказочку в конфетном фантике.

Мамедовна: Фильм был ужасно раскритикован хиппарями именно за свою сказочность и однобокость. Лично мне фильм понравился, пусть сказочка, но хоть что-то. Гарик – молодец! (И Ваня тоже.) Хоть он и не совсем точно отразил те события, но это достаточно позитивный взгляд, без чернухи. Иначе бы фильм вряд ли вышел на экраны.

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Видео: Youtube/пользователь: Дом Солнца

– Каждый год 1 июня вы собираетесь в Царицыно. Значит что-то вас сильно удерживает, несмотря на то что времена хиппи все-таки прошли?

Мамедовна: Для старичков, как мне кажется, это просто ностальгия по молодости, тому времени, стремление держаться друг друга – «своих» из тех, кто еще жив… В силу общей ментальности, общего прошлого. Для молодежи – это такая прикольная тусовка, и для них времена хиппи в самом разгаре, и у них свои пики. А вообще атмосфера на поляне совершенно необычная, позволяющая снова окунуться в тот параллельный мир, в котором мы ранее пребывали. Выходя с поляны, попадаешь в иную, серую и скучную, реальность.

Йоко: Хочется повидать тех, с кем были связаны самые яркие и лучшие годы жизни. И снова ощутить атмосферу праздника.

Мамедовна: Хочу добавить, что, говоря о том времени, я упоминаю лишь свой скромный специфический круг общения в своем временном отрезке. И это крайне малая часть того, что происходило тогда. К тому же память подводит. И трудно восстановить хронологию. И вспомнить всех, с кем тогда общались. Вспоминаются наиболее яркие моменты. Было очень много интересного и до, и во время, были потрясающие люди. Некоторые из них еще живы и могут рассказать гораздо подробнее и увлекательнее о системе хиппи.

Боксер (Александр Литвиненко)

Семья у меня была специфическая. Мама музыкой увлекалась. Отец был чиновником, в Министерстве сельского хозяйства Узбекской ССР работал в Средней Азии. В Ташкенте я и родился. Бабушка окончила Первый медицинский в Москве. Дед – полковник-артиллерист, истребитель танков.

Хорошая библиотека была в доме, так что я был готов морально весь мир внутренним оком окинуть. Дядька мой был стилягой и музыкантом, очень увлекался Элвисом. Не знаю, откуда он брал пластинки, но у меня все началось именно с тех ритмов специфических, мое восприятие и внутренний мир стали формироваться.

Отца перевели работать в Москву. Наш дом тоже был населен публикой специфической. Очень хорошо помню как у соседей появилась пластинка The Beatles. У парня, у которого родители работали в Лондоне были, и интересные шмотки, и гитара у него была хорошая, ну а пластинки – в полном ассортименте.

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Видео: Youtube/пользователь: DrSotosOctopus

В школе я учился с младшим братом известного Юрия Солнце. Это было в девятом классе – 1969-1970 учебный год.

Вообще мне кажется, что все было сильно замешано на фирменных штанах и пластинках, на возможности общении с разными европейскими студентами. Я в свое время с немецким пареньком поменялся майками просто посреди улицы, на ней было написано «Карнаби стрит». Оказалось, что это улица, которая работает на продвинутую хипповую одежду.

Заезжала в Москву американская молодежь. Ходила в штанах клеш с волосами длинными, селились в бюджетных отелях. Как я понимаю, приезжали сюда по студенческому обмену через комсомольский «Спутник».

Откуда взялись пацифистские идеи: у меня и дед, и отец – фронтовики, воевали за Родину, что было понятно и естественно. Меня же, когда советские войска вошли в 1968 году в Чехословакию, повергло в шок. Что-то у меня как-то сдвинулось в сознании в сторону и воевать резко расхотелось. Наверное, уже был перегружен этими маршами, разрывами бомб настолько, что моя генетическая линия устала. Я драчуном был, в волейбол играл и ничего особенно не боялся, но во всей этой политике партии и правительства такая фальшь и натянутость!

Ну, а дальше – журнал «Америка» с типажами длинноволосыми на берегу моря, Californian girls. Вообще длинные волосы и хулиганы носили, и рабочие парни, и интеллектуалы. Так же, как и клеши. Другое дело, что они отличались по качеству и по свойству. Мы их (майки), выкручивали, варили, чтобы получались с пятнами, с разводами. Фенечки плели. Но самое главное – джинсы! Я увидел их в вестерне у Джона Уэйна в «Дилижансе». Весь он такой там был в этих делах джинсовых, в хороших ковбойских сапогах, в шляпе и с винчестером. В общем, тлетворное влияние Запада, понятное дело. Я это осознаю, признаю, конечно, что виноват, поддался и так далее. Как же они потрясающе были поданы! Эти типажи меня устраивали куда больше, чем серая масса на улицах с кислыми мордахами.

Серьезным толчком для меня была встреча с Сережей Баски из «Рубиновой Атаки», тогда они еще были «Рубинами» Он всего на два года старше меня, но все равно это такая преемственность поколений. Мы как бы присматривали друг за другом, что чего.

Я постоянно посещал кинотеатр «Иллюзион», потому что очень любил кино. Вообще, конечно, молодежь нашей формации в основном состояла из гуманитариев. При этом стычки происходили постоянно. Нашу публику ставили на учет в милиции, в детских комнатах, и мы уже были потенциальные нарушители правопорядка. Шел отлов в кафе, на улицах фиксировали на ходу. Просто останавливали и фотографировали нас. Ну, а потом, в 1971-72 годах, дали распоряжение, чтобы они с нами слились. Им дали распоряжение одеваться и отпускать волосы. Благо, реквизита завались! Вот он – из конфискатов. Говорили, что и магазин у них был в подвале Петровки, 38, в котором диски The Beatles продавались по три рубля, в то время когда на свежем воздухе они стоили 60-80 рублей. Ну далее – хороший пиджачок, джинсы из конфиската, часы Seiko и Citizen. В общем, модные пошли опера, нафарцованные, нафаршированные шмотьем. Вот только смешаться с толпой они опять не смогли!

Была и беготня от них, и драки с ними, когда была возможность, понятное дело. Шпана – дело другое.

В Питере много хиппового народа, но особенно много в Прибалтике. Латыши, эстонцы, литовцы были буквально заражены этой темой! Была у нас девочка Илона Рижская, свободных нравов! Я это не в упрек говорю, по тем временам – хорошая девочка, нормальная во всех отношениях, но любвеобильная. Времена Peace, Love & Rock’n’roll!

Наркотики не помню, как-то мимо нашей компании они прошли. Траву иногда курили. Да, еще был циклодол. Это такие таблетки типа транквилизаторов. Один раз попробовал, и меня это не устроило совершенно.

Хватало все того же рок-н-ролла! Макаревич со своей «Машиной времени» еще только начинали (в сейшенах участвовали, разогревая «Рубинов»), «Оловянные солдатики», «Второе дыхание», Градский со “Скоморохами”, “Воскресение”. Все были модные, стильные, джинсовые, лохматенькие. Все думали о хорошей аппаратуре, о хорошем звуке.

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Видео: Youtube/Канал пользователя marivana3000

Все началось на Маяковке, потом Пушка, ну и два психодрома – в скверике возле 1-го и 2-го корпусов МГУ, на Моховой. Где памятник стоит Ломоносову – это был первый. А второй психодром – площадочка, где лавочки стояли у забора, их сейчас убрали, ворота закрыты. Раньше всюду можно было пройти, как-то демократичнее было. Сейчас все напряженнее, заборов нагородили дополнительных ,замков навесили, охрана повсюду стоит. Раньше этого не было и пройти можно было в любую аудиторию.

Пик, наверное, пришелся на ту известную демонстрацию 1971 года. Я на ней не был, потому что на движения ее организатора Солнца я, честно говоря, не очень велся. Моя компания его называла Подсолнухом. Что там было на самом деле с этой демонстрацией, история темная, но после 1971 года, когда людей по дурдомам рассовали, по тюрьмам и в армию отправили. Наверное, это и был финал.

Вот только ничего этим не добились и ничего на самом деле не разогнали. Единственное, кто-то перешел в разряд конкретных пьяниц, кто-то сел на наркоту, а кто-то пошел трудиться на производстве. Многие, но не все. Конечно, нас пытались отсечь, как опухоль, влияние капиталистического образа жизни. При этом забывалось другое, что при всем нашем непривычном для них внешнем виде, любви к рок-н-роллу, мы же были советскими людьми. Мы же не были предателями Родины! Да, у нас был свой стиль, да, мы не хотели быть в коллективе, предпочитая компании, да, мы были индивидуалистами! Зачем мне демонстрация, если я больше любил пообщаться наедине?

Когда я попал на Запад и в США, поразился тому, насколько мы похожи с тамошними волосатыми. Они такие же агрессивные в хорошем смысле на полицию, на публику, несущую государственную функцию и при этом – очень мягкие со своими. Встретил одного такого в Голландии. Причем человек был из Христиании, ехавший из Дании через Амстердам в Лондон, а я из Москвы через Германию приехал в Амстердам.

Я сидел в 7 часов утра, освещенный солнцем, как сейчас помню, извините за высокий стиль. Шляпа на мне была большая, и меня перекрыла тень от точно такой же шляпы. Напротив сидел на корточках чувачок, взрослый, он старше меня лет на пять где-то, Джон, как он представился потом. Площадка была пустая совершенно, я один на ней был. Когда он узнал, что я из России, для него это был дикий кайф!

Я считаю, что все получилось, как надо. Свободная волна, родившаяся тогда, никуда не исчезла. Комсомольцы сделали свой мир с капитализмом под лозунгом «Грабь награбленное» и «Это все наше, но на всех не хватит». Мне это никогда не было интересно. Я картины пишу, кукол своих рок-н-ролльных делаю, и я максимально в своей стезе. Да и женщины у меня такие, другие меня раздражали, и с другими я не мог ужиться.

Творческий народ вокруг меня – вот, что меня устраивает. Ну и плюс возможность передвижения по миру. Там я ни с кем не сплетаюсь, для того чтобы Россию полоскать. Я люблю эту землю, живу здесь, здесь предки все мои похоронены. Я в настрое, мозг совершенно свежий и не загаженный штампами. Так что, все нормально!

A hippie, also spelled hippy,^[1] especially in British English,^[2] is someone associated with the counterculture of the 1960s, originally a youth movement that began in the United States during the mid-1960s and spread to different countries around the world.^[3] The word hippie came from hipster and was used to describe beatniks^[4] who moved into New York City’s Greenwich Village, in San Francisco’s Haight-Ashbury district, and Chicago’s Old Town community. The term hippie was used in print by San Francisco writer Michael Fallon, helping popularize use of the term in the media, although the tag was seen elsewhere earlier.^[5][6]

The origins of the terms hip and hep are uncertain. By the 1940s, both had become part of African American jive slang and meant «sophisticated; currently fashionable; fully up-to-date».^[7][8][9] The Beats adopted the term hip, and early hippies inherited the language and countercultural values of the Beat Generation. Hippies created their own communities, listened to psychedelic music, embraced the sexual revolution, and many used drugs such as marijuana and LSD to explore altered states of consciousness.^[10][11]

In 1967, the Human Be-In in Golden Gate Park, San Francisco, and Monterey Pop Festival^[12]
popularized hippie culture, leading to the Summer of Love on the West Coast of the United States, and the 1969 Woodstock Festival on the East Coast. Hippies in Mexico, known as jipitecas, formed La Onda and gathered at Avándaro, while in New Zealand, nomadic housetruckers practiced alternative lifestyles and promoted sustainable energy at Nambassa. In the United Kingdom in 1970, many gathered at the gigantic third Isle of Wight Festival with a crowd of around 400,000 people.^[13] In later years, mobile «peace convoys» of New Age travellers made summer pilgrimages to free music festivals at Stonehenge and elsewhere. In Australia, hippies gathered at Nimbin for the 1973 Aquarius Festival and the annual Cannabis Law Reform Rally or MardiGrass. «Piedra Roja Festival», a major hippie event in Chile, was held in 1970.^[14] Hippie and psychedelic culture influenced 1960s and early 1970s youth culture in Iron Curtain countries in Eastern Europe (see Mánička).^[15]

Hippie fashion and values had a major effect on culture, influencing popular music, television, film, literature, and the arts. Since the 1960s, mainstream society has assimilated many aspects of hippie culture. The religious and cultural diversity the hippies espoused has gained widespread acceptance, and their pop versions of Eastern philosophy and Asiatic spiritual concepts have reached a larger group.

The vast majority of people who had participated in the golden age of the hippie movement were those born during the 1940s. These included the oldest of the Baby Boomers as well as the youngest of the Silent Generation; the latter who were the actual leaders of the movement as well as the pioneers of rock music.^[16]

Etymology[edit]

Lexicographer Jesse Sheidlower, the principal American editor of the Oxford English Dictionary, argues that the terms hipster and hippie are derived from the word hip, whose origins are unknown.^[17] The word hip in the sense of «aware, in the know» is first attested in a 1902 cartoon by Tad Dorgan,^[18] and first appeared in prose in a 1904 novel by George Vere Hobart^[19] (1867–1926), Jim Hickey: A Story of the One-Night Stands, where an African-American character uses the slang phrase «Are you hip?»

The term hipster was coined by Harry Gibson in 1944.^[20] By the 1940s, the terms hip, hep and hepcat were popular in Harlem jazz slang, although hep eventually came to denote an inferior status to hip.^[21] In Greenwich Village in the early 1960s, New York City, young counterculture advocates were named hips because they were considered «in the know» or «cool», as opposed to being square, meaning conventional and old-fashioned. In the April 27, 1961 issue of The Village Voice, «An open letter to JFK & Fidel Castro», Norman Mailer utilizes the term hippies, in questioning JFK’s behavior. In a 1961 essay, Kenneth Rexroth used both the terms hipster and hippies to refer to young people participating in black American or Beatnik nightlife.^[22] According to Malcolm X’s 1964 autobiography, the word hippie in 1940s Harlem had been used to describe a specific type of white man who «acted more Negro than Negroes».^[23] Andrew Loog Oldham refers to «all the Chicago hippies,» seemingly about black blues/R&B musicians, in his rear sleeve notes to the 1965 LP The Rolling Stones, Now!

Although the word hippies made other isolated appearances in print during the early 1960s, the first use of the term on the West Coast appeared in the article «A New Paradise for Beatniks» (in the San Francisco Examiner, issue of September 5, 1965) by San Francisco journalist Michael Fallon. In that article, Fallon wrote about the Blue Unicorn Cafe (coffeehouse) (located at 1927 Hayes Street in the Haight-Ashbury district of San Francisco), using the term hippie to refer to the new generation of beatniks who had moved from North Beach into the Haight-Ashbury district.^[24][25]

History[edit]

Origins[edit]

A July 1968 Time magazine study on hippie philosophy credited the foundation of the hippie movement with historical precedent as far back as the sadhu of India, the spiritual seekers who had renounced the world and materialistic pursuits by taking «Sannyas». Even the counterculture of the Ancient Greeks, espoused by philosophers like Diogenes of Sinope and the cynics were also early forms of hippie culture.^[26] It also named as notable influences the religious and spiritual teachings of Buddha, Hillel the Elder, Jesus, St. Francis of Assisi, Henry David Thoreau, Gandhi and J.R.R. Tolkien.^[26]

The first signs of modern «proto-hippies» emerged at turn of the 19th century in Europe. Late 1890s to early 1900s, a German youth movement arose as a countercultural reaction to the organized social and cultural clubs that centered around «German folk music». Known as Der Wandervogel («wandering bird»), this hippie movement opposed the formality of traditional German clubs, instead emphasizing folk music and singing, creative dress, and outdoor life involving hiking and camping.^[27] Inspired by the works of Friedrich Nietzsche, Goethe, and Hermann Hesse, Wandervogel attracted thousands of young Germans who rejected the rapid trend toward urbanization and yearned for the pagan, back-to-nature spiritual life of their ancestors.^[28] During the first several decades of the 20th century, Germans settled around the United States, bringing the values of this German youth culture. Some opened the first health food stores, and many moved to southern California where they introduced an alternative lifestyle. One group, called the «Nature Boys», took to the California desert and raised organic food, espousing a back-to-nature lifestyle like the Wandervogel.^[29] Songwriter eden ahbez wrote a hit song called Nature Boy inspired by Robert Bootzin (Gypsy Boots), who helped popularize health-consciousness, yoga, and organic food in the United States.

The hippie movement in the United States began as a youth movement. Composed mostly of white teenagers and young adults between 15 and 25 years old,^[30][31] hippies inherited a tradition of cultural dissent from bohemians and beatniks of the Beat Generation in the late 1950s.^[31] Beats like Allen Ginsberg crossed over from the beat movement and became fixtures of the burgeoning hippie and anti-war movements. By 1965, hippies had become an established social group in the U.S., and the movement eventually expanded to other countries,^[32][33] extending as far as the United Kingdom and Europe, Australia, Canada, New Zealand, Japan, Mexico, and Brazil.^[34] The hippie ethos influenced The Beatles and others in the United Kingdom and other parts of Europe, and they in turn influenced their American counterparts.^[35] Hippie culture spread worldwide through a fusion of rock music, folk, blues, and psychedelic rock; it also found expression in literature, the dramatic arts, fashion, and the visual arts, including film, posters advertising rock concerts, and album covers.^[36] In 1968, self-described hippies represented just under 0.2% of the U.S. population^[37] and dwindled away by mid-1970s.^[32]

Along with the New Left and the Civil Rights Movement, the hippie movement was one of three dissenting groups of the 1960s counterculture.^[33] Hippies rejected established institutions, criticized middle class values, opposed nuclear weapons and the Vietnam War, embraced aspects of Eastern philosophy,^[38] championed sexual liberation, were often vegetarian and eco-friendly, promoted the use of psychedelic drugs which they believed expanded one’s consciousness, and created intentional communities or communes. They used alternative arts, street theatre, folk music, and psychedelic rock as a part of their lifestyle and as a way of expressing their feelings, their protests, and their vision of the world and life. Hippies opposed political and social orthodoxy, choosing a gentle and nondoctrinaire ideology that favored peace, love, and personal freedom,^[39][40] expressed for example in The Beatles’ song «All You Need is Love».^[41] Hippies perceived the dominant culture as a corrupt, monolithic entity that exercised undue power over their lives, calling this culture «The Establishment», «Big Brother», or «The Man».^[42][43][44] Noting that they were «seekers of meaning and value», scholars like Timothy Miller have described hippies as a new religious movement.^[45]

There are echoes of the term «hippie» in «preppy» (with particular cultural currency as a 1950s fashion trend) and «yuppie» (1980s), both of which embraced rather than rejected establishment culture.

1958–1967: Early hippies[edit]

During the late 1950s and early 1960s, novelist Ken Kesey and the Merry Pranksters lived communally in California. Members included Beat Generation hero Neal Cassady, Ken Babbs, Carolyn Adams (aka Mountain Girl/Carolyn Garcia), Stewart Brand, Del Close, Paul Foster, George Walker, Sandy Lehmann-Haupt and others. Their early escapades were documented in Tom Wolfe’s book The Electric Kool-Aid Acid Test. With Cassady at the wheel of a school bus named Further, the Merry Pranksters traveled across the United States to celebrate the publication of Kesey’s novel Sometimes a Great Notion and to visit the 1964 World’s Fair in New York City. The Merry Pranksters were known for using cannabis, amphetamine, and LSD, and during their journey they «turned on» many people to these drugs. The Merry Pranksters filmed and audio-taped their bus trips, creating an immersive multimedia experience that would later be presented to the public in the form of festivals and concerts. The Grateful Dead wrote a song about the Merry Pranksters’ bus trips called «That’s It for the Other One».^[46] In 1961, Vito Paulekas and his wife Szou established in Hollywood a clothing boutique which was credited with being one of the first to introduce «hippie» fashions.^[47][48][49]

During this period Greenwich Village in New York City and Berkeley, California anchored the American folk music circuit. Berkeley’s two coffee houses, the Cabale Creamery and the Jabberwock, sponsored performances by folk music artists in a beat setting.^[50] In April 1963, Chandler A. Laughlin III, co-founder of the Cabale Creamery,^[51] established a kind of tribal, family identity among approximately fifty people who attended a traditional, all-night Native American peyote ceremony in a rural setting. This ceremony combined a psychedelic experience with traditional Native American spiritual values; these people went on to sponsor a unique genre of musical expression and performance at the Red Dog Saloon in the isolated, old-time mining town of Virginia City, Nevada.^[52]

During the summer of 1965, Laughlin recruited much of the original talent that led to a unique amalgam of traditional folk music and the developing psychedelic rock scene.^[52] He and his cohorts created what became known as «The Red Dog Experience», featuring previously unknown musical acts—Grateful Dead, Jefferson Airplane, Big Brother and the Holding Company, Quicksilver Messenger Service, The Charlatans, and others—who played in the completely refurbished, intimate setting of Virginia City’s Red Dog Saloon. There was no clear delineation between «performers» and «audience» in «The Red Dog Experience», during which music, psychedelic experimentation, a unique sense of personal style, and Bill Ham’s first primitive light shows combined to create a new sense of community.^[53] Laughlin and George Hunter of the Charlatans were true «proto-hippies», with their long hair, boots, and outrageous clothing of 19th-century American (and Native American) heritage.^[52] LSD manufacturer Owsley Stanley lived in Berkeley during 1965 and provided much of the LSD that became a seminal part of the «Red Dog Experience», the early evolution of psychedelic rock and budding hippie culture. At the Red Dog Saloon, The Charlatans were the first psychedelic rock band to play live (albeit unintentionally) loaded on LSD.^[54]

When they returned to San Francisco, Red Dog participants Luria Castell, Ellen Harman and Alton Kelley created a collective called «The Family Dog.»^[52] Modeled on their Red Dog experiences, on October 16, 1965, the Family Dog hosted «A Tribute to Dr. Strange» at Longshoreman’s Hall.^[55] Attended by approximately one thousand of the Bay Area’s original «hippies», this was San Francisco’s first psychedelic rock performance, costumed dance and light show, featuring Jefferson Airplane, The Great Society and The Marbles.^[56] Two other events followed before year’s end, one at California Hall and one at the Matrix.^[52] After the first three Family Dog events, a much larger psychedelic event occurred at San Francisco’s Longshoreman’s Hall. Called «The Trips Festival», it took place on January 21 – 23, 1966, and was organized by Stewart Brand, Ken Kesey, Owsley Stanley and others. Ten thousand people attended this sold-out event, with a thousand more turned away each night.^[57] On Saturday January 22, the Grateful Dead and Big Brother and the Holding Company came on stage, and six thousand people arrived to imbibe punch spiked with LSD and to witness one of the first fully developed light shows of the era.^[58]

By February 1966, the Family Dog became Family Dog Productions under organizer Chet Helms, promoting happenings at the Avalon Ballroom and the Fillmore Auditorium in initial cooperation with Bill Graham. The Avalon Ballroom, the Fillmore Auditorium, and other venues provided settings where participants could partake of the full psychedelic music experience. Bill Ham, who had pioneered the original Red Dog light shows, perfected his art of liquid light projection, which combined light shows and film projection and became synonymous with the San Francisco ballroom experience.^[52][60] The sense of style and costume that began at the Red Dog Saloon flourished when San Francisco’s Fox Theater went out of business and hippies bought up its costume stock, reveling in the freedom to dress up for weekly musical performances at their favorite ballrooms. As San Francisco Chronicle music columnist Ralph J. Gleason put it, «They danced all night long, orgiastic, spontaneous and completely free form.»^[52]

Some of the earliest San Francisco hippies were former students at San Francisco State College^[61] who became intrigued by the developing psychedelic hippie music scene.^[52] These students joined the bands they loved, living communally in the large, inexpensive Victorian apartments in the Haight-Ashbury.^[62] Young Americans around the country began moving to San Francisco, and by June 1966, around 15,000 hippies had moved into the Haight.^[63] The Charlatans, Jefferson Airplane, Big Brother and the Holding Company, and the Grateful Dead all moved to San Francisco’s Haight-Ashbury neighborhood during this period. Activity centered around the Diggers, a guerrilla street theatre group that combined spontaneous street theatre, anarchistic action, and art happenings in their agenda to create a «free city». By late 1966, the Diggers opened free stores which simply gave away their stock, provided free food, distributed free drugs, gave away money, organized free music concerts, and performed works of political art.^[64]

On October 6, 1966, the state of California declared LSD a controlled substance, which made the drug illegal.^[65] In response to the criminalization of psychedelics, San Francisco hippies staged a gathering in the Golden Gate Park panhandle, called the Love Pageant Rally,^[65] attracting an estimated 700–800 people.^[66] As explained by Allan Cohen, co-founder of the San Francisco Oracle, the purpose of the rally was twofold: to draw attention to the fact that LSD had just been made illegal—and to demonstrate that people who used LSD were not criminals, nor were they mentally ill. The Grateful Dead played, and some sources claim that LSD was consumed at the rally. According to Cohen, those who took LSD «were not guilty of using illegal substances…We were celebrating transcendental consciousness, the beauty of the universe, the beauty of being.»^[67]

The Sunset Strip curfew riots, also known as the «hippie riots», were a series of early counterculture-era clashes that took place between police and young people on the Sunset Strip in West Hollywood, California, in 1966 and continuing on and off through the early 1970s. In 1966, annoyed residents and business owners in the district had encouraged the passage of strict (10:00 p.m.) curfew and loitering laws to reduce the traffic congestion resulting from crowds of young club patrons.^[68] This was perceived by young, local rock music fans as an infringement on their civil rights, and on Saturday, November 12, 1966, fliers were distributed along the Strip inviting people to demonstrate later that day. Hours before the protest one of the rock ‘n’ roll radio stations in L.A. announced there would be a rally at Pandora’s Box, a club at the corner of Sunset Boulevard and Crescent Heights, and cautioned people to tread carefully.^[69] The Los Angeles Times reported that as many as 1,000 youthful demonstrators, including such celebrities as Jack Nicholson and Peter Fonda (who was afterward handcuffed by police), erupted in protest against the perceived repressive enforcement of these recently invoked curfew laws.^[68] This incident provided the basis for the 1967 low-budget teen exploitation film Riot on Sunset Strip, and inspired multiple songs including the famous Buffalo Springfield song «For What It’s Worth».^[70]

1967: Human Be-In, Summer of Love, and rise to prevalence[edit]

On January 14, 1967, the outdoor Human Be-In organized by Michael Bowen^[71] helped to popularize hippie culture across the United States, with 20,000 to 30,000 hippies gathering in San Francisco’s Golden Gate Park. On March 26, Lou Reed, Edie Sedgwick and 10,000 hippies came together in Manhattan for the Central Park Be-In on Easter Sunday.^[72] The Monterey Pop Festival from June 16 to June 18 introduced the rock music of the counterculture to a wide audience and marked the start of the «Summer of Love».^[73] Scott McKenzie’s rendition of John Phillips’ song, «San Francisco», became a hit in the United States and Europe. The lyrics, «If you’re going to San Francisco, be sure to wear some flowers in your hair», inspired thousands of young people from all over the world to travel to San Francisco, sometimes wearing flowers in their hair and distributing flowers to passersby, earning them the name, «Flower Children». Bands like the Grateful Dead, Big Brother and the Holding Company (with Janis Joplin), and Jefferson Airplane lived in the Haight.

In June 1967, Herb Caen was approached by «a distinguished magazine»^[75] to write about why hippies were attracted to San Francisco. He declined the assignment but interviewed hippies in the Haight for his own newspaper column in the San Francisco Chronicle. Caen determined that, «Except in their music, they couldn’t care less about the approval of the straight world.»^[75] Caen himself felt that the city of San Francisco was so straight that it provided a visible contrast with hippie culture.^[75] On July 7, Time magazine featured a cover story entitled, «The Hippies: The Philosophy of a Subculture.» The article described the guidelines of the hippie code: «Do your own thing, wherever you have to do it and whenever you want. Drop out. Leave society as you have known it. Leave it utterly. Blow the mind of every straight person you can reach. Turn them on, if not to drugs, then to beauty, love, honesty, fun.»^[76] It is estimated that around 100,000 people traveled to San Francisco in the summer of 1967. The media was right behind them, casting a spotlight on the Haight-Ashbury district and popularizing the «hippie» label. With this increased attention, hippies found support for their ideals of love and peace but were also criticized for their anti-work, pro-drug, and permissive ethos.^{[citation needed]}

External images
Death of Hippie sunrise, October 6, 1967
Hippies parade, at Haight and Ashbury, carrying a symbolic casket. (North-east)[77]
Hippies parade, at Haight and Ashbury, carrying a symbolic casket. (East)
George Harrison strums a borrowed guitar, followed by hippies. . Harrison spent an hour touring the Haight-Ashbury, before this stroll through Golden Gate Park.

At this point, The Beatles had released their groundbreaking album Sgt. Pepper’s Lonely Hearts Club Band which was quickly embraced by the hippie movement with its colorful psychedelic sonic imagery.^[78]

In 1967 Chet Helms brought the Haight Ashbury hippie and psychedelic scene to Denver, when he opened the Family Dog Denver, modeled on his Avalon Ballroom in San Francisco. The music venue created a nexus for the hippie movement in the western-minded Denver, which led to serious conflicts with city leaders, parents and the police, who saw the hippie movement as dangerous. The resulting legal actions and pressure caused Helms and Bob Cohen to close the venue at the end of that year.^[79]

By the end of the summer, the Haight-Ashbury scene had deteriorated. The incessant media coverage led the Diggers to declare the «death» of the hippie with a parade.^[80][81][82] According to poet Susan ‘Stormi’ Chambless, the hippies buried an effigy of a hippie in the Panhandle to demonstrate the end of his/her reign. Haight-Ashbury could not accommodate the influx of crowds (mostly naive youngsters) with no place to live. Many took to living on the street, panhandling and drug-dealing. There were problems with malnourishment, disease, and drug addiction. Crime and violence skyrocketed. None of these trends reflected what the hippies had envisioned.^[83] By the end of 1967, many of the hippies and musicians who initiated the Summer of Love had moved on. Beatle George Harrison had once visited Haight-Ashbury and found it to be just a haven for dropouts, inspiring him to give up LSD.^[84] Misgivings about the hippie culture, particularly with regard to substance use and lenient morality, fueled the moral panics of the late 1960s.^[85]

1967–1969: Revolution and peak of influence[edit]

By 1968, hippie-influenced fashions were beginning to take off in the mainstream, especially for youths and younger adults of the populous baby boomer generation, many of whom may have aspired to emulate the hardcore movements now living in tribalistic communes, but had no overt connections to them. This was noticed not only in terms of clothes and also longer hair for men, but also in music, film, art, and literature, and not just in the US, but around the world. Eugene McCarthy’s brief presidential campaign successfully persuaded a significant minority of young adults to «get clean for Gene» by shaving their beards or wearing longer skirts; however the «Clean Genes» had little impact on the popular image in the media spotlight, of the hirsute hippy adorned in beads, feathers, flowers and bells.

A sign of this was the visibility that the hippie subculture gained in various mainstream and underground media. Hippie exploitation films are 1960s exploitation films about the hippie counterculture^[86] with stereotypical situations associated with the movement such as cannabis and LSD use, sex and wild psychedelic parties. Examples include The Love-ins, Psych-Out, The Trip, and Wild in the Streets. Other more serious and more critically acclaimed films about the hippie counterculture also appeared such as Easy Rider and Alice’s Restaurant. (See also: List of films related to the hippie subculture.) Documentaries and television programs have also been produced until today as well as fiction and nonfiction books. The popular Broadway musical Hair was presented in 1967.

People commonly label other cultural movements of that period as hippie, however there are differences. For example, hippies were often not directly engaged in politics, as contrasted with «Yippies» (Youth International Party), an activist organization. The Yippies came to national attention during their celebration of the 1968 spring equinox, when some 3,000 of them took over Grand Central Terminal in New York—eventually resulting in 61 arrests. The Yippies, especially their leaders Abbie Hoffman and Jerry Rubin, became notorious for their theatrics, such as trying to levitate the Pentagon at the October 1967 war protest, and such slogans as «Rise up and abandon the creeping meatball!» Their stated intention to protest the 1968 Democratic National Convention in Chicago in August, including nominating their own candidate, «Lyndon Pigasus Pig» (an actual pig), was also widely publicized in the media at this time.^[87]

In Cambridge, hippies congregated each Sunday for a large «be-in» at Cambridge Common with swarms of drummers and those beginning the Women’s Movement. In the US the Hippie movement started to be seen as part of the «New Left» which was associated with anti-war college campus protest movements.^[88] The New Left was a term used mainly in the United Kingdom and United States in reference to activists, educators, agitators and others in the 1960s and 1970s who sought to implement a broad range of reforms on issues such as gay rights, abortion, gender roles and drugs^[88] in contrast to earlier leftist or Marxist movements that had taken a more vanguardist approach to social justice and focused mostly on labor unionization and questions of social class.^[89][90]

In April 1969, the building of People’s Park in Berkeley, California received international attention. The University of California, Berkeley had demolished all the buildings on a 2.8-acre (11,000 m²) parcel near campus, intending to use the land to build playing fields and a parking lot. After a long delay, during which the site became a dangerous eyesore, thousands of ordinary Berkeley citizens, merchants, students, and hippies took matters into their own hands, planting trees, shrubs, flowers and grass to convert the land into a park. A major confrontation ensued on May 15, 1969, when Governor Ronald Reagan ordered the park destroyed, which led to a two-week occupation of the city of Berkeley by the California National Guard.^[91][92] Flower power came into its own during this occupation as hippies engaged in acts of civil disobedience to plant flowers in empty lots all over Berkeley under the slogan «Let a Thousand Parks Bloom».

In August 1969, the Woodstock Music and Art Fair took place in Bethel, New York, which for many, exemplified the best of hippie counterculture. Over 500,000 people arrived^[93] to hear some of the most notable musicians and bands of the era, among them Canned Heat, Richie Havens, Joan Baez, Janis Joplin, The Grateful Dead, Creedence Clearwater Revival, Crosby, Stills, Nash & Young, Carlos Santana, Sly & The Family Stone, The Who, Jefferson Airplane, and Jimi Hendrix. Wavy Gravy’s Hog Farm provided security and attended to practical needs, and the hippie ideals of love and human fellowship seemed to have gained real-world expression. Similar rock festivals occurred in other parts of the country, which played a significant role in spreading hippie ideals throughout America.^[94]

In December 1969, a rock festival took place in Altamont, California, about 45 km (30 miles ) east of San Francisco. Initially billed as «Woodstock West», its official name was The Altamont Free Concert. About 300,000 people gathered to hear The Rolling Stones; Crosby, Stills, Nash and Young; Jefferson Airplane and other bands. The Hells Angels provided security that proved far less benevolent than the security provided at the Woodstock event: 18-year-old Meredith Hunter was stabbed and killed by one of the Hells Angels during The Rolling Stones’ performance after he brandished a gun and waved it toward the stage.^[95]

1969–present: Aftershocks, absorption into the mainstream, and new developments[edit]

By the 1970s, the 1960s zeitgeist that had spawned hippie culture seemed to be on the wane.^[96][97][98] The events at Altamont Free Concert shocked many Americans,^[99] including those who had strongly identified with hippie culture. Another shock came in the form of the Sharon Tate and Leno and Rosemary LaBianca murders committed in August 1969 by Charles Manson and his «family» of followers. Nevertheless, the turbulent political atmosphere that featured the bombing of Cambodia and shootings by National Guardsmen at Jackson State University and Kent State University still brought people together. These shootings inspired the May 1970 song by Quicksilver Messenger Service «What About Me?», where they sang, «You keep adding to my numbers as you shoot my people down», as well as Neil Young’s «Ohio», a song that protested the Kent State massacre, recorded by Crosby, Stills, Nash and Young.

Much of hippie style had been integrated into mainstream American society by the early 1970s.^[100][101] Large rock concerts that originated with the 1967 KFRC Fantasy Fair and Magic Mountain Music Festival and Monterey Pop Festival and the British Isle of Wight Festival in 1968 became the norm, evolving into stadium rock in the process. The anti-war movement reached its peak at the 1971 May Day Protests as over 12,000 protesters were arrested in Washington, D.C.; President Nixon himself actually ventured out of the White House and chatted with a group of the hippie protesters. The draft was ended soon thereafter, in January 1973. During the mid-late 1970s, with the end of the draft and the Vietnam War, a renewal of patriotic sentiment associated with the approach of the United States Bicentennial, the decline in popularity of psychedelic rock, and the emergence of new genres such as prog rock, heavy metal, disco, and punk rock, the mainstream media lost interest in the hippie counterculture. At the same time there was a revival of the Mod subculture, skinheads, teddy boys and the emergence of new youth cultures, like the punks, goths (an arty offshoot of punk), and football casuals; starting in the late 1960s in Britain, hippies had begun to come under attack by skinheads.^{[102][103][104]}

Many hippies would adapt and become members of the growing countercultural New Age movement of the 1970s.^[105] While many hippies made a long-term commitment to the lifestyle, some people argue that hippies «sold out» during the 1980s and became part of the materialist, self-centered consumer yuppie culture.^[106][107] Although not as visible as it once was, hippie culture has never died out completely: hippies and neo-hippies can still be found on college campuses, on communes, and at gatherings and festivals. Many embrace the hippie values of peace, love, and community, and hippies may still be found in bohemian enclaves around the world.^[34] Hippie communes, where members tried to live the ideals of the hippie movement, continued to flourish. On the west coast, Oregon had quite a few.^[108] Around 1994, a new term «Zippie» was being used to describe hippies that had embraced New Age beliefs, new technology, and a love for electronic music.^[109]

Ethos and characteristics[edit]

The bohemian predecessor of the hippie culture in San Francisco was the «Beat Generation» style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting.»^[110] The entire tone of the new subculture was different. Jon McIntire, manager of the Grateful Dead from the late 1960s to the mid-1980s, points out that the great contribution of the hippie culture was this projection of joy. «The beatnik thing was black, cynical, and cold.»^[111] Hippies sought to free themselves from societal restrictions, choose their own way, and find new meaning in life. One expression of hippie independence from societal norms was found in their standard of dress and grooming, which made hippies instantly recognizable to one another, and served as a visual symbol of their respect for individual rights. Through their appearance, hippies declared their willingness to question authority, and distanced themselves from the «straight» and «square» (i.e., conformist) segments of society.^[112] Personality traits and values that hippies tend to be associated with are «altruism and mysticism, honesty, joy and nonviolence».^[113]

At the same time, many thoughtful hippies distanced themselves from the very idea that the way a person dresses could be a reliable signal of who he or she was—especially after outright criminals such as Charles Manson began to adopt superficial hippie characteristics, and also after plainclothes policemen started to «dress like hippies» to divide and conquer legitimate members of the counterculture. Frank Zappa, known for lampooning hippie ethos, particularly with songs like «Who Needs the Peace Corps?» (1968), admonished his audience that «we all wear a uniform». The San Francisco clown/hippie Wavy Gravy said in 1987 that he could still see fellow-feeling in the eyes of Market Street businessmen who had dressed conventionally to survive.^[114]

Art and fashion[edit]

Leading proponents of the 1960s Psychedelic Art movement were San Francisco poster artists such as: Rick Griffin, Victor Moscoso, Bonnie MacLean, Stanley Mouse & Alton Kelley, and Wes Wilson. Their Psychedelic Rock concert posters were inspired by Art Nouveau, Victoriana, Dada, and Pop Art. Posters for concerts in the Fillmore West, a concert auditorium in San Francisco, popular with Hippie audiences, were among the most notable of the time. Richly saturated colors in glaring contrast, elaborately ornate lettering, strongly symmetrical composition, collage elements, rubber-like distortions, and bizarre iconography are all hallmarks of the San Francisco psychedelic poster art style. The style flourished from roughly the years 1966 until 1972. Their work was immediately influential to album cover art, and indeed all of the aforementioned artists also created album covers. Psychedelic light-shows were a new art-form developed for rock concerts. Using oil and dye in an emulsion that was set between large convex lenses upon overhead projectors, the lightshow artists created bubbling liquid visuals that pulsed in rhythm to the music. This was mixed with slide shows and film loops to create an improvisational motion picture art form, and to give visual representation to the improvisational jams of the rock bands and create a completely «trippy» atmosphere for the audience.^{[citation needed]}

The Brotherhood of Light were responsible for many of the light-shows in San Francisco psychedelic rock concerts.
Out of the psychedelic counterculture there also arose a new genre of comic books: underground comix. Zap Comix was among the original underground comics, and featured the work of Robert Crumb, S. Clay Wilson, Victor Moscoso, Rick Griffin, and Robert Williams among others. Underground comix were ribald, intensely satirical, and seemed to pursue weirdness for the sake of weirdness. Gilbert Shelton created perhaps the most enduring of underground cartoon characters, The Fabulous Furry Freak Brothers, whose drugged-out exploits held a mirror up to the hippie lifestyle of the 1960s.

As in the beat movement preceding them, and the punk movement that followed soon after, hippie symbols and iconography were purposely borrowed from either «low» or «primitive» cultures, with hippie fashion reflecting a disorderly, often vagrant style.^[115] As with other adolescent, whitebread middle-class movements, deviant behavior of the hippies involved challenging the prevailing gender differences of their time: both men and women in the hippie movement wore jeans and maintained long hair,^[116] and both genders wore sandals, moccasins or went barefoot.^[63] Men often wore beards,^[117] while women wore little or no makeup, with many going braless.^[63] Hippies often chose brightly colored clothing and wore unusual styles, such as bell-bottom pants, vests, tie-dyed garments, dashikis, peasant blouses, and long, full skirts; non-Western inspired clothing with Native American, Latin American, African and Asiatic motifs were also popular. Much hippie clothing was self-made in defiance of corporate culture, and hippies often purchased their clothes from flea markets and second-hand shops.^[117] Favored accessories for both men and women included Native American jewelry, head scarves, headbands and long beaded necklaces.^[63] Hippie homes, vehicles and other possessions were often decorated with psychedelic art. The bold colors, hand-made clothing and loose fitting clothes opposed the tight and uniform clothing of the 1940s and 1950s. It also rejected consumerism in that the hand-production of clothing called for self-efficiency and individuality.^[118]

Love and sex[edit]

The common stereotype on the issues of love and sex had it that the hippies were «promiscuous, having wild sex orgies, seducing innocent teenagers and every manner of sexual perversion.»^[119] The hippie movement appeared concurrently in the midst of a rising sexual revolution, in which many views of the status quo on this subject were being challenged.

The clinical study Human Sexual Response was published by Masters and Johnson in 1966, and the topic suddenly became more commonplace in America. The 1969 book Everything You Always Wanted to Know About Sex (But Were Afraid to Ask) by psychiatrist David Reuben was a more popular attempt at answering the public’s curiosity regarding such matters. Then in 1972 appeared The Joy of Sex by Alex Comfort, reflecting an even more candid perception of love-making. By this time, the recreational or ‘fun’ aspects of sexual behavior were being discussed more openly than ever before, and this more ‘enlightened’ outlook resulted not just from the publication of such new books as these, but from a more pervasive sexual revolution that had already been well underway for some time.^[119]

The hippies inherited various countercultural views and practices regarding sex and love from the Beat Generation; «their writings influenced the hippies to open up when it came to sex, and to experiment without guilt or jealousy.»^[120] One popular hippie slogan that appeared was «If it feels good, do it!»^[119] which for many meant «you are free to love whomever you please, whenever you please, however you please». This encouraged spontaneous sexual activity and experimentation. Group sex, public sex, homosexuality; under the influence of drugs, all the taboos went out the window. This doesn’t mean that straight sex or monogamy were unknown, quite the contrary. Nevertheless, the open relationship became an accepted part of the hippie lifestyle. This meant that you might have a primary relationship with one person, but if another attracted you, you could explore that relationship without rancor or jealousy.»^[119]

Hippies embraced the old slogan of free love of the radical social reformers of other eras; it was accordingly observed that «Free love made the whole love, marriage, sex, baby package obsolete. Love was no longer limited to one person, you could love anyone you chose. In fact love was something you shared with everyone, not just your sex partners. Love exists to be shared freely. We also discovered the more you share, the more you get! So why reserve your love for a select few? This profound truth was one of the great hippie revelations.»^[119] Sexual experimentation alongside psychedelics also occurred, due to the perception of their being uninhibitors.^[121] Others explored the spiritual aspects of sex.^[122]

Travel[edit]

Hippies tended to travel light, and could pick up and go wherever the action was at any time. Whether at a «love-in» on Mount Tamalpais near San Francisco, a demonstration against the Vietnam War in Berkeley, or one of Ken Kesey’s «Acid Tests», if the «vibe» was not right and a change of scene was desired, hippies were mobile at a moment’s notice. Planning was eschewed, as hippies were happy to put a few clothes in a backpack, stick out their thumbs and hitchhike anywhere. Hippies seldom worried whether they had money, hotel reservations or any of the other standard accoutrements of travel. Hippie households welcomed overnight guests on an impromptu basis, and the reciprocal nature of the lifestyle permitted greater freedom of movement. People generally cooperated to meet each other’s needs in ways that became less common after the early 1970s.^[123] This way of life is still seen among Rainbow Family groups, new age travellers and New Zealand’s housetruckers.^[124]

A derivative of this free-flow style of travel were the hippie trucks and buses, hand-crafted mobile houses built on a truck or bus chassis to facilitate a nomadic lifestyle, as documented in the 1974 book Roll Your Own.^[125] Some of these mobile houses were quite elaborate, with beds, toilets, showers and cooking facilities.

On the West Coast, a unique lifestyle developed around the Renaissance Faires that Phyllis and Ron Patterson first organized in 1963. During the summer and fall months, entire families traveled together in their trucks and buses, parked at Renaissance Pleasure Faire sites in Southern and Northern California, worked their crafts during the week, and donned Elizabethan costume for weekend performances, and attended booths where handmade goods were sold to the public. The sheer number of young people living at the time made for unprecedented travel opportunities to special happenings. The peak experience of this type was the Woodstock Festival near Bethel, New York, from August 15 to 18, 1969, which drew between 400,000 and 500,000 people.^[126][127]

Hippie trail[edit]

One travel experience, undertaken by hundreds of thousands of hippies between 1969 and 1971, was the Hippie trail overland route to India. Carrying little or no luggage, and with small amounts of cash, almost all followed the same route, hitch-hiking across Europe to Athens and on to Istanbul, then by train through central Turkey via Erzurum, continuing by bus into Iran, via Tabriz and Tehran to Mashhad, across the Afghan border into Herat, through southern Afghanistan via Kandahar to Kabul, over the Khyber Pass into Pakistan, via Rawalpindi and Lahore to the Indian frontier. Once in India, hippies went to many different destinations, but gathered in large numbers on the beaches of Goa and Kovalam in Trivandrum (Kerala),^[128] or crossed the border into Nepal to spend months in Kathmandu. In Kathmandu, most of the hippies hung out in the tranquil surroundings of a place called Freak Street,^[129] (Nepal Bhasa: Jhoo Chhen) which still exists near Kathmandu Durbar Square.

Spirituality and religion[edit]

Many hippies rejected mainstream organized religion in favor of a more personal spiritual experience. Buddhism and Hinduism often resonated with hippies, as they were seen as less rule-bound, and less likely to be associated with existing baggage.^[130] Some hippies embraced neo-paganism, especially Wicca. Others were involved with the occult, with people like Timothy Leary citing Aleister Crowley as influences. By the 1960s, western interest in Hindu spirituality and yoga reached its peak, giving rise to a great number of Neo-Hindu schools specifically advocated to a western public.^[131]

In his 1991 book, «Hippies and American Values», Timothy Miller described the hippie ethos as essentially a «religious movement» whose goal was to transcend the limitations of mainstream religious institutions. «Like many dissenting religions, the hippies were enormously hostile to the religious institutions of the dominant culture, and they tried to find new and adequate ways to do the tasks the dominant religions failed to perform.»^[132] In his seminal, contemporaneous work, «The Hippie Trip», author Lewis Yablonsky notes that those who were most respected in hippie settings were the spiritual leaders, the so-called «high priests» who emerged during that era.^[133]

One such hippie «high priest» was San Francisco State University Professor Stephen Gaskin. Beginning in 1966, Gaskin’s «Monday Night Class» eventually outgrew the lecture hall, and attracted 1,500 hippie followers in an open discussion of spiritual values, drawing from Christian, Buddhist, and Hindu teachings. In 1970 Gaskin founded a Tennessee community called The Farm, and even late in life he still listed his religion as «Hippie.»^{[134][135][136]}

Timothy Leary was an American psychologist and writer, known for his advocacy of psychedelic drugs. On September 19, 1966, Leary founded the League for Spiritual Discovery, a religion declaring LSD as its holy sacrament, in part as an unsuccessful attempt to maintain legal status for the use of LSD and other psychedelics for the religion’s adherents based on a «freedom of religion» argument. The Psychedelic Experience was the inspiration for John Lennon’s song «Tomorrow Never Knows» in The Beatles’ album Revolver.^[137] Leary published a pamphlet in 1967 called Start Your Own Religion to encourage just that^[138] and was invited to attend the January 14, 1967 Human Be-In a gathering of 20,000 to 30,000 hippies in San Francisco’s Golden Gate Park In speaking to the group, he coined the famous phrase «Turn on, tune in, drop out».^[139] The English magician Aleister Crowley became an influential icon to the new alternative spiritual movements of the decade as well as for rock musicians. The Beatles included him as one of the many figures on the cover sleeve of their 1967 album Sgt. Pepper’s Lonely Hearts Club Band while Jimmy Page, the guitarist of The Yardbirds and co-founder of 1970s rock band Led Zeppelin was fascinated by Crowley, and owned some of his clothing, manuscripts and ritual objects, and during the 1970s bought Boleskine House, which also appears in the band’s movie The Song Remains the Same. On the back cover of the Doors compilation album 13, Jim Morrison and the other members of the Doors are shown posing with a bust of Aleister Crowley. Timothy Leary also openly acknowledged Crowley’s inspiration.^[140]

After the hippie era, the Dudeist philosophy and lifestyle developed. Inspired by «The Dude», the neo-hippie protagonist of the Coen Brothers’ 1998 film The Big Lebowski, Dudeism’s stated primary objective is to promote a modern form of Chinese Taoism, outlined in Tao Te Ching by Laozi (6th century BC), blended with concepts by the Ancient Greek philosopher Epicurus (341-270 BC), and presented in a style as personified by the character of Jeffrey «The Dude» Lebowski, a fictional hippie character portrayed by Jeff Bridges in the film.^[141] Dudeism has sometimes been regarded as a mock religion,^[142][143] though its founder and many adherents regard it seriously.^{[144][145][146][147]}

Politics[edit]

For the historian of the anarchist movement Ronald Creagh, the hippie movement could be considered as the last spectacular resurgence of utopian socialism.^[148] For Creagh, a characteristic of this is the desire for the transformation of society not through political revolution, or through reformist action pushed forward by the state, but through the creation of a counter-society of a socialist character in the midst of the current system, which will be made up of ideal communities of a more or less libertarian social form.^[148]

The peace symbol was developed in the UK as a logo for the Campaign for Nuclear Disarmament, and was embraced by U.S. anti-war protesters during the 1960s. Hippies were often pacifists, and participated in non-violent political demonstrations, such as Civil Rights Movement, the marches on Washington D.C., and anti-Vietnam War demonstrations, including draft-card burnings and the 1968 Democratic National Convention protests.^[149] The degree of political involvement varied widely among hippies, from those who were active in peace demonstrations, to the more anti-authority street theater and demonstrations of the Yippies, the most politically active hippie sub-group.^[150] Bobby Seale discussed the differences between Yippies and hippies with Jerry Rubin, who told him that Yippies were the political wing of the hippie movement, as hippies have not «necessarily become political yet». Regarding the political activity of hippies, Rubin said, «They mostly prefer to be stoned, but most of them want peace, and they want an end to this stuff.»^[151]

In addition to non-violent political demonstrations, hippie opposition to the Vietnam War included organizing political action groups to oppose the war, refusal to serve in the military and conducting «teach-ins» on college campuses that covered Vietnamese history and the larger political context of the war.^[152]

Scott McKenzie’s 1967 rendition of John Phillips’ song «San Francisco (Be Sure to Wear Flowers in Your Hair)», which helped to inspire the hippie Summer of Love, became a homecoming song for all Vietnam veterans arriving in San Francisco from 1967 onward. McKenzie has dedicated every American performance of «San Francisco» to Vietnam veterans, and he sang in 2002 at the 20th anniversary of the dedication of the Vietnam Veterans Memorial.^[153] Hippie political expression often took the form of «dropping out» of society to implement the changes they sought.

Politically motivated movements aided by hippies include the back to the land movement of the 1960s, cooperative business enterprises, alternative energy, the free press movement, and organic farming.^[101][154] The San Francisco group known as the Diggers articulated an influential radical criticism of contemporary mass consumer society, and so they opened free stores which simply gave away their stock, provided free food, distributed free drugs, gave away money, organized free music concerts, and performed works of political art.^[64] The Diggers took their name from the original English Diggers (1649–50) led by Gerrard Winstanley,^[155] and they sought to create a mini-society free of money and capitalism.^[156]

Such activism was ideally carried through anti-authoritarian and non-violent means; thus it was observed that «The way of the hippie is antithetical to all repressive hierarchical power structures since they are adverse to the hippie goals of peace, love and freedom… Hippies don’t impose their beliefs on others. Instead, hippies seek to change the world through reason and by living what they believe.»^[157]

The political ideals of hippies influenced other movements, such as anarcho-punk, rave culture, green politics, stoner culture and the New Age movement. Arguments can be made that being «woke» is only the latest natural offshoot of hipness, since both seek heightened «awareness» of one’s surroundings (social, political, sexual etc). For example, John Leland elaborates on the origins of coded language from African American slaves as a type of aware hipness and documents connections to downtrodden Jews and other minorities in American society in Hip: The History.^[158]
Penny Rimbaud of the English anarcho-punk band Crass said in interviews, and in an essay called The Last Of The Hippies, that Crass was formed in memory of his friend, Wally Hope.^[159] Crass had its roots in Dial House, which was established in 1967 as a commune.^[160] Some punks were often critical of Crass for their involvement in the hippie movement. Like Crass, Jello Biafra was influenced by the hippie movement, and cited the yippies as a key influence on his political activism and thinking, though he also wrote songs critical of hippies.^[161][162]

Drugs[edit]

Following in the footsteps of the Beats, many hippies used cannabis (marijuana), considering it pleasurable and benign. They used drugs such as marijuana, LSD, magic mushrooms, and mescaline (peyote) to gain spiritual awakening. On the East Coast of the United States, Harvard University professors Timothy Leary,^[163] Ralph Metzner and Richard Alpert (Ram Dass) advocated psychotropic drugs for psychotherapy, self-exploration, religious and spiritual use. Regarding LSD, Leary said, «Expand your consciousness and find ecstasy and revelation within.»^[164]

On the West Coast of the United States, Ken Kesey was an important figure in promoting the recreational use of psychotropic drugs, especially LSD, also known as «acid.» By holding what he called «Acid Tests», and touring the country with his band of Merry Pranksters, Kesey became a magnet for media attention that drew many young people to the fledgling movement. The Grateful Dead (originally billed as «The Warlocks») played some of their first shows at the Acid Tests, often as high on LSD as their audiences. Kesey and the Pranksters had a «vision of turning on the world.»^[164] Harder drugs, such as cocaine, amphetamines and heroin, were also sometimes used in hippie settings; however, these drugs were often disdained, even among those who used them, because they were recognized as harmful and addictive.^[165]

Legacy[edit]

Culture[edit]

The legacy of the hippie movement continues to permeate Western society.^[168] In general, unmarried couples of all ages feel free to travel and live together without societal disapproval.^[101][169] Frankness regarding sexual matters has become more common, and the rights of homosexual, bisexual and transgender people, as well as people who choose not to categorize themselves at all, have expanded.^[170] Religious and cultural diversity has gained greater acceptance.^[171]

Co-operative business enterprises and creative community living arrangements are more accepted than before.^[172] Some of the little hippie health food stores of the 1960s and 1970s are now large-scale, profitable businesses, due to greater interest in natural foods, herbal remedies, vitamins and other nutritional supplements.^[173]
It has been suggested that 1960s and 1970s counterculture embraced certain types of «groovy» science and technology. Examples include surfboard design, renewable energy, aquaculture and client-centered approaches to midwifery, childbirth, and women’s health.^[174][175]
Authors Stewart Brand and John Markoff argue that the development and popularization of personal computers and the Internet find one of their primary roots in the anti-authoritarian ethos promoted by hippie culture.^[166][176]

Distinct appearance and clothing was one of the immediate legacies of hippies worldwide.^[117][177] During the 1960s and 1970s, mustaches, beards and long hair became more commonplace and colorful, while multi-ethnic clothing dominated the fashion world. Since that time, a wide range of personal appearance options and clothing styles, including nudity, have become more widely acceptable, all of which was uncommon before the hippie era.^[177][178] Hippies also inspired the decline in popularity of the necktie and other business clothing, which had been unavoidable for men during the 1950s and early 1960s. Additionally, hippie fashion itself has been commonplace in the years since the 1960s in clothing and accessories, particularly the peace symbol.^[179] Astrology, including everything from serious study to whimsical amusement regarding personal traits, was integral to hippie culture.^[180] The generation of the 1970s became influenced by the hippie and the 1960s countercultural legacy. As such in New York City musicians and audiences from the female, homosexual, Black, and Latino communities adopted several traits from the hippies and psychedelia. They included overpowering sound, free-form dancing, multi-colored, pulsating lighting, colorful costumes, and hallucinogens.^{[181][182][183]} 1960s Psychedelic soul groups like the Chambers Brothers and especially Sly and The Family Stone influenced George Clinton, P-funk and the Temptations.^[184] In addition, the perceived positivity, lack of irony, and earnestness of the hippies informed proto-disco music like M.F.S.B.’s album Love Is the Message.^[181][185] Disco music supported 70s LGBT movement.

The hippie legacy in literature includes the lasting popularity of books reflecting the hippie experience, such as The Electric Kool-Aid Acid Test.^[186]

Music[edit]

In music, the folk rock and psychedelic rock popular among hippies evolved into genres such as acid rock, world beat and heavy metal music. Psychedelic trance (also known as psytrance) is a type of electronic music influenced by 1960s psychedelic rock. The tradition of hippie music festivals began in the United States in 1965 with Ken Kesey’s Acid Tests, where the Grateful Dead played tripping on LSD and initiated psychedelic jamming. For the next several decades, many hippies and neo-hippies became part of the Deadhead community, attending music and art festivals held around the country. The Grateful Dead toured continuously, with few interruptions between 1965 and 1995. Phish and their fans (called Phish Heads) operated in the same manner, with the band touring continuously between 1983 and 2004. Many contemporary bands performing at hippie festivals and their derivatives are called jam bands, since they play songs that contain long instrumentals similar to the original hippie bands of the 1960s.^[187]

With the demise of Grateful Dead and Phish, nomadic touring hippies attend a growing series of summer festivals, the largest of which is called the Bonnaroo Music & Arts Festival, which premiered in 2002. The Oregon Country Fair is a three-day festival featuring handmade crafts, educational displays and costumed entertainment. The annual Starwood Festival, founded in 1981, is a seven-day event indicative of the spiritual quest of hippies through an exploration of non-mainstream religions and world-views, and has offered performances and classes by a variety of hippie and counter-culture icons.^[188]

The Burning Man festival began in 1986 at a San Francisco beach party and is now held in the Black Rock Desert northeast of Reno, Nevada. Although few participants would accept the hippie label, Burning Man is a contemporary expression of alternative community in the same spirit as early hippie events. The gathering becomes a temporary city (36,500 occupants in 2005, 50,000+ in 2011), with elaborate encampments, displays, and many art cars. Other events that enjoy a large attendance include the Rainbow Family Gatherings, The Gathering of the Vibes, Community Peace Festivals, and the Woodstock Festivals.

United Kingdom[edit]

In the UK, there are many new age travellers who are known as hippies to outsiders, but prefer to call themselves the Peace Convoy. They started the Stonehenge Free Festival in 1974, but English Heritage later banned the festival in 1985, resulting in the Battle of the Beanfield. With Stonehenge banned as a festival site, new age travellers gather at the annual Glastonbury Festival. Today^[when?], hippies in the UK can be found in parts of South West England, such as Bristol (particularly the neighborhoods of Montpelier, Stokes Croft, St Werburghs, Bishopston, Easton and Totterdown), Glastonbury in Somerset, Totnes in Devon, and Stroud in Gloucestershire, as well as in Hebden Bridge in West Yorkshire, and in areas of London and Cornwall. In the summer, many hippies and those of similar subcultures gather at numerous outdoor festivals in the countryside.

In New Zealand, between 1976 and 1981, tens of thousands of hippies gathered from around the world on large farms around Waihi and Waikino for music and alternatives festivals. Named Nambassa, the festivals focused on peace, love, and a balanced lifestyle. The events featured practical workshops and displays advocating alternative lifestyles, self sufficiency, clean and sustainable energy and sustainable living.^[189]

In the UK and Europe, the years 1987 until 1989 were marked by a large-scale revival of many characteristics of the hippie movement. This later movement, composed mostly of people aged 18 to 25, adopted much of the original hippie philosophy of love, peace and freedom. In the summer of 1988 became known as the Second Summer of Love. Although the music favored by this movement was modern electronic music, especially house music and acid house, one could often hear songs from the original hippie era in the chill out rooms at raves. Also, there was a trend towards psychedelic indie rock in the form of Shoegaze, Dream Pop, Madchester and neo-Psychedelic bands like Jesus And Mary Chain, The Sundays, Spacemen 3, Loop, Stone Roses, Happy Mondays, Inspiral Carpets and Ride. This was effectively a parallel soundtrack to the rave scene that was rooted as much in 1960s psychedelic rock as it was in post-punk, though Madchester was more directly influenced by Acid House, funk and northern soul. Interestingly, many ravers were originally soul boys and football casuals, and football hooliganism declined after the Second Summer of Love.

In the UK, many of the well-known figures of this movement first lived communally in Stroud Green, an area of north London located in Finsbury Park. In 1995, The Sekhmet Hypothesis attempted to link both hippie and rave culture together in relation to transactional analysis, suggesting that rave culture was a social archetype based on the mood of friendly strength, compared to the gentle hippie archetype, based on friendly weakness.^[190] The later electronic dance genres known as goa trance and psychedelic trance and its related events and culture have important hippie legacies and neo hippie elements. The popular DJ of the genre Goa Gil, like other hippies from the 1960s, decided to leave the US and Western Europe to travel on the hippie trail and later developing psychedelic parties and music in the Indian island of Goa in which the goa and psytrance genres were born and exported around the world in the 1990s and 2000s.^[191]

Media[edit]

Popular films depicting the hippie ethos and lifestyle include Woodstock, Easy Rider, Hair, The Doors, Across the Universe, Taking Woodstock, and Crumb.

In 2002, photojournalist John Bassett McCleary published a 650-page, 6,000-entry unabridged slang dictionary devoted to the language of the hippies titled The Hippie Dictionary: A Cultural Encyclopedia of the 1960s and 1970s. The book was revised and expanded to 700 pages in 2004.^[192][193] McCleary believes that the hippie counterculture added a significant number of words to the English language by borrowing from the lexicon of the Beat Generation, through the hippies’ shortening of beatnik words and then popularizing their usage.^[194]

• 

  Hippies at the Nambassa 1981 Festival in New Zealand

• 

  Goa Gil, original 1960s hippie who later became a pioneering electronic dance music DJ and party organizer, here appearing in the 2001 film Last Hippie Standing

See also[edit]

References[edit]

Works cited[edit]

• Booth, Martin (2004), Cannabis: A History, St. Martin’s Press, ISBN 0-312-32220-8.
• Bugliosi, Vincent; Gentry, Curt (1994), Helter Skelter, V. W. Norton & Company, Inc., ISBN 0-393-32223-8.
• Dudley, William, ed. (2000), The 1960s (America’s decades), San Diego: Greenhaven Press..
• Heath, Joseph; Potter, Andrew (2004), Nation of Rebels: Why Counterculture Became Consumer Culture, Collins, ISBN 0-06-074586-X.
• Grunenberg, Christoph; Harris, Jonathan (2005), Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s, Liverpool University Press, ISBN 0-85323-929-0.
• Hirsch, E.D. (1993), The Dictionary of Cultural Literacy, Houghton Mifflin, ISBN 0-395-65597-8.
• Katz, Jack (1988), Seductions of Crime: Moral and Sensual Attractions in Doing Evil, Basic Books, ISBN 0-465-07616-5.
• Kennedy, Gordon (1998), Children of the Sun: A Pictorial Anthology From Germany To California, 1883–1949, Nivaria Press, ISBN 0-9668898-0-0.
• Lattin, Don (2004), Following Our Bliss: How the Spiritual Ideals of the Sixties Shape Our Lives Today, HarperCollins, ISBN 0-06-073063-3.
• Lee, Martin A.; Shlain, Bruce (1992), Acid Dreams: The Complete Social History of LSD: The CIA, the Sixties, and Beyond, Grove Press, ISBN 0-8021-3062-3.
• Lewis, James R.; Melton, J. Gordon (1992). «Introduction». In Lewis, James R.; Melton, J. Gordon (eds.). Perspectives on the New Age. Albany, NY: State University of New York Press. pp. ix–xxi. ISBN 978-0-7914-1213-8.
• Lytle, Mark H. (2006), America’s Uncivil Wars: The Sixties Era from Elvis to the Fall of Richard Nixon, Oxford University Press, ISBN 0-19-517496-8.
• McCleary, John (2004), The Hippie Dictionary, Ten Speed Press, ISBN 1-58008-547-4.
• Marty, Myron A. (1997), Daily life in the United States, 1960–1990, Westport, CT: The Greenwood Press, ISBN 0-313-29554-9.
• Oldmeadow, Harry (2004), Journeys East: 20th Century Western Encounters with Eastern Religious Traditions, World Wisdom, Inc, ISBN 0-941532-57-7.
• Pendergast, Tom; Pendergast, Sara, eds. (2005), «Sixties Counterculture: The Hippies and Beyond», The Sixties in America Reference Library, vol. 1: Almanac, Detroit: Thomson Gale, pp. 151–171.
• Perry, Charles (2005), The Haight-Ashbury: A History (Reprint ed.), Wenner Books, ISBN 1-932958-55-X.
• Seale, Bobby (1991), Seize the Time: The Story of the Black Panther Party and Huey P. Newton, Black Classic Press, ISBN 0-933121-30-X.
• Stevens, Jay (1998), Storming Heaven: LSD and the American Dream, Grove Press, ISBN 0-8021-3587-0.
• Stolley, Richard B. (1998), Turbulent Years: The 60s (Our American Century), Time-Life Books, ISBN 0-7835-5503-2.
• Stone, Skip (1999), Hippies From A to Z, Hip Inc., retrieved 2017-08-13.
• Tamony, Peter (Summer 1981), «Tripping out from San Francisco», American Speech, Duke University Press, 56 (2): 98–103, doi:10.2307/455009, JSTOR 455009, PMID 11623430.
• Tompkins, Vincent, ed. (2001a), «Assimilation of the Counterculture», American Decades, vol. 8: 1970–1979, Detroit: Thomson Gale.
• Tompkins, Vincent, ed. (2001b), «Hippies», American Decades, vol. 7: 1960–1969, Detroit: Thomson Gale.
• Turner, Fred (2006), From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism, University Of Chicago Press, ISBN 0-226-81741-5.
• Yablonsky, Lewis (1968), The Hippie Trip, Pegasus, ISBN 0-595-00116-5.

Further reading[edit]

• Binkley, Sam (2002), «Hippies», St. James Encyclopedia of Pop Culture, archived from the original on 2007-04-22 – via FindArticles.com.
• Brand, Stewart (1995), «We Owe it All to the Hippies», Time, archived from the original on 2011-01-06, retrieved 2006-09-24.
• Buckley, William F. Jr.; Yablonsky, Lewis; Sanders, Ed; Kerouac, Jack (September 3, 1968). «113 The Hippies». Firing Line. Hoover Institution on War, Revolution, and Peace, Video Library. Archived from the original on 2021-10-30. Retrieved 23 October 2021 – via YouTube..
• Gaskin, Stephen (1970), Monday Night Class, The Book Farm, ISBN 1-57067-181-8.
• Kent, Stephen A. (2001), From slogans to mantras: social protest and religious conversion in the late Vietnam war era, Syracuse University Press, ISBN 0-8156-2923-0.
• Mankin, Bill (2012), We Can All Join In: How Rock Festivals Helped Change America, Like the Dew, archived from the original on 2013-12-19, retrieved 2012-03-16.
• Lemke-Santangelo, Gretchen (2009), Daughters of Aquarius: Women of the Sixties Counterculture, University Press of Kansas, ISBN 978-0700616336.
• MacLean, Rory (2008), Magic Bus: On the Hippie Trail from Istanbul to India, New York: Ig Publishing, ISBN 978-0-14-101595-8, archived from the original on 2009-05-08, retrieved 2021-03-30.
• Markoff, John (2006), What the Dormouse Said: How the Sixties Counterculture Shaped the Personal Computer Industry, Penguin Books, ISBN 0-14-303676-9.
• Mecchi, Irene (1991), The Best of Herb Caen, 1960–75, Chronicle Books, ISBN 0-8118-0020-2.
• Stone, Skip (1999), Hippies From A to Z: Their Sex, Drugs, Music and Impact on Society From the Sixties to the Present, Hip Inc., ISBN 1-930258-01-1.
• Young, Shawn David (2005), Hippies, Jesus Freaks, and Music, Ann Arbor: Xanedu/Copley Original Works, ISBN 1-59399-201-7.
• Altman, Robert (Curator) (1997), «The Summer of Love – Gallery», Summer of Love 30th Anniversary Celebration, The Council for the Summer of Love, archived from the original on 2008-01-25, retrieved 2008-01-21.
• Bissonnette, Anne (Curator) (April 12 – September 17, 2000), Revolutionizing Fashion: The Politics of Style, Kent State University Museum, archived from the original on January 18, 2008, retrieved 2008-01-21.
• Brode, Douglas (2004), From Walt to Woodstock: How Disney Created the Counterculture, University of Texas Press, ISBN 0-292-70273-6.
• Canadian Broadcasting Corporation (2006), Hippie Society: The Youth Rebellion, Life and Society, CBC Digital Archives, retrieved 2008-01-21.
• Charters, Ann (2003), The Portable Sixties reader, New York: Penguin Books, ISBN 0-14-200194-5.
• Curl, John (2007), Memories of DROP CITY: The First Hippie Commune of the 1960s and the Summer of Love, A Memoir, New York: iuniverse, ISBN 978-0595423439, archived from the original on April 13, 2009.
• Howard, John Robert (March 1969), «The Flowering of the Hippie Movement», Annals of the American Academy of Political and Social Science, 382 (Protest in the Sixties): 43–55, doi:10.1177/000271626938200106, S2CID 146605321.
• Laughead, George (1998), WWW-VL: History: 1960s, European University Institute, retrieved 2008-01-21.
• Lemke-Santangelo, Gretchen (2009), Daughters of Aquarius: Women of the Sixties Counterculture, University Press of Kansas, ISBN 978-0700616336.
• Lund, Jens; Denisoff, R. Serge (Oct–Dec 1971), «The Folk Music Revival and the Counter Culture: Contributions and Contradictions», The Journal of American Folklore, American Folklore Society, 84 (334): 394–405, doi:10.2307/539633, JSTOR 539633.
• MacFarlane, Scott (2007), The Hippie Narrative: A Literary Perspective on the Counterculture, McFarland & Company, Inc., ISBN 978-0-7864-2915-8.
• Neville, Richard (1995), Hippie, Hippie, Shake: The Dreams, the Trips, the Trials, the Love-ins, the Screw ups—the Sixties., William Heinemann Australia, ISBN 0-85561-523-0.
• Neville, Richard (1996), Out of My Mind: From Flower Power to the Third Millennium—the Seventies, the Eighties and the Nineties, Penguin, ISBN 0-14-026270-9.
• Partridge, William L. (1973), The Hippie Ghetto: The Natural History of a Subculture, New York: Holt, Rinehart and Winston, ISBN 0-03-091081-1.
• Pirsig, Robert M. (2006) [1991], Lila: An Inquiry into Morals, Bantam Books, ISBN 0-553-07873-9.
• Rainbow Family (2004), Rainbow Family of the Living Light, Circle of Light Community Network, archived from the original on 2008-07-19, retrieved 2008-01-21. See also:
• Riser, George (Curator) (1998), The Psychedelic ’60s: Literary Tradition and Social Change, Special Collections Department. University of Virginia Library, archived from the original on January 11, 2008, retrieved 2008-01-21.
• Staller, Karen M. (2006), Runaways: How the Sixties Counterculture Shaped Today’s Practices and Policies, Columbia University Press, ISBN 0-231-12410-4.
• Stone, Skip (2000), The Way of the Hippy, Hip Inc., archived from the original on 2009-07-05.
• Thompson, Hunter S. (2000), «Owl Farm – Winter of ’68», Fear and Loathing in America: The Brutal Odyssey of an Outlaw Journalist 1968–1976, Simon & Schuster, ISBN 0-684-87315-X
• Walpole, Andy (2004), «Hippies, Freaks and the Summer of Love», Harold Hill: A People’s History, haroldhill.org, archived from the original on 2007-07-12, retrieved 2008-01-21.
• Wolfe, Tom (1968), The Electric Kool-Aid Acid Test, New York: Farrar, Straus & Giroux.

External links[edit]

• Summer of Love Archived 2017-02-28 at the Wayback Machine. A film part of PBS´s American Experience series. Includes the film available to watch online Archived 2016-03-05 at the Wayback Machine and other information on the San Francisco event known as the Summer of Love as well as other material related to the hippie subculture.
• Hippie Society: The Youth Rebellion. A Canadian program by the CBC public network on the hippie rebellion including videos to watch.
• 70’s Origin Archived 2021-02-14 at the Wayback Machine. Seventies Origin History.
• Sixtiespix. An archive with photographs of hippie culture.
• Hippie Movies & TV Shows. 1960s and early 1970s hippie and youth culture on film and TV.
• Hippie Quotes Archived 2020-10-24 at the Wayback Machine. Hippie Quotes from all times.
• UKHippy . UK Based Hippy & New Age Traveller website; online since 2005 with historical links to the original UK hippy community.

A hippie, also spelled hippy,^[1] especially in British English,^[2] is someone associated with the counterculture of the 1960s, originally a youth movement that began in the United States during the mid-1960s and spread to different countries around the world.^[3] The word hippie came from hipster and was used to describe beatniks^[4] who moved into New York City’s Greenwich Village, in San Francisco’s Haight-Ashbury district, and Chicago’s Old Town community. The term hippie was used in print by San Francisco writer Michael Fallon, helping popularize use of the term in the media, although the tag was seen elsewhere earlier.^[5][6]

The origins of the terms hip and hep are uncertain. By the 1940s, both had become part of African American jive slang and meant «sophisticated; currently fashionable; fully up-to-date».^[7][8][9] The Beats adopted the term hip, and early hippies inherited the language and countercultural values of the Beat Generation. Hippies created their own communities, listened to psychedelic music, embraced the sexual revolution, and many used drugs such as marijuana and LSD to explore altered states of consciousness.^[10][11]

In 1967, the Human Be-In in Golden Gate Park, San Francisco, and Monterey Pop Festival^[12]
popularized hippie culture, leading to the Summer of Love on the West Coast of the United States, and the 1969 Woodstock Festival on the East Coast. Hippies in Mexico, known as jipitecas, formed La Onda and gathered at Avándaro, while in New Zealand, nomadic housetruckers practiced alternative lifestyles and promoted sustainable energy at Nambassa. In the United Kingdom in 1970, many gathered at the gigantic third Isle of Wight Festival with a crowd of around 400,000 people.^[13] In later years, mobile «peace convoys» of New Age travellers made summer pilgrimages to free music festivals at Stonehenge and elsewhere. In Australia, hippies gathered at Nimbin for the 1973 Aquarius Festival and the annual Cannabis Law Reform Rally or MardiGrass. «Piedra Roja Festival», a major hippie event in Chile, was held in 1970.^[14] Hippie and psychedelic culture influenced 1960s and early 1970s youth culture in Iron Curtain countries in Eastern Europe (see Mánička).^[15]

Hippie fashion and values had a major effect on culture, influencing popular music, television, film, literature, and the arts. Since the 1960s, mainstream society has assimilated many aspects of hippie culture. The religious and cultural diversity the hippies espoused has gained widespread acceptance, and their pop versions of Eastern philosophy and Asiatic spiritual concepts have reached a larger group.

The vast majority of people who had participated in the golden age of the hippie movement were those born during the 1940s. These included the oldest of the Baby Boomers as well as the youngest of the Silent Generation; the latter who were the actual leaders of the movement as well as the pioneers of rock music.^[16]

Etymology[edit]

Lexicographer Jesse Sheidlower, the principal American editor of the Oxford English Dictionary, argues that the terms hipster and hippie are derived from the word hip, whose origins are unknown.^[17] The word hip in the sense of «aware, in the know» is first attested in a 1902 cartoon by Tad Dorgan,^[18] and first appeared in prose in a 1904 novel by George Vere Hobart^[19] (1867–1926), Jim Hickey: A Story of the One-Night Stands, where an African-American character uses the slang phrase «Are you hip?»

The term hipster was coined by Harry Gibson in 1944.^[20] By the 1940s, the terms hip, hep and hepcat were popular in Harlem jazz slang, although hep eventually came to denote an inferior status to hip.^[21] In Greenwich Village in the early 1960s, New York City, young counterculture advocates were named hips because they were considered «in the know» or «cool», as opposed to being square, meaning conventional and old-fashioned. In the April 27, 1961 issue of The Village Voice, «An open letter to JFK & Fidel Castro», Norman Mailer utilizes the term hippies, in questioning JFK’s behavior. In a 1961 essay, Kenneth Rexroth used both the terms hipster and hippies to refer to young people participating in black American or Beatnik nightlife.^[22] According to Malcolm X’s 1964 autobiography, the word hippie in 1940s Harlem had been used to describe a specific type of white man who «acted more Negro than Negroes».^[23] Andrew Loog Oldham refers to «all the Chicago hippies,» seemingly about black blues/R&B musicians, in his rear sleeve notes to the 1965 LP The Rolling Stones, Now!

Although the word hippies made other isolated appearances in print during the early 1960s, the first use of the term on the West Coast appeared in the article «A New Paradise for Beatniks» (in the San Francisco Examiner, issue of September 5, 1965) by San Francisco journalist Michael Fallon. In that article, Fallon wrote about the Blue Unicorn Cafe (coffeehouse) (located at 1927 Hayes Street in the Haight-Ashbury district of San Francisco), using the term hippie to refer to the new generation of beatniks who had moved from North Beach into the Haight-Ashbury district.^[24][25]

History[edit]

Origins[edit]

A July 1968 Time magazine study on hippie philosophy credited the foundation of the hippie movement with historical precedent as far back as the sadhu of India, the spiritual seekers who had renounced the world and materialistic pursuits by taking «Sannyas». Even the counterculture of the Ancient Greeks, espoused by philosophers like Diogenes of Sinope and the cynics were also early forms of hippie culture.^[26] It also named as notable influences the religious and spiritual teachings of Buddha, Hillel the Elder, Jesus, St. Francis of Assisi, Henry David Thoreau, Gandhi and J.R.R. Tolkien.^[26]

The first signs of modern «proto-hippies» emerged at turn of the 19th century in Europe. Late 1890s to early 1900s, a German youth movement arose as a countercultural reaction to the organized social and cultural clubs that centered around «German folk music». Known as Der Wandervogel («wandering bird»), this hippie movement opposed the formality of traditional German clubs, instead emphasizing folk music and singing, creative dress, and outdoor life involving hiking and camping.^[27] Inspired by the works of Friedrich Nietzsche, Goethe, and Hermann Hesse, Wandervogel attracted thousands of young Germans who rejected the rapid trend toward urbanization and yearned for the pagan, back-to-nature spiritual life of their ancestors.^[28] During the first several decades of the 20th century, Germans settled around the United States, bringing the values of this German youth culture. Some opened the first health food stores, and many moved to southern California where they introduced an alternative lifestyle. One group, called the «Nature Boys», took to the California desert and raised organic food, espousing a back-to-nature lifestyle like the Wandervogel.^[29] Songwriter eden ahbez wrote a hit song called Nature Boy inspired by Robert Bootzin (Gypsy Boots), who helped popularize health-consciousness, yoga, and organic food in the United States.

The hippie movement in the United States began as a youth movement. Composed mostly of white teenagers and young adults between 15 and 25 years old,^[30][31] hippies inherited a tradition of cultural dissent from bohemians and beatniks of the Beat Generation in the late 1950s.^[31] Beats like Allen Ginsberg crossed over from the beat movement and became fixtures of the burgeoning hippie and anti-war movements. By 1965, hippies had become an established social group in the U.S., and the movement eventually expanded to other countries,^[32][33] extending as far as the United Kingdom and Europe, Australia, Canada, New Zealand, Japan, Mexico, and Brazil.^[34] The hippie ethos influenced The Beatles and others in the United Kingdom and other parts of Europe, and they in turn influenced their American counterparts.^[35] Hippie culture spread worldwide through a fusion of rock music, folk, blues, and psychedelic rock; it also found expression in literature, the dramatic arts, fashion, and the visual arts, including film, posters advertising rock concerts, and album covers.^[36] In 1968, self-described hippies represented just under 0.2% of the U.S. population^[37] and dwindled away by mid-1970s.^[32]

Along with the New Left and the Civil Rights Movement, the hippie movement was one of three dissenting groups of the 1960s counterculture.^[33] Hippies rejected established institutions, criticized middle class values, opposed nuclear weapons and the Vietnam War, embraced aspects of Eastern philosophy,^[38] championed sexual liberation, were often vegetarian and eco-friendly, promoted the use of psychedelic drugs which they believed expanded one’s consciousness, and created intentional communities or communes. They used alternative arts, street theatre, folk music, and psychedelic rock as a part of their lifestyle and as a way of expressing their feelings, their protests, and their vision of the world and life. Hippies opposed political and social orthodoxy, choosing a gentle and nondoctrinaire ideology that favored peace, love, and personal freedom,^[39][40] expressed for example in The Beatles’ song «All You Need is Love».^[41] Hippies perceived the dominant culture as a corrupt, monolithic entity that exercised undue power over their lives, calling this culture «The Establishment», «Big Brother», or «The Man».^[42][43][44] Noting that they were «seekers of meaning and value», scholars like Timothy Miller have described hippies as a new religious movement.^[45]

There are echoes of the term «hippie» in «preppy» (with particular cultural currency as a 1950s fashion trend) and «yuppie» (1980s), both of which embraced rather than rejected establishment culture.

1958–1967: Early hippies[edit]

During the late 1950s and early 1960s, novelist Ken Kesey and the Merry Pranksters lived communally in California. Members included Beat Generation hero Neal Cassady, Ken Babbs, Carolyn Adams (aka Mountain Girl/Carolyn Garcia), Stewart Brand, Del Close, Paul Foster, George Walker, Sandy Lehmann-Haupt and others. Their early escapades were documented in Tom Wolfe’s book The Electric Kool-Aid Acid Test. With Cassady at the wheel of a school bus named Further, the Merry Pranksters traveled across the United States to celebrate the publication of Kesey’s novel Sometimes a Great Notion and to visit the 1964 World’s Fair in New York City. The Merry Pranksters were known for using cannabis, amphetamine, and LSD, and during their journey they «turned on» many people to these drugs. The Merry Pranksters filmed and audio-taped their bus trips, creating an immersive multimedia experience that would later be presented to the public in the form of festivals and concerts. The Grateful Dead wrote a song about the Merry Pranksters’ bus trips called «That’s It for the Other One».^[46] In 1961, Vito Paulekas and his wife Szou established in Hollywood a clothing boutique which was credited with being one of the first to introduce «hippie» fashions.^[47][48][49]

During this period Greenwich Village in New York City and Berkeley, California anchored the American folk music circuit. Berkeley’s two coffee houses, the Cabale Creamery and the Jabberwock, sponsored performances by folk music artists in a beat setting.^[50] In April 1963, Chandler A. Laughlin III, co-founder of the Cabale Creamery,^[51] established a kind of tribal, family identity among approximately fifty people who attended a traditional, all-night Native American peyote ceremony in a rural setting. This ceremony combined a psychedelic experience with traditional Native American spiritual values; these people went on to sponsor a unique genre of musical expression and performance at the Red Dog Saloon in the isolated, old-time mining town of Virginia City, Nevada.^[52]

During the summer of 1965, Laughlin recruited much of the original talent that led to a unique amalgam of traditional folk music and the developing psychedelic rock scene.^[52] He and his cohorts created what became known as «The Red Dog Experience», featuring previously unknown musical acts—Grateful Dead, Jefferson Airplane, Big Brother and the Holding Company, Quicksilver Messenger Service, The Charlatans, and others—who played in the completely refurbished, intimate setting of Virginia City’s Red Dog Saloon. There was no clear delineation between «performers» and «audience» in «The Red Dog Experience», during which music, psychedelic experimentation, a unique sense of personal style, and Bill Ham’s first primitive light shows combined to create a new sense of community.^[53] Laughlin and George Hunter of the Charlatans were true «proto-hippies», with their long hair, boots, and outrageous clothing of 19th-century American (and Native American) heritage.^[52] LSD manufacturer Owsley Stanley lived in Berkeley during 1965 and provided much of the LSD that became a seminal part of the «Red Dog Experience», the early evolution of psychedelic rock and budding hippie culture. At the Red Dog Saloon, The Charlatans were the first psychedelic rock band to play live (albeit unintentionally) loaded on LSD.^[54]

When they returned to San Francisco, Red Dog participants Luria Castell, Ellen Harman and Alton Kelley created a collective called «The Family Dog.»^[52] Modeled on their Red Dog experiences, on October 16, 1965, the Family Dog hosted «A Tribute to Dr. Strange» at Longshoreman’s Hall.^[55] Attended by approximately one thousand of the Bay Area’s original «hippies», this was San Francisco’s first psychedelic rock performance, costumed dance and light show, featuring Jefferson Airplane, The Great Society and The Marbles.^[56] Two other events followed before year’s end, one at California Hall and one at the Matrix.^[52] After the first three Family Dog events, a much larger psychedelic event occurred at San Francisco’s Longshoreman’s Hall. Called «The Trips Festival», it took place on January 21 – 23, 1966, and was organized by Stewart Brand, Ken Kesey, Owsley Stanley and others. Ten thousand people attended this sold-out event, with a thousand more turned away each night.^[57] On Saturday January 22, the Grateful Dead and Big Brother and the Holding Company came on stage, and six thousand people arrived to imbibe punch spiked with LSD and to witness one of the first fully developed light shows of the era.^[58]

By February 1966, the Family Dog became Family Dog Productions under organizer Chet Helms, promoting happenings at the Avalon Ballroom and the Fillmore Auditorium in initial cooperation with Bill Graham. The Avalon Ballroom, the Fillmore Auditorium, and other venues provided settings where participants could partake of the full psychedelic music experience. Bill Ham, who had pioneered the original Red Dog light shows, perfected his art of liquid light projection, which combined light shows and film projection and became synonymous with the San Francisco ballroom experience.^[52][60] The sense of style and costume that began at the Red Dog Saloon flourished when San Francisco’s Fox Theater went out of business and hippies bought up its costume stock, reveling in the freedom to dress up for weekly musical performances at their favorite ballrooms. As San Francisco Chronicle music columnist Ralph J. Gleason put it, «They danced all night long, orgiastic, spontaneous and completely free form.»^[52]

Some of the earliest San Francisco hippies were former students at San Francisco State College^[61] who became intrigued by the developing psychedelic hippie music scene.^[52] These students joined the bands they loved, living communally in the large, inexpensive Victorian apartments in the Haight-Ashbury.^[62] Young Americans around the country began moving to San Francisco, and by June 1966, around 15,000 hippies had moved into the Haight.^[63] The Charlatans, Jefferson Airplane, Big Brother and the Holding Company, and the Grateful Dead all moved to San Francisco’s Haight-Ashbury neighborhood during this period. Activity centered around the Diggers, a guerrilla street theatre group that combined spontaneous street theatre, anarchistic action, and art happenings in their agenda to create a «free city». By late 1966, the Diggers opened free stores which simply gave away their stock, provided free food, distributed free drugs, gave away money, organized free music concerts, and performed works of political art.^[64]

On October 6, 1966, the state of California declared LSD a controlled substance, which made the drug illegal.^[65] In response to the criminalization of psychedelics, San Francisco hippies staged a gathering in the Golden Gate Park panhandle, called the Love Pageant Rally,^[65] attracting an estimated 700–800 people.^[66] As explained by Allan Cohen, co-founder of the San Francisco Oracle, the purpose of the rally was twofold: to draw attention to the fact that LSD had just been made illegal—and to demonstrate that people who used LSD were not criminals, nor were they mentally ill. The Grateful Dead played, and some sources claim that LSD was consumed at the rally. According to Cohen, those who took LSD «were not guilty of using illegal substances…We were celebrating transcendental consciousness, the beauty of the universe, the beauty of being.»^[67]

The Sunset Strip curfew riots, also known as the «hippie riots», were a series of early counterculture-era clashes that took place between police and young people on the Sunset Strip in West Hollywood, California, in 1966 and continuing on and off through the early 1970s. In 1966, annoyed residents and business owners in the district had encouraged the passage of strict (10:00 p.m.) curfew and loitering laws to reduce the traffic congestion resulting from crowds of young club patrons.^[68] This was perceived by young, local rock music fans as an infringement on their civil rights, and on Saturday, November 12, 1966, fliers were distributed along the Strip inviting people to demonstrate later that day. Hours before the protest one of the rock ‘n’ roll radio stations in L.A. announced there would be a rally at Pandora’s Box, a club at the corner of Sunset Boulevard and Crescent Heights, and cautioned people to tread carefully.^[69] The Los Angeles Times reported that as many as 1,000 youthful demonstrators, including such celebrities as Jack Nicholson and Peter Fonda (who was afterward handcuffed by police), erupted in protest against the perceived repressive enforcement of these recently invoked curfew laws.^[68] This incident provided the basis for the 1967 low-budget teen exploitation film Riot on Sunset Strip, and inspired multiple songs including the famous Buffalo Springfield song «For What It’s Worth».^[70]

1967: Human Be-In, Summer of Love, and rise to prevalence[edit]

On January 14, 1967, the outdoor Human Be-In organized by Michael Bowen^[71] helped to popularize hippie culture across the United States, with 20,000 to 30,000 hippies gathering in San Francisco’s Golden Gate Park. On March 26, Lou Reed, Edie Sedgwick and 10,000 hippies came together in Manhattan for the Central Park Be-In on Easter Sunday.^[72] The Monterey Pop Festival from June 16 to June 18 introduced the rock music of the counterculture to a wide audience and marked the start of the «Summer of Love».^[73] Scott McKenzie’s rendition of John Phillips’ song, «San Francisco», became a hit in the United States and Europe. The lyrics, «If you’re going to San Francisco, be sure to wear some flowers in your hair», inspired thousands of young people from all over the world to travel to San Francisco, sometimes wearing flowers in their hair and distributing flowers to passersby, earning them the name, «Flower Children». Bands like the Grateful Dead, Big Brother and the Holding Company (with Janis Joplin), and Jefferson Airplane lived in the Haight.

In June 1967, Herb Caen was approached by «a distinguished magazine»^[75] to write about why hippies were attracted to San Francisco. He declined the assignment but interviewed hippies in the Haight for his own newspaper column in the San Francisco Chronicle. Caen determined that, «Except in their music, they couldn’t care less about the approval of the straight world.»^[75] Caen himself felt that the city of San Francisco was so straight that it provided a visible contrast with hippie culture.^[75] On July 7, Time magazine featured a cover story entitled, «The Hippies: The Philosophy of a Subculture.» The article described the guidelines of the hippie code: «Do your own thing, wherever you have to do it and whenever you want. Drop out. Leave society as you have known it. Leave it utterly. Blow the mind of every straight person you can reach. Turn them on, if not to drugs, then to beauty, love, honesty, fun.»^[76] It is estimated that around 100,000 people traveled to San Francisco in the summer of 1967. The media was right behind them, casting a spotlight on the Haight-Ashbury district and popularizing the «hippie» label. With this increased attention, hippies found support for their ideals of love and peace but were also criticized for their anti-work, pro-drug, and permissive ethos.^{[citation needed]}

External images
Death of Hippie sunrise, October 6, 1967
Hippies parade, at Haight and Ashbury, carrying a symbolic casket. (North-east)[77]
Hippies parade, at Haight and Ashbury, carrying a symbolic casket. (East)
George Harrison strums a borrowed guitar, followed by hippies. . Harrison spent an hour touring the Haight-Ashbury, before this stroll through Golden Gate Park.

At this point, The Beatles had released their groundbreaking album Sgt. Pepper’s Lonely Hearts Club Band which was quickly embraced by the hippie movement with its colorful psychedelic sonic imagery.^[78]

In 1967 Chet Helms brought the Haight Ashbury hippie and psychedelic scene to Denver, when he opened the Family Dog Denver, modeled on his Avalon Ballroom in San Francisco. The music venue created a nexus for the hippie movement in the western-minded Denver, which led to serious conflicts with city leaders, parents and the police, who saw the hippie movement as dangerous. The resulting legal actions and pressure caused Helms and Bob Cohen to close the venue at the end of that year.^[79]

By the end of the summer, the Haight-Ashbury scene had deteriorated. The incessant media coverage led the Diggers to declare the «death» of the hippie with a parade.^[80][81][82] According to poet Susan ‘Stormi’ Chambless, the hippies buried an effigy of a hippie in the Panhandle to demonstrate the end of his/her reign. Haight-Ashbury could not accommodate the influx of crowds (mostly naive youngsters) with no place to live. Many took to living on the street, panhandling and drug-dealing. There were problems with malnourishment, disease, and drug addiction. Crime and violence skyrocketed. None of these trends reflected what the hippies had envisioned.^[83] By the end of 1967, many of the hippies and musicians who initiated the Summer of Love had moved on. Beatle George Harrison had once visited Haight-Ashbury and found it to be just a haven for dropouts, inspiring him to give up LSD.^[84] Misgivings about the hippie culture, particularly with regard to substance use and lenient morality, fueled the moral panics of the late 1960s.^[85]

1967–1969: Revolution and peak of influence[edit]

By 1968, hippie-influenced fashions were beginning to take off in the mainstream, especially for youths and younger adults of the populous baby boomer generation, many of whom may have aspired to emulate the hardcore movements now living in tribalistic communes, but had no overt connections to them. This was noticed not only in terms of clothes and also longer hair for men, but also in music, film, art, and literature, and not just in the US, but around the world. Eugene McCarthy’s brief presidential campaign successfully persuaded a significant minority of young adults to «get clean for Gene» by shaving their beards or wearing longer skirts; however the «Clean Genes» had little impact on the popular image in the media spotlight, of the hirsute hippy adorned in beads, feathers, flowers and bells.

A sign of this was the visibility that the hippie subculture gained in various mainstream and underground media. Hippie exploitation films are 1960s exploitation films about the hippie counterculture^[86] with stereotypical situations associated with the movement such as cannabis and LSD use, sex and wild psychedelic parties. Examples include The Love-ins, Psych-Out, The Trip, and Wild in the Streets. Other more serious and more critically acclaimed films about the hippie counterculture also appeared such as Easy Rider and Alice’s Restaurant. (See also: List of films related to the hippie subculture.) Documentaries and television programs have also been produced until today as well as fiction and nonfiction books. The popular Broadway musical Hair was presented in 1967.

People commonly label other cultural movements of that period as hippie, however there are differences. For example, hippies were often not directly engaged in politics, as contrasted with «Yippies» (Youth International Party), an activist organization. The Yippies came to national attention during their celebration of the 1968 spring equinox, when some 3,000 of them took over Grand Central Terminal in New York—eventually resulting in 61 arrests. The Yippies, especially their leaders Abbie Hoffman and Jerry Rubin, became notorious for their theatrics, such as trying to levitate the Pentagon at the October 1967 war protest, and such slogans as «Rise up and abandon the creeping meatball!» Their stated intention to protest the 1968 Democratic National Convention in Chicago in August, including nominating their own candidate, «Lyndon Pigasus Pig» (an actual pig), was also widely publicized in the media at this time.^[87]

In Cambridge, hippies congregated each Sunday for a large «be-in» at Cambridge Common with swarms of drummers and those beginning the Women’s Movement. In the US the Hippie movement started to be seen as part of the «New Left» which was associated with anti-war college campus protest movements.^[88] The New Left was a term used mainly in the United Kingdom and United States in reference to activists, educators, agitators and others in the 1960s and 1970s who sought to implement a broad range of reforms on issues such as gay rights, abortion, gender roles and drugs^[88] in contrast to earlier leftist or Marxist movements that had taken a more vanguardist approach to social justice and focused mostly on labor unionization and questions of social class.^[89][90]

In April 1969, the building of People’s Park in Berkeley, California received international attention. The University of California, Berkeley had demolished all the buildings on a 2.8-acre (11,000 m²) parcel near campus, intending to use the land to build playing fields and a parking lot. After a long delay, during which the site became a dangerous eyesore, thousands of ordinary Berkeley citizens, merchants, students, and hippies took matters into their own hands, planting trees, shrubs, flowers and grass to convert the land into a park. A major confrontation ensued on May 15, 1969, when Governor Ronald Reagan ordered the park destroyed, which led to a two-week occupation of the city of Berkeley by the California National Guard.^[91][92] Flower power came into its own during this occupation as hippies engaged in acts of civil disobedience to plant flowers in empty lots all over Berkeley under the slogan «Let a Thousand Parks Bloom».

In August 1969, the Woodstock Music and Art Fair took place in Bethel, New York, which for many, exemplified the best of hippie counterculture. Over 500,000 people arrived^[93] to hear some of the most notable musicians and bands of the era, among them Canned Heat, Richie Havens, Joan Baez, Janis Joplin, The Grateful Dead, Creedence Clearwater Revival, Crosby, Stills, Nash & Young, Carlos Santana, Sly & The Family Stone, The Who, Jefferson Airplane, and Jimi Hendrix. Wavy Gravy’s Hog Farm provided security and attended to practical needs, and the hippie ideals of love and human fellowship seemed to have gained real-world expression. Similar rock festivals occurred in other parts of the country, which played a significant role in spreading hippie ideals throughout America.^[94]

In December 1969, a rock festival took place in Altamont, California, about 45 km (30 miles ) east of San Francisco. Initially billed as «Woodstock West», its official name was The Altamont Free Concert. About 300,000 people gathered to hear The Rolling Stones; Crosby, Stills, Nash and Young; Jefferson Airplane and other bands. The Hells Angels provided security that proved far less benevolent than the security provided at the Woodstock event: 18-year-old Meredith Hunter was stabbed and killed by one of the Hells Angels during The Rolling Stones’ performance after he brandished a gun and waved it toward the stage.^[95]

1969–present: Aftershocks, absorption into the mainstream, and new developments[edit]

By the 1970s, the 1960s zeitgeist that had spawned hippie culture seemed to be on the wane.^[96][97][98] The events at Altamont Free Concert shocked many Americans,^[99] including those who had strongly identified with hippie culture. Another shock came in the form of the Sharon Tate and Leno and Rosemary LaBianca murders committed in August 1969 by Charles Manson and his «family» of followers. Nevertheless, the turbulent political atmosphere that featured the bombing of Cambodia and shootings by National Guardsmen at Jackson State University and Kent State University still brought people together. These shootings inspired the May 1970 song by Quicksilver Messenger Service «What About Me?», where they sang, «You keep adding to my numbers as you shoot my people down», as well as Neil Young’s «Ohio», a song that protested the Kent State massacre, recorded by Crosby, Stills, Nash and Young.

Much of hippie style had been integrated into mainstream American society by the early 1970s.^[100][101] Large rock concerts that originated with the 1967 KFRC Fantasy Fair and Magic Mountain Music Festival and Monterey Pop Festival and the British Isle of Wight Festival in 1968 became the norm, evolving into stadium rock in the process. The anti-war movement reached its peak at the 1971 May Day Protests as over 12,000 protesters were arrested in Washington, D.C.; President Nixon himself actually ventured out of the White House and chatted with a group of the hippie protesters. The draft was ended soon thereafter, in January 1973. During the mid-late 1970s, with the end of the draft and the Vietnam War, a renewal of patriotic sentiment associated with the approach of the United States Bicentennial, the decline in popularity of psychedelic rock, and the emergence of new genres such as prog rock, heavy metal, disco, and punk rock, the mainstream media lost interest in the hippie counterculture. At the same time there was a revival of the Mod subculture, skinheads, teddy boys and the emergence of new youth cultures, like the punks, goths (an arty offshoot of punk), and football casuals; starting in the late 1960s in Britain, hippies had begun to come under attack by skinheads.^{[102][103][104]}

Many hippies would adapt and become members of the growing countercultural New Age movement of the 1970s.^[105] While many hippies made a long-term commitment to the lifestyle, some people argue that hippies «sold out» during the 1980s and became part of the materialist, self-centered consumer yuppie culture.^[106][107] Although not as visible as it once was, hippie culture has never died out completely: hippies and neo-hippies can still be found on college campuses, on communes, and at gatherings and festivals. Many embrace the hippie values of peace, love, and community, and hippies may still be found in bohemian enclaves around the world.^[34] Hippie communes, where members tried to live the ideals of the hippie movement, continued to flourish. On the west coast, Oregon had quite a few.^[108] Around 1994, a new term «Zippie» was being used to describe hippies that had embraced New Age beliefs, new technology, and a love for electronic music.^[109]

Ethos and characteristics[edit]

The bohemian predecessor of the hippie culture in San Francisco was the «Beat Generation» style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting.»^[110] The entire tone of the new subculture was different. Jon McIntire, manager of the Grateful Dead from the late 1960s to the mid-1980s, points out that the great contribution of the hippie culture was this projection of joy. «The beatnik thing was black, cynical, and cold.»^[111] Hippies sought to free themselves from societal restrictions, choose their own way, and find new meaning in life. One expression of hippie independence from societal norms was found in their standard of dress and grooming, which made hippies instantly recognizable to one another, and served as a visual symbol of their respect for individual rights. Through their appearance, hippies declared their willingness to question authority, and distanced themselves from the «straight» and «square» (i.e., conformist) segments of society.^[112] Personality traits and values that hippies tend to be associated with are «altruism and mysticism, honesty, joy and nonviolence».^[113]

At the same time, many thoughtful hippies distanced themselves from the very idea that the way a person dresses could be a reliable signal of who he or she was—especially after outright criminals such as Charles Manson began to adopt superficial hippie characteristics, and also after plainclothes policemen started to «dress like hippies» to divide and conquer legitimate members of the counterculture. Frank Zappa, known for lampooning hippie ethos, particularly with songs like «Who Needs the Peace Corps?» (1968), admonished his audience that «we all wear a uniform». The San Francisco clown/hippie Wavy Gravy said in 1987 that he could still see fellow-feeling in the eyes of Market Street businessmen who had dressed conventionally to survive.^[114]

Art and fashion[edit]

Leading proponents of the 1960s Psychedelic Art movement were San Francisco poster artists such as: Rick Griffin, Victor Moscoso, Bonnie MacLean, Stanley Mouse & Alton Kelley, and Wes Wilson. Their Psychedelic Rock concert posters were inspired by Art Nouveau, Victoriana, Dada, and Pop Art. Posters for concerts in the Fillmore West, a concert auditorium in San Francisco, popular with Hippie audiences, were among the most notable of the time. Richly saturated colors in glaring contrast, elaborately ornate lettering, strongly symmetrical composition, collage elements, rubber-like distortions, and bizarre iconography are all hallmarks of the San Francisco psychedelic poster art style. The style flourished from roughly the years 1966 until 1972. Their work was immediately influential to album cover art, and indeed all of the aforementioned artists also created album covers. Psychedelic light-shows were a new art-form developed for rock concerts. Using oil and dye in an emulsion that was set between large convex lenses upon overhead projectors, the lightshow artists created bubbling liquid visuals that pulsed in rhythm to the music. This was mixed with slide shows and film loops to create an improvisational motion picture art form, and to give visual representation to the improvisational jams of the rock bands and create a completely «trippy» atmosphere for the audience.^{[citation needed]}

The Brotherhood of Light were responsible for many of the light-shows in San Francisco psychedelic rock concerts.
Out of the psychedelic counterculture there also arose a new genre of comic books: underground comix. Zap Comix was among the original underground comics, and featured the work of Robert Crumb, S. Clay Wilson, Victor Moscoso, Rick Griffin, and Robert Williams among others. Underground comix were ribald, intensely satirical, and seemed to pursue weirdness for the sake of weirdness. Gilbert Shelton created perhaps the most enduring of underground cartoon characters, The Fabulous Furry Freak Brothers, whose drugged-out exploits held a mirror up to the hippie lifestyle of the 1960s.

As in the beat movement preceding them, and the punk movement that followed soon after, hippie symbols and iconography were purposely borrowed from either «low» or «primitive» cultures, with hippie fashion reflecting a disorderly, often vagrant style.^[115] As with other adolescent, whitebread middle-class movements, deviant behavior of the hippies involved challenging the prevailing gender differences of their time: both men and women in the hippie movement wore jeans and maintained long hair,^[116] and both genders wore sandals, moccasins or went barefoot.^[63] Men often wore beards,^[117] while women wore little or no makeup, with many going braless.^[63] Hippies often chose brightly colored clothing and wore unusual styles, such as bell-bottom pants, vests, tie-dyed garments, dashikis, peasant blouses, and long, full skirts; non-Western inspired clothing with Native American, Latin American, African and Asiatic motifs were also popular. Much hippie clothing was self-made in defiance of corporate culture, and hippies often purchased their clothes from flea markets and second-hand shops.^[117] Favored accessories for both men and women included Native American jewelry, head scarves, headbands and long beaded necklaces.^[63] Hippie homes, vehicles and other possessions were often decorated with psychedelic art. The bold colors, hand-made clothing and loose fitting clothes opposed the tight and uniform clothing of the 1940s and 1950s. It also rejected consumerism in that the hand-production of clothing called for self-efficiency and individuality.^[118]

Love and sex[edit]

The common stereotype on the issues of love and sex had it that the hippies were «promiscuous, having wild sex orgies, seducing innocent teenagers and every manner of sexual perversion.»^[119] The hippie movement appeared concurrently in the midst of a rising sexual revolution, in which many views of the status quo on this subject were being challenged.

The clinical study Human Sexual Response was published by Masters and Johnson in 1966, and the topic suddenly became more commonplace in America. The 1969 book Everything You Always Wanted to Know About Sex (But Were Afraid to Ask) by psychiatrist David Reuben was a more popular attempt at answering the public’s curiosity regarding such matters. Then in 1972 appeared The Joy of Sex by Alex Comfort, reflecting an even more candid perception of love-making. By this time, the recreational or ‘fun’ aspects of sexual behavior were being discussed more openly than ever before, and this more ‘enlightened’ outlook resulted not just from the publication of such new books as these, but from a more pervasive sexual revolution that had already been well underway for some time.^[119]

The hippies inherited various countercultural views and practices regarding sex and love from the Beat Generation; «their writings influenced the hippies to open up when it came to sex, and to experiment without guilt or jealousy.»^[120] One popular hippie slogan that appeared was «If it feels good, do it!»^[119] which for many meant «you are free to love whomever you please, whenever you please, however you please». This encouraged spontaneous sexual activity and experimentation. Group sex, public sex, homosexuality; under the influence of drugs, all the taboos went out the window. This doesn’t mean that straight sex or monogamy were unknown, quite the contrary. Nevertheless, the open relationship became an accepted part of the hippie lifestyle. This meant that you might have a primary relationship with one person, but if another attracted you, you could explore that relationship without rancor or jealousy.»^[119]

Hippies embraced the old slogan of free love of the radical social reformers of other eras; it was accordingly observed that «Free love made the whole love, marriage, sex, baby package obsolete. Love was no longer limited to one person, you could love anyone you chose. In fact love was something you shared with everyone, not just your sex partners. Love exists to be shared freely. We also discovered the more you share, the more you get! So why reserve your love for a select few? This profound truth was one of the great hippie revelations.»^[119] Sexual experimentation alongside psychedelics also occurred, due to the perception of their being uninhibitors.^[121] Others explored the spiritual aspects of sex.^[122]

Travel[edit]

Hippies tended to travel light, and could pick up and go wherever the action was at any time. Whether at a «love-in» on Mount Tamalpais near San Francisco, a demonstration against the Vietnam War in Berkeley, or one of Ken Kesey’s «Acid Tests», if the «vibe» was not right and a change of scene was desired, hippies were mobile at a moment’s notice. Planning was eschewed, as hippies were happy to put a few clothes in a backpack, stick out their thumbs and hitchhike anywhere. Hippies seldom worried whether they had money, hotel reservations or any of the other standard accoutrements of travel. Hippie households welcomed overnight guests on an impromptu basis, and the reciprocal nature of the lifestyle permitted greater freedom of movement. People generally cooperated to meet each other’s needs in ways that became less common after the early 1970s.^[123] This way of life is still seen among Rainbow Family groups, new age travellers and New Zealand’s housetruckers.^[124]

A derivative of this free-flow style of travel were the hippie trucks and buses, hand-crafted mobile houses built on a truck or bus chassis to facilitate a nomadic lifestyle, as documented in the 1974 book Roll Your Own.^[125] Some of these mobile houses were quite elaborate, with beds, toilets, showers and cooking facilities.

On the West Coast, a unique lifestyle developed around the Renaissance Faires that Phyllis and Ron Patterson first organized in 1963. During the summer and fall months, entire families traveled together in their trucks and buses, parked at Renaissance Pleasure Faire sites in Southern and Northern California, worked their crafts during the week, and donned Elizabethan costume for weekend performances, and attended booths where handmade goods were sold to the public. The sheer number of young people living at the time made for unprecedented travel opportunities to special happenings. The peak experience of this type was the Woodstock Festival near Bethel, New York, from August 15 to 18, 1969, which drew between 400,000 and 500,000 people.^[126][127]

Hippie trail[edit]

One travel experience, undertaken by hundreds of thousands of hippies between 1969 and 1971, was the Hippie trail overland route to India. Carrying little or no luggage, and with small amounts of cash, almost all followed the same route, hitch-hiking across Europe to Athens and on to Istanbul, then by train through central Turkey via Erzurum, continuing by bus into Iran, via Tabriz and Tehran to Mashhad, across the Afghan border into Herat, through southern Afghanistan via Kandahar to Kabul, over the Khyber Pass into Pakistan, via Rawalpindi and Lahore to the Indian frontier. Once in India, hippies went to many different destinations, but gathered in large numbers on the beaches of Goa and Kovalam in Trivandrum (Kerala),^[128] or crossed the border into Nepal to spend months in Kathmandu. In Kathmandu, most of the hippies hung out in the tranquil surroundings of a place called Freak Street,^[129] (Nepal Bhasa: Jhoo Chhen) which still exists near Kathmandu Durbar Square.

Spirituality and religion[edit]

Many hippies rejected mainstream organized religion in favor of a more personal spiritual experience. Buddhism and Hinduism often resonated with hippies, as they were seen as less rule-bound, and less likely to be associated with existing baggage.^[130] Some hippies embraced neo-paganism, especially Wicca. Others were involved with the occult, with people like Timothy Leary citing Aleister Crowley as influences. By the 1960s, western interest in Hindu spirituality and yoga reached its peak, giving rise to a great number of Neo-Hindu schools specifically advocated to a western public.^[131]

In his 1991 book, «Hippies and American Values», Timothy Miller described the hippie ethos as essentially a «religious movement» whose goal was to transcend the limitations of mainstream religious institutions. «Like many dissenting religions, the hippies were enormously hostile to the religious institutions of the dominant culture, and they tried to find new and adequate ways to do the tasks the dominant religions failed to perform.»^[132] In his seminal, contemporaneous work, «The Hippie Trip», author Lewis Yablonsky notes that those who were most respected in hippie settings were the spiritual leaders, the so-called «high priests» who emerged during that era.^[133]

One such hippie «high priest» was San Francisco State University Professor Stephen Gaskin. Beginning in 1966, Gaskin’s «Monday Night Class» eventually outgrew the lecture hall, and attracted 1,500 hippie followers in an open discussion of spiritual values, drawing from Christian, Buddhist, and Hindu teachings. In 1970 Gaskin founded a Tennessee community called The Farm, and even late in life he still listed his religion as «Hippie.»^{[134][135][136]}

Timothy Leary was an American psychologist and writer, known for his advocacy of psychedelic drugs. On September 19, 1966, Leary founded the League for Spiritual Discovery, a religion declaring LSD as its holy sacrament, in part as an unsuccessful attempt to maintain legal status for the use of LSD and other psychedelics for the religion’s adherents based on a «freedom of religion» argument. The Psychedelic Experience was the inspiration for John Lennon’s song «Tomorrow Never Knows» in The Beatles’ album Revolver.^[137] Leary published a pamphlet in 1967 called Start Your Own Religion to encourage just that^[138] and was invited to attend the January 14, 1967 Human Be-In a gathering of 20,000 to 30,000 hippies in San Francisco’s Golden Gate Park In speaking to the group, he coined the famous phrase «Turn on, tune in, drop out».^[139] The English magician Aleister Crowley became an influential icon to the new alternative spiritual movements of the decade as well as for rock musicians. The Beatles included him as one of the many figures on the cover sleeve of their 1967 album Sgt. Pepper’s Lonely Hearts Club Band while Jimmy Page, the guitarist of The Yardbirds and co-founder of 1970s rock band Led Zeppelin was fascinated by Crowley, and owned some of his clothing, manuscripts and ritual objects, and during the 1970s bought Boleskine House, which also appears in the band’s movie The Song Remains the Same. On the back cover of the Doors compilation album 13, Jim Morrison and the other members of the Doors are shown posing with a bust of Aleister Crowley. Timothy Leary also openly acknowledged Crowley’s inspiration.^[140]

After the hippie era, the Dudeist philosophy and lifestyle developed. Inspired by «The Dude», the neo-hippie protagonist of the Coen Brothers’ 1998 film The Big Lebowski, Dudeism’s stated primary objective is to promote a modern form of Chinese Taoism, outlined in Tao Te Ching by Laozi (6th century BC), blended with concepts by the Ancient Greek philosopher Epicurus (341-270 BC), and presented in a style as personified by the character of Jeffrey «The Dude» Lebowski, a fictional hippie character portrayed by Jeff Bridges in the film.^[141] Dudeism has sometimes been regarded as a mock religion,^[142][143] though its founder and many adherents regard it seriously.^{[144][145][146][147]}

Politics[edit]

For the historian of the anarchist movement Ronald Creagh, the hippie movement could be considered as the last spectacular resurgence of utopian socialism.^[148] For Creagh, a characteristic of this is the desire for the transformation of society not through political revolution, or through reformist action pushed forward by the state, but through the creation of a counter-society of a socialist character in the midst of the current system, which will be made up of ideal communities of a more or less libertarian social form.^[148]

The peace symbol was developed in the UK as a logo for the Campaign for Nuclear Disarmament, and was embraced by U.S. anti-war protesters during the 1960s. Hippies were often pacifists, and participated in non-violent political demonstrations, such as Civil Rights Movement, the marches on Washington D.C., and anti-Vietnam War demonstrations, including draft-card burnings and the 1968 Democratic National Convention protests.^[149] The degree of political involvement varied widely among hippies, from those who were active in peace demonstrations, to the more anti-authority street theater and demonstrations of the Yippies, the most politically active hippie sub-group.^[150] Bobby Seale discussed the differences between Yippies and hippies with Jerry Rubin, who told him that Yippies were the political wing of the hippie movement, as hippies have not «necessarily become political yet». Regarding the political activity of hippies, Rubin said, «They mostly prefer to be stoned, but most of them want peace, and they want an end to this stuff.»^[151]

In addition to non-violent political demonstrations, hippie opposition to the Vietnam War included organizing political action groups to oppose the war, refusal to serve in the military and conducting «teach-ins» on college campuses that covered Vietnamese history and the larger political context of the war.^[152]

Scott McKenzie’s 1967 rendition of John Phillips’ song «San Francisco (Be Sure to Wear Flowers in Your Hair)», which helped to inspire the hippie Summer of Love, became a homecoming song for all Vietnam veterans arriving in San Francisco from 1967 onward. McKenzie has dedicated every American performance of «San Francisco» to Vietnam veterans, and he sang in 2002 at the 20th anniversary of the dedication of the Vietnam Veterans Memorial.^[153] Hippie political expression often took the form of «dropping out» of society to implement the changes they sought.

Politically motivated movements aided by hippies include the back to the land movement of the 1960s, cooperative business enterprises, alternative energy, the free press movement, and organic farming.^[101][154] The San Francisco group known as the Diggers articulated an influential radical criticism of contemporary mass consumer society, and so they opened free stores which simply gave away their stock, provided free food, distributed free drugs, gave away money, organized free music concerts, and performed works of political art.^[64] The Diggers took their name from the original English Diggers (1649–50) led by Gerrard Winstanley,^[155] and they sought to create a mini-society free of money and capitalism.^[156]

Such activism was ideally carried through anti-authoritarian and non-violent means; thus it was observed that «The way of the hippie is antithetical to all repressive hierarchical power structures since they are adverse to the hippie goals of peace, love and freedom… Hippies don’t impose their beliefs on others. Instead, hippies seek to change the world through reason and by living what they believe.»^[157]

The political ideals of hippies influenced other movements, such as anarcho-punk, rave culture, green politics, stoner culture and the New Age movement. Arguments can be made that being «woke» is only the latest natural offshoot of hipness, since both seek heightened «awareness» of one’s surroundings (social, political, sexual etc). For example, John Leland elaborates on the origins of coded language from African American slaves as a type of aware hipness and documents connections to downtrodden Jews and other minorities in American society in Hip: The History.^[158]
Penny Rimbaud of the English anarcho-punk band Crass said in interviews, and in an essay called The Last Of The Hippies, that Crass was formed in memory of his friend, Wally Hope.^[159] Crass had its roots in Dial House, which was established in 1967 as a commune.^[160] Some punks were often critical of Crass for their involvement in the hippie movement. Like Crass, Jello Biafra was influenced by the hippie movement, and cited the yippies as a key influence on his political activism and thinking, though he also wrote songs critical of hippies.^[161][162]

Drugs[edit]

Following in the footsteps of the Beats, many hippies used cannabis (marijuana), considering it pleasurable and benign. They used drugs such as marijuana, LSD, magic mushrooms, and mescaline (peyote) to gain spiritual awakening. On the East Coast of the United States, Harvard University professors Timothy Leary,^[163] Ralph Metzner and Richard Alpert (Ram Dass) advocated psychotropic drugs for psychotherapy, self-exploration, religious and spiritual use. Regarding LSD, Leary said, «Expand your consciousness and find ecstasy and revelation within.»^[164]

On the West Coast of the United States, Ken Kesey was an important figure in promoting the recreational use of psychotropic drugs, especially LSD, also known as «acid.» By holding what he called «Acid Tests», and touring the country with his band of Merry Pranksters, Kesey became a magnet for media attention that drew many young people to the fledgling movement. The Grateful Dead (originally billed as «The Warlocks») played some of their first shows at the Acid Tests, often as high on LSD as their audiences. Kesey and the Pranksters had a «vision of turning on the world.»^[164] Harder drugs, such as cocaine, amphetamines and heroin, were also sometimes used in hippie settings; however, these drugs were often disdained, even among those who used them, because they were recognized as harmful and addictive.^[165]

Legacy[edit]

Culture[edit]

The legacy of the hippie movement continues to permeate Western society.^[168] In general, unmarried couples of all ages feel free to travel and live together without societal disapproval.^[101][169] Frankness regarding sexual matters has become more common, and the rights of homosexual, bisexual and transgender people, as well as people who choose not to categorize themselves at all, have expanded.^[170] Religious and cultural diversity has gained greater acceptance.^[171]

Co-operative business enterprises and creative community living arrangements are more accepted than before.^[172] Some of the little hippie health food stores of the 1960s and 1970s are now large-scale, profitable businesses, due to greater interest in natural foods, herbal remedies, vitamins and other nutritional supplements.^[173]
It has been suggested that 1960s and 1970s counterculture embraced certain types of «groovy» science and technology. Examples include surfboard design, renewable energy, aquaculture and client-centered approaches to midwifery, childbirth, and women’s health.^[174][175]
Authors Stewart Brand and John Markoff argue that the development and popularization of personal computers and the Internet find one of their primary roots in the anti-authoritarian ethos promoted by hippie culture.^[166][176]

Distinct appearance and clothing was one of the immediate legacies of hippies worldwide.^[117][177] During the 1960s and 1970s, mustaches, beards and long hair became more commonplace and colorful, while multi-ethnic clothing dominated the fashion world. Since that time, a wide range of personal appearance options and clothing styles, including nudity, have become more widely acceptable, all of which was uncommon before the hippie era.^[177][178] Hippies also inspired the decline in popularity of the necktie and other business clothing, which had been unavoidable for men during the 1950s and early 1960s. Additionally, hippie fashion itself has been commonplace in the years since the 1960s in clothing and accessories, particularly the peace symbol.^[179] Astrology, including everything from serious study to whimsical amusement regarding personal traits, was integral to hippie culture.^[180] The generation of the 1970s became influenced by the hippie and the 1960s countercultural legacy. As such in New York City musicians and audiences from the female, homosexual, Black, and Latino communities adopted several traits from the hippies and psychedelia. They included overpowering sound, free-form dancing, multi-colored, pulsating lighting, colorful costumes, and hallucinogens.^{[181][182][183]} 1960s Psychedelic soul groups like the Chambers Brothers and especially Sly and The Family Stone influenced George Clinton, P-funk and the Temptations.^[184] In addition, the perceived positivity, lack of irony, and earnestness of the hippies informed proto-disco music like M.F.S.B.’s album Love Is the Message.^[181][185] Disco music supported 70s LGBT movement.

The hippie legacy in literature includes the lasting popularity of books reflecting the hippie experience, such as The Electric Kool-Aid Acid Test.^[186]

Music[edit]

In music, the folk rock and psychedelic rock popular among hippies evolved into genres such as acid rock, world beat and heavy metal music. Psychedelic trance (also known as psytrance) is a type of electronic music influenced by 1960s psychedelic rock. The tradition of hippie music festivals began in the United States in 1965 with Ken Kesey’s Acid Tests, where the Grateful Dead played tripping on LSD and initiated psychedelic jamming. For the next several decades, many hippies and neo-hippies became part of the Deadhead community, attending music and art festivals held around the country. The Grateful Dead toured continuously, with few interruptions between 1965 and 1995. Phish and their fans (called Phish Heads) operated in the same manner, with the band touring continuously between 1983 and 2004. Many contemporary bands performing at hippie festivals and their derivatives are called jam bands, since they play songs that contain long instrumentals similar to the original hippie bands of the 1960s.^[187]

With the demise of Grateful Dead and Phish, nomadic touring hippies attend a growing series of summer festivals, the largest of which is called the Bonnaroo Music & Arts Festival, which premiered in 2002. The Oregon Country Fair is a three-day festival featuring handmade crafts, educational displays and costumed entertainment. The annual Starwood Festival, founded in 1981, is a seven-day event indicative of the spiritual quest of hippies through an exploration of non-mainstream religions and world-views, and has offered performances and classes by a variety of hippie and counter-culture icons.^[188]

The Burning Man festival began in 1986 at a San Francisco beach party and is now held in the Black Rock Desert northeast of Reno, Nevada. Although few participants would accept the hippie label, Burning Man is a contemporary expression of alternative community in the same spirit as early hippie events. The gathering becomes a temporary city (36,500 occupants in 2005, 50,000+ in 2011), with elaborate encampments, displays, and many art cars. Other events that enjoy a large attendance include the Rainbow Family Gatherings, The Gathering of the Vibes, Community Peace Festivals, and the Woodstock Festivals.

United Kingdom[edit]

In the UK, there are many new age travellers who are known as hippies to outsiders, but prefer to call themselves the Peace Convoy. They started the Stonehenge Free Festival in 1974, but English Heritage later banned the festival in 1985, resulting in the Battle of the Beanfield. With Stonehenge banned as a festival site, new age travellers gather at the annual Glastonbury Festival. Today^[when?], hippies in the UK can be found in parts of South West England, such as Bristol (particularly the neighborhoods of Montpelier, Stokes Croft, St Werburghs, Bishopston, Easton and Totterdown), Glastonbury in Somerset, Totnes in Devon, and Stroud in Gloucestershire, as well as in Hebden Bridge in West Yorkshire, and in areas of London and Cornwall. In the summer, many hippies and those of similar subcultures gather at numerous outdoor festivals in the countryside.

In New Zealand, between 1976 and 1981, tens of thousands of hippies gathered from around the world on large farms around Waihi and Waikino for music and alternatives festivals. Named Nambassa, the festivals focused on peace, love, and a balanced lifestyle. The events featured practical workshops and displays advocating alternative lifestyles, self sufficiency, clean and sustainable energy and sustainable living.^[189]

In the UK and Europe, the years 1987 until 1989 were marked by a large-scale revival of many characteristics of the hippie movement. This later movement, composed mostly of people aged 18 to 25, adopted much of the original hippie philosophy of love, peace and freedom. In the summer of 1988 became known as the Second Summer of Love. Although the music favored by this movement was modern electronic music, especially house music and acid house, one could often hear songs from the original hippie era in the chill out rooms at raves. Also, there was a trend towards psychedelic indie rock in the form of Shoegaze, Dream Pop, Madchester and neo-Psychedelic bands like Jesus And Mary Chain, The Sundays, Spacemen 3, Loop, Stone Roses, Happy Mondays, Inspiral Carpets and Ride. This was effectively a parallel soundtrack to the rave scene that was rooted as much in 1960s psychedelic rock as it was in post-punk, though Madchester was more directly influenced by Acid House, funk and northern soul. Interestingly, many ravers were originally soul boys and football casuals, and football hooliganism declined after the Second Summer of Love.

In the UK, many of the well-known figures of this movement first lived communally in Stroud Green, an area of north London located in Finsbury Park. In 1995, The Sekhmet Hypothesis attempted to link both hippie and rave culture together in relation to transactional analysis, suggesting that rave culture was a social archetype based on the mood of friendly strength, compared to the gentle hippie archetype, based on friendly weakness.^[190] The later electronic dance genres known as goa trance and psychedelic trance and its related events and culture have important hippie legacies and neo hippie elements. The popular DJ of the genre Goa Gil, like other hippies from the 1960s, decided to leave the US and Western Europe to travel on the hippie trail and later developing psychedelic parties and music in the Indian island of Goa in which the goa and psytrance genres were born and exported around the world in the 1990s and 2000s.^[191]

Media[edit]

Popular films depicting the hippie ethos and lifestyle include Woodstock, Easy Rider, Hair, The Doors, Across the Universe, Taking Woodstock, and Crumb.

In 2002, photojournalist John Bassett McCleary published a 650-page, 6,000-entry unabridged slang dictionary devoted to the language of the hippies titled The Hippie Dictionary: A Cultural Encyclopedia of the 1960s and 1970s. The book was revised and expanded to 700 pages in 2004.^[192][193] McCleary believes that the hippie counterculture added a significant number of words to the English language by borrowing from the lexicon of the Beat Generation, through the hippies’ shortening of beatnik words and then popularizing their usage.^[194]

• 

  Hippies at the Nambassa 1981 Festival in New Zealand

• 

  Goa Gil, original 1960s hippie who later became a pioneering electronic dance music DJ and party organizer, here appearing in the 2001 film Last Hippie Standing

See also[edit]

References[edit]

Works cited[edit]

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• Marty, Myron A. (1997), Daily life in the United States, 1960–1990, Westport, CT: The Greenwood Press, ISBN 0-313-29554-9.
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• Pendergast, Tom; Pendergast, Sara, eds. (2005), «Sixties Counterculture: The Hippies and Beyond», The Sixties in America Reference Library, vol. 1: Almanac, Detroit: Thomson Gale, pp. 151–171.
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Further reading[edit]

• Binkley, Sam (2002), «Hippies», St. James Encyclopedia of Pop Culture, archived from the original on 2007-04-22 – via FindArticles.com.
• Brand, Stewart (1995), «We Owe it All to the Hippies», Time, archived from the original on 2011-01-06, retrieved 2006-09-24.
• Buckley, William F. Jr.; Yablonsky, Lewis; Sanders, Ed; Kerouac, Jack (September 3, 1968). «113 The Hippies». Firing Line. Hoover Institution on War, Revolution, and Peace, Video Library. Archived from the original on 2021-10-30. Retrieved 23 October 2021 – via YouTube..
• Gaskin, Stephen (1970), Monday Night Class, The Book Farm, ISBN 1-57067-181-8.
• Kent, Stephen A. (2001), From slogans to mantras: social protest and religious conversion in the late Vietnam war era, Syracuse University Press, ISBN 0-8156-2923-0.
• Mankin, Bill (2012), We Can All Join In: How Rock Festivals Helped Change America, Like the Dew, archived from the original on 2013-12-19, retrieved 2012-03-16.
• Lemke-Santangelo, Gretchen (2009), Daughters of Aquarius: Women of the Sixties Counterculture, University Press of Kansas, ISBN 978-0700616336.
• MacLean, Rory (2008), Magic Bus: On the Hippie Trail from Istanbul to India, New York: Ig Publishing, ISBN 978-0-14-101595-8, archived from the original on 2009-05-08, retrieved 2021-03-30.
• Markoff, John (2006), What the Dormouse Said: How the Sixties Counterculture Shaped the Personal Computer Industry, Penguin Books, ISBN 0-14-303676-9.
• Mecchi, Irene (1991), The Best of Herb Caen, 1960–75, Chronicle Books, ISBN 0-8118-0020-2.
• Stone, Skip (1999), Hippies From A to Z: Their Sex, Drugs, Music and Impact on Society From the Sixties to the Present, Hip Inc., ISBN 1-930258-01-1.
• Young, Shawn David (2005), Hippies, Jesus Freaks, and Music, Ann Arbor: Xanedu/Copley Original Works, ISBN 1-59399-201-7.
• Altman, Robert (Curator) (1997), «The Summer of Love – Gallery», Summer of Love 30th Anniversary Celebration, The Council for the Summer of Love, archived from the original on 2008-01-25, retrieved 2008-01-21.
• Bissonnette, Anne (Curator) (April 12 – September 17, 2000), Revolutionizing Fashion: The Politics of Style, Kent State University Museum, archived from the original on January 18, 2008, retrieved 2008-01-21.
• Brode, Douglas (2004), From Walt to Woodstock: How Disney Created the Counterculture, University of Texas Press, ISBN 0-292-70273-6.
• Canadian Broadcasting Corporation (2006), Hippie Society: The Youth Rebellion, Life and Society, CBC Digital Archives, retrieved 2008-01-21.
• Charters, Ann (2003), The Portable Sixties reader, New York: Penguin Books, ISBN 0-14-200194-5.
• Curl, John (2007), Memories of DROP CITY: The First Hippie Commune of the 1960s and the Summer of Love, A Memoir, New York: iuniverse, ISBN 978-0595423439, archived from the original on April 13, 2009.
• Howard, John Robert (March 1969), «The Flowering of the Hippie Movement», Annals of the American Academy of Political and Social Science, 382 (Protest in the Sixties): 43–55, doi:10.1177/000271626938200106, S2CID 146605321.
• Laughead, George (1998), WWW-VL: History: 1960s, European University Institute, retrieved 2008-01-21.
• Lemke-Santangelo, Gretchen (2009), Daughters of Aquarius: Women of the Sixties Counterculture, University Press of Kansas, ISBN 978-0700616336.
• Lund, Jens; Denisoff, R. Serge (Oct–Dec 1971), «The Folk Music Revival and the Counter Culture: Contributions and Contradictions», The Journal of American Folklore, American Folklore Society, 84 (334): 394–405, doi:10.2307/539633, JSTOR 539633.
• MacFarlane, Scott (2007), The Hippie Narrative: A Literary Perspective on the Counterculture, McFarland & Company, Inc., ISBN 978-0-7864-2915-8.
• Neville, Richard (1995), Hippie, Hippie, Shake: The Dreams, the Trips, the Trials, the Love-ins, the Screw ups—the Sixties., William Heinemann Australia, ISBN 0-85561-523-0.
• Neville, Richard (1996), Out of My Mind: From Flower Power to the Third Millennium—the Seventies, the Eighties and the Nineties, Penguin, ISBN 0-14-026270-9.
• Partridge, William L. (1973), The Hippie Ghetto: The Natural History of a Subculture, New York: Holt, Rinehart and Winston, ISBN 0-03-091081-1.
• Pirsig, Robert M. (2006) [1991], Lila: An Inquiry into Morals, Bantam Books, ISBN 0-553-07873-9.
• Rainbow Family (2004), Rainbow Family of the Living Light, Circle of Light Community Network, archived from the original on 2008-07-19, retrieved 2008-01-21. See also:
• Riser, George (Curator) (1998), The Psychedelic ’60s: Literary Tradition and Social Change, Special Collections Department. University of Virginia Library, archived from the original on January 11, 2008, retrieved 2008-01-21.
• Staller, Karen M. (2006), Runaways: How the Sixties Counterculture Shaped Today’s Practices and Policies, Columbia University Press, ISBN 0-231-12410-4.
• Stone, Skip (2000), The Way of the Hippy, Hip Inc., archived from the original on 2009-07-05.
• Thompson, Hunter S. (2000), «Owl Farm – Winter of ’68», Fear and Loathing in America: The Brutal Odyssey of an Outlaw Journalist 1968–1976, Simon & Schuster, ISBN 0-684-87315-X
• Walpole, Andy (2004), «Hippies, Freaks and the Summer of Love», Harold Hill: A People’s History, haroldhill.org, archived from the original on 2007-07-12, retrieved 2008-01-21.
• Wolfe, Tom (1968), The Electric Kool-Aid Acid Test, New York: Farrar, Straus & Giroux.

External links[edit]

• Summer of Love Archived 2017-02-28 at the Wayback Machine. A film part of PBS´s American Experience series. Includes the film available to watch online Archived 2016-03-05 at the Wayback Machine and other information on the San Francisco event known as the Summer of Love as well as other material related to the hippie subculture.
• Hippie Society: The Youth Rebellion. A Canadian program by the CBC public network on the hippie rebellion including videos to watch.
• 70’s Origin Archived 2021-02-14 at the Wayback Machine. Seventies Origin History.
• Sixtiespix. An archive with photographs of hippie culture.
• Hippie Movies & TV Shows. 1960s and early 1970s hippie and youth culture on film and TV.
• Hippie Quotes Archived 2020-10-24 at the Wayback Machine. Hippie Quotes from all times.
• UKHippy . UK Based Hippy & New Age Traveller website; online since 2005 with historical links to the original UK hippy community.