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Being a hippie in Taos, New Mexico as this fellow was during the 1960s was a unique experience that reflected broader countercultural trends while also being shaped by the region’s distinct cultural and geographical features. Taos, known for its stunning landscapes, artistic heritage, and Native American traditions, attracted many from the hippie movement who were seeking an alternative lifestyle, closer to nature and away from mainstream society.

This interview clip presents outtakes from one of the 180 interviews that I conducted in 1989 for my 6 part TV series, Making Sense of the Sixties. We went through an amazing research process to find people like him. Whether you agree with him or not, whether you like what he did or not, he is a colorful storyteller filled with passion for how he lived at that time.

The communes were an amazing and strange phenomenon. Although I lived at that time and had colleagues experimenting in this way, I had my nose to the grindstone making my documentaries.

The Taos hippie movement in the 1960s was characterized by a quest for alternative ways of living, spiritual exploration, and a strong connection to the natural world. While this movement shared many characteristics with the broader hippie phenomenon in the United States, it also had unique elements shaped by the cultural and environmental context of New Mexico.

Communes were a significant aspect of the hippie experience. These were often set up as cooperative living situations where individuals shared resources and responsibilities. The architecture of these communes sometimes included geodesic domes or other alternative structures, reflecting a desire for sustainable and environmentally friendly living. Communal life emphasized principles of equality, shared labor, and collective decision-making, often challenging traditional family structures and societal norms.

The use of psychedelic drugs, such as LSD and marijuana, was common among hippies in Taos, as it was in other parts of the country. These substances were used recreationally and also as a means to seek spiritual enlightenment or deeper self-awareness. Drug use was both a form of social bonding and a statement against the conservative values of mainstream America.

Many hippies engaged in organic farming and gardening, aspiring to be self-sufficient and live off the land. This was part of a broader movement toward natural foods and sustainable agriculture.

There was also an emphasis on learning and practicing traditional crafts and skills, both as a means of self-sufficiency and as a way to reconnect with simpler, pre-industrial ways of life.

The influx of hippies into Taos sometimes led to tension with local residents, including Hispanic and Native American communities, who had deep roots and established ways of life in the area. But there were also instances of cultural exchange and mutual influence. Some hippies became deeply interested in Native American spiritual practices and artistic traditions. Over time, the presence of the hippie community contributed to Taos’s reputation as a hub for alternative lifestyles and artistic creativity.

The term “acid head” refers to someone who frequently uses LSD, a powerful hallucinogenic drug. Being an “acid head” is often associated with certain lifestyles and behaviors, particularly those linked to the counterculture movements of the 1960s and 1970s. However, it’s important to note that drug use and its effects can vary greatly among individuals, and the following generalizations may not apply to everyone.

Many acid heads during the peak periods of LSD popularity were part of the counterculture movement. They often rejected mainstream societal norms, including conventional dress, career paths, and lifestyle choices. LSD users are often drawn to artistic and creative pursuits. This can include music, visual arts, writing, or dance, reflecting the enhanced sensory experiences and altered perceptions induced by the drug.

Some acid heads preferred communal living environments, sharing spaces with like-minded individuals. These communes were often based on principles of shared resources, collective decision-making, and alternative lifestyles. This includes an affinity for psychedelic music, art, and literature, which often explore themes of transcendence, altered states of consciousness, and societal critique.

A general attitude of nonconformity and questioning of authority was common. This could manifest in political activism, unconventional dress, and alternative lifestyle choices.

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David Hoffman filmmaker

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