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. 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. 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". Andrew Loog Oldham refers to "all the Chicago hippies," seemingly in reference to 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 on September 5, 1965, in the article, "A New Haven for Beatniks", by San Francisco journalist Michael Fallon. In that article, Fallon wrote about the Blue Unicorn coffeehouse, using the term hippie to refer to the new generation of beatniks who had moved from North Beach into the Haight-Ashbury district. New York Times editor and usage writer Theodore M. Bernstein said the paper changed the spelling from hippy to hippie to avoid the ambiguous description of clothing as hippy fashions.
A July 1967 Time Magazine study on hippie philosophy credited the foundation of the hippie movement with historical precedent as far back as the counterculture of the Ancient Greeks, espoused by philosophers like Diogenes of Sinope and the Cynics also as early forms of hippie culture. It also named as notable influences the religious and spiritual teachings of Henry David Thoreau, Hillel the Elder, Jesus, Buddha, St. Francis of Assisi, Gandhi, and J.R.R. Tolkien.The first signs of modern "proto-hippies" emerged in fin de siècle Europe. Between 1896 and 1908, 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 ("migratory bird"), the movement opposed the formality of traditional German clubs, instead emphasizing amateur music and singing, creative dress, and communal outings involving hiking and camping. Inspired by the works of Friedrich Nietzsche, Goethe, Hermann Hesse, and Eduard Baltzer, 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. During the first several decades of the 20th century, Germans settled around the United States, bringing the values of the Wandervogel with them. Some opened the first health food stores, and many moved to southern California where they could practice an alternative lifestyle in a warm climate. Over time, young Americans adopted the beliefs and practices of the new immigrants. One group, called the "Nature Boys", took to the California desert and raised organic food, espousing a back-to-nature lifestyle like the Wandervogel.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.
Like Wandervogel, 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, hippies inherited a tradition of cultural dissent from bohemians and beatniks of the Beat Generation in the late 1950s.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,extending as far as the United Kingdom and Europe, Australia, Canada, New Zealand, Japan, Mexico, and Brazil.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.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.Self-described hippies had become a significant minority by 1968, representing just under 0.2% of the U.S. population before declining in the mid-1970s.
Along with the New Left and the American Civil Rights Movement, the hippie movement was one of three dissenting groups of the 1960s counterculture. Hippies rejected established institutions, criticized middle class values, opposed nuclear weapons and the Vietnam War, embraced aspects of Eastern philosophy, 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, expressed for example in The Beatles' song "All You Need is Love". 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".Noting that they were "seekers of meaning and value", scholars like Timothy Miller have described hippies as a new religious movement.
Early hippies (1960–1966)
Escapin' through the lily fields
I came across an empty space
It trembled and exploded
Left a bus stop in its place
The bus came by and I got on
That's when it all began
There was cowboy Neal
At the wheel
Of a bus to never-ever land
Grateful Dead, lyrics from "That's It for the Other One"
During the 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 marijuana, amphetamines, 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".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.In April 1963, Chandler A. Laughlin III, co-founder of the Cabale Creamery,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.
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. 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.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. 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.
When they returned to San Francisco, Red Dog participants Luria Castell, Ellen Harman and Alton Kelley created a collective called “The Family Dog.” Modeled on their Red Dog experiences, on October 16, 1965, the Family Dog hosted “A Tribute to Dr. Strange” at Longshoreman’s Hall. Attended by approximately 1,000 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.Two other events followed before year’s end, one at California Hall and one at the Matrix. 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–January 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.On Saturday January 22, the Grateful Dead and Big Brother and the Holding Company came on stage, and 6,000 people arrived to imbibe punch spiked with LSD and to witness one of the first fully developed light shows of the era.
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.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.”
Some of the earliest San Francisco hippies were former students at San Francisco State College who became intrigued by the developing psychedelic hippie music scene. These students joined the bands they loved, living communally in the large, inexpensive Victorian apartments in the Haight-Ashbury. Young Americans around the country began moving to San Francisco, and by June 1966, around 15,000 hippies had moved into the Haight.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.
On October 6, 1966, the state of California declared LSD a controlled substance, which made the drug illegal. In response to the criminalization of psychedelics, San Francisco hippies staged a gathering in the Golden Gate Park panhandle, called the Love Pageant Rally, attracting an estimated 700–800 people. 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.”
Summer of Love (1967)
On January 14, 1967, the outdoor Human Be-In organized by Michael Bowen helped to popularize hippie culture across the United States, with 20,000 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.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”.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” 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.” Caen himself felt that the city of San Francisco was so straight that it provided a visible contrast with hippie culture. 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.” 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.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.
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.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. 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. Misgivings about the hippie culture, particularly with regard to drug abuse and lenient morality, fueled the moral panics of the late 1960s.
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 with stereotypical situations associated with the movement such as marijuana 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 (for more information on hippie related films see 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. Also the popular broadway musical Hair was presented in 1967.
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. Some faded away. Some are still around.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, consumer culture. 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.Towards the end of the 20th century, a trend of “cyber hippies” emerged, that embraced some of the qualities of the 1960s psychedelic counterculture. The hippie subculture is also linked to the psychedelic trance or psytrance scene, born out of the Goa scene in India.
Ethos and characteristics
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. Personality traits and values that hippies tend to be associated with are “altruism and mysticism, honesty, joy and nonviolence”.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 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.
Art and fashion
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. The “Fillmore Posters” 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 to 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 slideshows 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. 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 hilarious mirror up to the hippy 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. As with other adolescent, white 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, and both genders wore sandals or went barefoot. Men often wore beards, while women wore little or no makeup, with many going braless. 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, Asian, Indian, African and Latin American 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. Favoured accessories for both men and women included Native American jewelry, head scarves, headbands and long beaded necklaces. Hippie homes, vehicles and other possessions were often decorated with psychedelic art.
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” wasn’t 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. This way of life is still seen among Rainbow Family groups, new age travellers and New Zealand’s housetruckers.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. Some of these mobile gypsy 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 to attend 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 to 500,000 people.
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),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, (Nepal Bhasa: Jhoo Chhen) which still exists near Kathmandu Durbar Square.
Spirituality and Religion
Many hippies rejected mainstream organized religion in favor of a more personal spiritual experience, often drawing on indigenous and folk beliefs. If they adhered to mainstream faiths, hippies were likely to embrace Buddhism, Unitarian Universalism, Hinduism and the restorationist Christianity of the Jesus Movement. Some hippies embraced neo-paganism, especially Wicca.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.” 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.
“The hippies were heirs to a long line of bohemians that includes William Blake, Walt Whitman, Ralph Waldo Emerson, Henry David Thoreau, Herman Hesse, Arthur Rimbaud, Oscar Wilde, Aldous Huxley, utopian movements like the Rosicrucians and the Theosophists, and most directly the Beatniks. Hippies emerged from a society that had produced birth-control pills, a counterproductive war in Vietnam, the liberation and idealism of the civil rights movement, feminism, homosexual rights, FM radio, mass-produced LSD, a strong economy, and a huge number of baby-boom teenagers. These elements allowed the hippies to have a mainstream impact that dwarfed that of the Beats and earlier avant-garde cultures.” For the historian of the anarchist movement Ronald Creagh, the hippie movement could be considered as the last spectacular resurgence of utopian socialism 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.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.
The 1960s were not, it appears, just a passing phase. A survey to mark the 40th anniversary of the Summer of Love shows the hippy ethos has moulded our views on everything from war, government, sex, fashion, food and the environment. Almost half of Britons (46 per cent) agree with the slogan Make Love Not War and 49 per cent are opposed to nuclear weapons, a YouGov poll for Reader’s Digest found. One in 10 have taken part in an anti-war protest while just over a third think there is never any excuse for war. Just under a third disagree with party politics – much like hippies, who were largely against the party system and preferred to focus on single issues like the environment. The idea of “free love” has also become mainstream, with 75 per cent agreeing with sex before marriage and one in 10 saying they would have multiple sexual partners. More than a third said they had taken marijuana, while 43 per cent said they were open to meditation and 25 per cent believe in astrology. The sounds of the 60s have also endured, according to the poll. Some 84 per cent of Britons are able to hum or recite at least part of Yellow Submarine and 79 per cent know Puff the Magic Dragon.