The '60s--the music, the clothes, the political and sexual idealism, the experimentation with drugs, the hunger for peace, creativity, and sharing--were a watershed in the way America sees itself. Hippie culture was at the very zenith of that watershed, and Taos was its beating heart, a Mecca that beckoned young pilgrims from all over the country. Iris Keltz was one of those pilgrims who came to Taos in the '60s. She stayed to become a folk historian of the tribe.

This short overview of the United States hippie social movement examines hippie beliefs and practices.

Kopecky's journals take us back to the beginnings of New Buffalo, one of the most successful of the communes that dotted the country in the 1960s and 1970s, where he and his comrades encountered magic, wisdom, a mix of people, the Peyote Church, planting, and hard winters.

This book explains how, and why, hippies, Quakers, Black Panthers, movie stars, housewives, and labor unions, to name a few, supported Indian demands for greater political power and separate cultural existence in the modern United States.

"A new kind of history of the Southwest (mainly New Mexico and Arizona) that foregrounds the stories of Latino and Indigenous peoples who made the Southwest matter to the nation in the twentieth century"--Provided by publisher.

VOLUME TWOThe second in a series of books which reflect the art and People of Northern New Mexico, la Puerta, Taos Vol. 2 is a full color collection which depicts the varied and writers of this famous "art colony" town--past and present. This volume features photo portraits from "The 100 Taosenos Project" by Jaap Vanderplas, images from award winning Taos photographer Megan Bowers, and photo/art by Gail Russell. Stories by internationally acclaimed Tewa "cool" guy Robert Mirabal, John Nichols and Barbara Waters, poetry from the infamous Taos Poetry Circus veterans including Amalio Maduena, Bill Nevins and nila northSun.

Gathers columns from the Chicano newspaper "El Grito del Norte," where the author's fierce but hopeful voice of protest combined anger and humor to stir her fellow Chicanos to action as she drew upon her own experiences as a Chicana.