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The beat generation conclusion
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"The one thing that we yearn for in our living days, that makes us sigh and groan and undergo sweet nauseas of all kinds, is the remembrance of some lost bliss that was probably experienced in the womb and can only be reproduced (though we hate to admit it) in death." (Kerouac, Jack. “On the road.”). This quote, from Jack Kerouac’s book On the Road, is a brilliant example of the overall feel of the Beat Generation. Jack Kerouac is one of the most influential writers of the Beat Generation, rivaled only by the likes of Allen Ginsberg and William S. Burrough. But what exactly is the Beat Generation? What does it mean? Who of note was involved? When did it take place? The “Beat Generation” is a play on words, implying that the participants had been beaten down. The Beat Generation at its core is a collection of post-World War II authors who started to gain notoriety around the 1950’s (Schwartz, Richard A). The Beat Generation can also be classified as a literary and political movement, starting as early as the 1940’s that popularized the “beatnik” mindset (Schwartz, Richard A). The beatnik’s inhabited coffeehouses in the 1950s, performing alternative poetry and making numerous dissident declarations (Schwartz, Richard A). The founders of the Beat Generation included the likes of Jack Kerouac, William S. Burroughs and Allen Ginsberg. Kerouac, Burroughs and Ginsberg, while three of the more notorious members of the movement, they were by no means alone – some of the more esoteric members of the Beat Generation were Gregory Corso, who joined them in the early 1950’s, Lawrence Ferlinghetti and Kenneth Rexroth (Schwartz, Richard A). These authors challenged and enthusiastically campaigned against the homogenization of the American culture...
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...vement." Cold War Culture: Media and the Arts, 1945–1990. New York: Facts On File, Inc., 2000. American History Online. Facts On File, Inc. Web. 2 May. 2011.
Vary, Adam B. "Beat movement." In Winkler, Allan M., Charlene Mires, and Gary B. Nash, eds. Encyclopedia of American History: Postwar United States, 1946 to 1968, Revised Edition (Volume IX). New York: Facts On File, Inc., 2010. American History Online. Facts On File, Inc. Web. 2 May. 2011.
"Jack Kerouac." LitFinder Contemporary Collection. Detroit: Gale, 2007. LitFinder. Web. 2 May. 2011.
"Allen Ginsberg." LitFinder Contemporary Collection. Detroit: Gale, 2007. LitFinder. Web. 2 May. 2011.
Ginsberg, Allen. “Howl and Other Poems.” 4th ed. San Francisco: City Lights Books, 1956. Print. 2 May. 2011.
Kerouac, Jack. “Aftermath: The Philosophy of the Beat Generation.” Esquire Magazine, 1958. Print. 2 May. 2011.
288-293. ed. a. Alexander Bloom and Wini Breines. New York: Oxford University Press, 1995. Kerouac, Jack.
From the outside, the 1950’s was a great time for America. Society revolved around the idea of America being a middle-class nation. Americans worshipped conformity, and materialism satisfied the need to conform. However, the prosperity of materialistic America hid the growing, numerous problems. Dissent in any way was not tolerated; all injustice was stifled by a fear of difference. In “Fifties Society,” Alan Brinkley discusses the truth of the era; that the fear of nonconformity was hidden by the seemingly prosperous middle-class nation. Brinkley argues the Beat movement and “feminine mystique” show that the people who did not fit in reveal the true colors of 1950’s society.
Firstly, the group of friends and writers most commonly known as the Beats evolved dramatically in focal points such as Greenwich Village and Columbia University, and subsequently spread their political and cultural views to a wider audience. The three Beat figureheads William S. Burroughs, Allen Ginsberg and Jack Kerouac each perceived an agenda within American society to clamp down on those who were in some way different from the accepted ‘norm’, and in response deliberately flirted with the un-American practices of Buddhism, drug use, homosexuality and the avant-garde. Ginsberg courted danger by lending a voice to the homosexual subculture that had been marginalised by repressive social traditions and cultural patterns within the United States.
Tallman, Warren. "Kerouac's Sound." Casebook on the Beat. Thomas Parkinson, ed. New York: Thomas Y. Cromwell Company, 1961. 220-221.
“The effect of World War II” 1950s vol. 4. Danbury: Grolier, Scholastic Library Publishing, 2005.
Johnson, Priscilla and Leopold Labdez (eds.). Khrushchev and the Arts: the politics of Soviet Culture, 1962-64. MIT Press, 1965.
...tory: Postwar United States, 1946 to 1968, Revised Edition (Volume IX). New York: Facts On File, Inc., 2010. American History Online. Facts On File, Inc. Web. 12 February 2012.
In 1961, previous to the outbreak of Occupy Wall Street, Greenwich Village’s Washington Square Park was filled with three–thousand young beatnik protestors. Playing instruments and singing folk music symbolized the starvation that these young folks wanted of freedom and equality for America. Protestors demonstrated mixed cultures, individualistic beliefs that went against the status quo of America after the post-war years. The Beatnik Riot involved young traditional Americans fighting not just for the musical crisis of that time, but for the social, racial, and cultural segregations that were brought on by the years of war. Acting as a catalytic reaction, the Beatnik Riot put in motion a new modernized America.
“I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, Angel-headed hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night.” The opening lines of Howl, by Allan Ginsberg, melodiously encapsulates the beat generation. The beats alluded to by the verbatim ,“The best minds”, are a group of idiosyncratic poets whom through the instrument of prose(driven by spontaneity and a primal lifestyle) , orchestrated a rebellion against the conservative beliefs and literary ideals of the 1950s. Howl, utilizing picturesque imagery, expounds holistically upon the instigator of the movement in culmination with personal experiences of beat members. Accordingly “Howl” evokes feelings of raw emotional intensity that reflects the mindset in which the poem was produced. The piece is structured into three stanzas, sacrificing temporal order for emphasis on emotional progression. The first sequence rambles of rampant drug forages and lewd sexual encounters, eliciting intonations of impetuous madness, one ostensibly hinging upon on a interminable need for satiation of hedonistic desires. Concordantly the following stanza elucidates upon the cause of the aforementioned impulsive madness (i.e corruption of the materialistic society motivated by capitalism), conveying an air of hostility coalesced with quizzical exasperation. Yet, the prose concludes by turning away from the previous negative sentiments. Furthermore, Ginsberg embraces the once condemned madness in a voice of jubilation, rhapsodizing about a clinically insane friend while ascertaining the beats are with him concerning this state of der...
Widely recognized as an American classic, Howl by Allen Ginsberg of The Beat Generation is a poem that managed to have a powerful influence on the American society in the 50s - the impact
Kallen, Stuart . A Cultural History of the United States through the Decades: The 1950's . San Diego, CA: Lucent books, Inc. , 1999. Print.
Gustainis, Justin. “Serial Killers.” Bowling, Beatniks, and Bell-Bottoms: Pop Culture of 20th- Century America. Ed. Sara Pendergast and Tom Pendergast.
From its conception in the 1970's and throughout the 1980's, hip hop was a self-contained entity within the community that created it. This means that all the parameters set for the expression came from within the community and that it was meant for consumption by the community. Today, the audience is from outside of the community and doesn’t share the same experiences that drive the music. An artists’ success hinges on pleasing consumers, not the community. In today's world, it isn’t about music that rings true for those who share the artists' experiences, but instead, music that provides a dramatic illusion for those who will never share the experiences conveyed. This has radically changed the creative process of artists and the diversity of available music. Most notably, it has called in to question the future of hip hop.
Tytell, John. Naked Angels: the Lives and Literature of the Beat Generation. New York: McGraw-Hill, 1976.
Forman, Murray. “Conscious Hip-Hop, Change, and the Obama Era.” American Study Journal. American Study Journal. 2010. Web. 9 Mar. 2014.