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Beatniks were members of a social movement in the mid-20th century, who subscribed to an anti-materialistic lifestyle. They rejected the conformity and consumerism of mainstream American culture and expressed themselves through various forms of art, such as literature, poetry, music, and painting. They also experimented with spirituality, drugs, sexuality, and travel. The term "beatnik" was coined by San Francisco Chronicle columnist Herb Caen in 1958, as a derogatory label for the followers of the Beat Generation, a group of influential writers and artists who emerged during the era of the Silent Generation's maturing, from as early as 1946, to as late as 1963, but the subculture was at its most prevalent in the 1950s. This lifestyle of anti-consumerism may have been influenced by their generation living in extreme poverty in the Great Depression during their Child, seeing slightly older people serve in WWII and being influenced by the rise of left-wing politics and the spread of Communism. The name was inspired by the Russian suffix "-nik", which was used to denote members of various political or social groups. The term "beat" originally was used by Jack Kerouac in 1948 to describe his social circle of friends and fellow writers, such as Allen Ginsberg, William S. Burroughs, and Neal Cassady. Kerouac said that "beat" had multiple meanings, such as "beaten down", "beatific", "beat up", and "beat out". He also associated it with the musical term "beat", which referred to the rhythmic patterns of jazz, a genre that influenced many beatniks.
Beatniks often were stereotyped as wearing black clothing, berets, sunglasses, and goatees, and speaking in hip slang that incorporated words like "cool", "dig", "groovy", and "square". They frequented coffeehouses, bookstores, bars, and clubs, where they listened to jazz, read poetry, discussed philosophy, and engaged in political activism. Some of the most famous beatnik venues were the Six Gallery in San Francisco, where Ginsberg first read his poem "Howl" in 1955; the Gaslight Cafe in New York City, where many poets performed; and the City Lights Bookstore, also in San Francisco, where Kerouac's novel On the Road was published in 1957. Beatniks also traveled across the country and abroad, seeking new experiences and inspiration. Some of their destinations included Mexico, Morocco, India, Japan, and France.
Beatniks had a significant impact on American culture and society as they challenged the norms and values of their time. They influenced many aspects of art, literature, music, film, fashion, and language. They also inspired many social movements and subcultures that followed them, such as the hippies, the counterculture, the New Left, the environmental movement, and the LGBT movement. Some of the more notable figures who were influenced by or associated with beatniks include Bob Dylan, The Beatles, Andy Warhol, Ken Kesey, and Timothy Leary. Beatniks have been portrayed or parodied in many works of fiction, such as The Many Loves of Dobie Gillis, A Charlie Brown Christmas, The Munsters, The Flintstones, The Simpsons, and SpongeBob SquarePants.
"Beat" came from underworld slang—the world of hustlers, drug addicts, and petty thieves—from which Allen Ginsberg and Kerouac sought inspiration. "Beat" was slang for "beaten down" or "downtrodden". However, to Kerouac and Ginsberg, it also had a spiritual connotation, as in "beatitude". Other adjectives discussed by Holmes and Kerouac were "found" and "furtive". Kerouac felt he had identified (and was the embodiment of) a new trend analogous to the influential Lost Generation.Kerouac, Jack. The Portable Kerouac. Ed. Ann Charters. Penguin Classics, 2007.Holmes, John Clellon. Passionate Opinions: The Cultural Essays (Selected Essays By John Clellon Holmes, Vol 3). University of Arkansas Press, 1988.
In "Aftermath: The Philosophy of the Beat Generation", Kerouac criticized what he saw as a distortion of his visionary, spiritual ideas:
The Beat Generation, that was a vision that we had, John Clellon Holmes and I, and Allen Ginsberg in an even wilder way, in the late Forties, of a generation of crazy, illuminated hipsters suddenly rising and roaming America, serious, bumming and hitchhiking everywhere, ragged, beatific, beautiful in an ugly graceful new way—a vision gleaned from the way we had heard the word "beat" spoken on street corners on Times Square and in the Village, in other cities in the downtown city night of postwar America—beat, meaning down and out but full of intense conviction. We'd even heard old 1910 Daddy Hipsters of the streets speak the word that way, with a melancholy sneer. It never meant juvenile delinquents, it meant characters of a special spirituality who didn't gang up but were solitary Bartlebies staring out the dead wall window of our civilization ...
Kerouac explained what he meant by "beat" at a Brandeis Forum, "Is There A Beat Generation?", on November 8, 1958, at New York's Hunter College Playhouse. The seminar's panelists were Kerouac, James A. Wechsler, Princeton anthropologist Ashley Montagu and author Kingsley Amis. Wechsler, Montagu, and Amis wore suits, while Kerouac was clad in black jeans, ankle boots and a checkered shirt. Reading from a prepared text, Kerouac reflected on his beat beginnings:
It is because I am Beat, that is, I believe in beatitude and that God so loved the world that He gave His only begotten son to it ... Who knows, but that the universe is not one vast sea of compassion actually, the veritable holy honey, beneath all this show of personality and cruelty?
Kerouac's statement was later published as "The Origins of the Beat Generation" ( Playboy magazine, June 1959). In that article, Kerouac noted how his original beatific philosophy had been ignored amid maneuvers by several pundits, among them San Francisco newspaper columnist Herb Caen, to alter Kerouac's concept with jokes and jargon:
I went one afternoon to the church of my childhood and had a vision of what I must have really meant with "Beat"...the vision of the word Beat as being to mean beatific...People began to call themselves beatniks, beats, jazzniks, bopniks, buggies, and finally, I was called the "avatar" of all this.
In light of what he considered beat to mean and what beatnik had come to mean, Kerouac said to a reporter "I'm not a beatnik. I'm a Catholic", showing the reporter a painting of Pope Paul VI and saying "You know who painted that? Me."
Kerouac biographer Ann Charters noted that the term "Beat" was appropriated to become a Madison Avenue marketing tool:
Lee Streiff, an acquaintance of many members of the movement who went on to become one of its chroniclers, believed that the news media saddled the movement for the long term with a set of false images:
An earlier source from 1954, or possibly 1957 after the launch of Sputnik, is ascribed to Ethel (Etya) Gechtoff, the well-known owner of a San Francisco Art Gallery.
Objecting to the term, Allen Ginsberg wrote to The New York Times to deplore "the foul word beatnik", commenting, "If beatniks and not illuminated Beat poets overrun this country, they will have been created not by Kerouac but by industries of mass communication which continue to brainwash man."
Much of Beat culture represented a negative stance rather than a positive one. It was animated more by a vague feeling of cultural and emotional displacement, dissatisfaction, and yearning, than by a specific purpose or program ... It was many different, conflicting, shifting states of mind.
Since 1958, the terms Beat Generation and Beat have been used to describe the antimaterialistic literary movement that began with Kerouac in the 1940s and continued into the 1960s. The Beat philosophy of antimaterialism and soul searching influenced 1960s musicians such as Bob Dylan, the early Pink Floyd and The Beatles.
At the time the term "beatnik" was coined, a trend existed among young college students to adopt the stereotype. Men emulated the trademark look of bebop trumpeter Dizzy Gillespie by wearing , horn-rimmed glasses and , rolling their own cigarettes, and playing Bongo drum. Fashions for women included black and long, straight, unadorned hair, in a rebellion against the middle-class culture of beauty salons. Marijuana use was associated with the subculture, and during the 1950s, Aldous Huxley's The Doors of Perception further influenced views on drugs.
By 1960, a small "beatnik" group in Newquay, Cornwall, England (including a young Wizz Jones) had attracted the attention and abhorrence of their neighbours for growing their hair beyond shoulder length, resulting in a television interview with Alan Whicker on BBC television's Tonight series.
The Beat movement introduced Asian religions to Western society. These religions provided the Beat generation with new views of the world and corresponded with its desire to rebel against conservative middle-class values of the 1950s, old post-1930s radicalism, mainstream culture, and institutional religions in America.Carl Jackson. "The Counterculture Looks East: Beat Writers and Asian religion". American Studies, Vol. 29, No. 1 (spring 1988).
By 1958, many Beat writers published writings on Buddhism. This was the year Jack Kerouac published his novel The Dharma Bums, whose central character (whom Kerouac based on himself) sought Buddhist contexts for events in his life.
Allen Ginsberg's spiritual journey to India in 1963 also influenced the Beat movement. After studying religious texts alongside monks, Ginsberg deduced that what linked the function of poetry to Asian religions was their mutual goal of achieving ultimate truth. His discovery of Hindu mantra chants, a form of oral delivery, subsequently influenced Beat poetry. Beat pioneers who followed a Buddhism-influenced spiritual path felt that Asian religions offered a profound understanding of human nature and insights into the being, existence and reality of mankind. Many of the Beat advocates believed that the core concepts of Asian religious philosophies had the means of elevating American society's consciousness, and these concepts informed their main ideologies.
Notable Beat writers such as Kerouac, Ginsberg, and Gary Snyder were drawn to Buddhism to the extent that they each, at different periods in their lives, followed a spiritual path in their quests to provide answers to universal questions and concepts. As a result, the Beat philosophy stressed the bettering of the inner self and the rejection of materialism, and postulated that East Asian religions could fill a religious and spiritual void in the lives of many Americans.
Many scholars speculate that Beat writers wrote about Eastern religions to encourage young people to practice spiritual and sociopolitical action. Progressive concepts from these religions, particularly those regarding personal freedom, influenced youth culture to challenge capitalist domination, break their generation's dogmas, and reject traditional gender and racial rules.
The scope of the activity was concentrated in the cultural circles of New York City, Los Angeles, San Francisco and North Carolina. Prominent representatives of the trend were artists Wallace Berman, Jay DeFeo, Jess Collins, Robert Frank, Claes Oldenburg and Larry Rivers.
The culture of the beat generation has become a kind of intersection for representatives of the creative intellect of the United States associated with visual and performing art, which are usually attributed to other areas and trends of artistic expression, such as assemblage, happening, funk art and . They made efforts to destroy the wall between art and real life, so that art would become a living experience in cafes or jazz clubs, and not remain the prerogative of galleries and museums. Many works of artists of the movement were created on the verge of Intermedia.
Artists wrote poetry and poets painted, something like this can describe the processes taking place within the framework of the movement. Performances were a key element in the art of beats, whether it was the Theatrical Event of 1952 at Black Mountain College or Jack Kerouac typing in 1951 the novel On the Road on a typewriter in a single session on a single roll of 31-meter long paper.
Representatives of the movement were united by hostility to traditional culture with its conformism and brightly degenerate commercial component. They also did not like the approach of traditional culture to hushing up the dark side of American life – violence, corruption, social inequality, racism. They tried through art to create a new way of life based on the ideals of rebellion and freedom.
Critics highlight the artist Wallace Berman as the main representative of the movement. In his work concentrated many of the characteristic features of hipsters, especially in his collages made on photocopied photographs, which are a mixture of elements of pop art and mysticism. Among other artists and works, one can single out the work The Rose by the artist Jay DeFeo, the work on which was carried out for seven years, a huge painting-assembly weighing about a ton with a width of up to 20 centimeters.
Tales of Beatnik Glory: Volumes I and II by Ed Sanders is, as its name suggests, a collection of short stories, and a definitive introduction to the beatnik scene as lived by its participants. The author, who went on to found The Fugs, lived in the beatnik epicenter of Greenwich Village and the Lower East Side in the late 1950s and early 1960s.
Among the humor books, Beat, Beat, Beat was a 1959 Signet paperback of cartoons by Phi Beta Kappa Princeton graduate William F. Brown, who looked down on the movement from his position in the TV department of the BBDO advertising agency.Brown, William F. Beat, Beat, Beat. New American Library|Signet, 1959.
Suzuki Beane (1961), by Sandra Scoppettone with Louise Fitzhugh illustrations, was a Bleecker Street beatnik spoof of Kay Thompson's Eloise series (1956–1959).
In the 1960s comic book, the Justice League of America's sidekick Snapper Carr was portrayed as a stereotypical beatnik, down to his lingo and clothes. The DC Comics character Jonny Double is portrayed as a beatnik.
Ed Roth used fiberglass to build his Beatnik Bandit in 1960. Today, this car is in the National Automobile Museum in Reno, Nevada.
Art
"Beatnik art" is the direction of contemporary art that originated in the United States as part of the beat movement in the 1960s. The movement itself, unlike the so-called "Lost Generation" did not set itself the task of changing society, but tried to distance itself from it, while at the same time trying to create its own counter-culture. The art created by artists was influenced by jazz, drugs, , and other attributes of beat movement.
Beatniks in media
Beatnik books
Alan Bisbort's survey Beatniks: A Guide to an American Subculture was published by Greenwood Press in 2009 as part of the series Greenwood Press Guides to Subcultures and Countercultures. The book includes a timeline, a glossary and biographical sketches. Others in the Greenwood series: Punks, Hippies, Goths and Flappers.
Museums
In San Francisco, Jerry and Estelle Cimino operate their Beat Museum, which began in 2003 in Monterey, California and moved to San Francisco in 2006.
See also
Sources
External links
Categories: 1950s Neologisms, Beat Generation, Counterculture, Counterculture Of The 1950s, Counterculture Of The 1960s, Culture Of New York City, Culture Of San Francisco, Drug Culture, History Of Subcultures, Musical Subcultures, North Beach, San Francisco, Social Groups, Stereotypes, Social Movements In The United States
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