Instruct: Given a question, retrieve passages that answer the question.
Query: When was the Beat Generation?
The Beat Generation was a literary movement started by a group of authors whose work explored and influenced American culture and politics in the post-war era. The bulk of their work was published and popularized throughout the 1950s. The central elements of Beat culture are the rejection of standard narrative values, making a spiritual quest, the exploration of American and Eastern religions, the rejection of materialism, explicit portrayals of the human condition, experimentation with psychedelic drugs, and sexual liberation and exploration.[1][2]
Kerouac introduced the phrase "Beat Generation" in 1948 to characterize a perceived underground, anti-conformist youth movement in New York.[6] The name arose in a conversation with writer John Clellon Holmes. Kerouac allows that it was Huncke, a street hustler, who originally used the phrase "beat", in an earlier discussion with him. The adjective "beat" could colloquially mean "tired" or "beaten down" within the African-American community of the period and had developed out of the image "beat to his socks",[7][8][9] but Kerouac appropriated the image and altered the meaning to include the connotations "upbeat", "beatific", and the musical association of being "on the beat", and "the Beat to keep" from the Beat Generation poem.[10]
Jazz musician/film composer Robert Kraft (not to be confused with NFL Team owner Robert Kraft) wrote and released a contemporary homage to Jack Kerouac and Beat Generation aesthetics entitled "Beat Generation" on the 1988 album Quake City.
When tuning instruments that can produce sustained tones, beats can be readily recognized. Tuning two tones to a unison will present a peculiar effect: when the two tones are close in pitch but not identical, the difference in frequency generates the beating. The volume varies like in a tremolo as the sounds alternately interfere constructively and destructively. As the two tones gradually approach unison, the beating slows down and may become so slow as to be imperceptible. As the two tones get further apart, their beat frequency starts to approach the range of human pitch perception, the beating starts to sound like a note, and a combination tone is produced. This combination tone can also be referred to as a missing fundamental, as the beat frequency of any two tones is equivalent to the frequency of their implied fundamental frequency.
Shortly after this period in Ginsberg's life, he became romantically involved with Elise Nada Cowen after meeting her through Alex Greer, a philosophy professor at Barnard College whom she had dated for a while during the burgeoning Beat generation's period of development. As a Barnard student, Elise Cowen extensively read the poetry of Ezra Pound and T. S. Eliot, when she met Joyce Johnson and Leo Skir, among other Beat players. As Cowen had felt a strong attraction to darker poetry most of the time, Beat poetry seemed to provide an allure to what suggests a shadowy side of her persona. While at Barnard, Cowen earned the nickname "Beat Alice" as she had joined a small group of anti-establishment artists and visionaries known to outsiders as beatniks, and one of her first acquaintances at the college was the beat poet Joyce Johnson who later portrayed Cowen in her books, including "Minor Characters" and "Come and Join the Dance", which expressed the two women's experiences in the Barnard and Columbia Beat community. Through his association with Elise Cowen, Ginsberg discovered that they shared a mutual friend, Carl Solomon, to whom he later dedicated his most famous poem "Howl". This poem is considered an autobiography of Ginsberg up to 1955, and a brief history of the Beat Generation through its references to his relationship to other Beat artists of that time.
Beat Scene European Beat Studies Network (EBSN) Literary Kicks San Francisco Oracle Leonard Cohen, Canadian Beat Generation poet & songwriter Christopher Felver G.I. Generation Silent Generation
Engaging in sexual activity in a public place is against the law in all States and Territories in Australia. Police have been criticised for excessive patrolling of known beats, and the defence of entrapment is commonly used by those caught when charged. People using beats are also more likely to be subject to homophobic hate crimes and other general crimes than gay men who don't use beats, prompting some to welcome the police presence . In Sydney and Melbourne at least, gay beats have attracted some attention from some sections of the media. This has led to a police presence at those identified.
Campbell, James. This Is the Beat Generation: New York–San Francisco-Paris. LA: University of California Press, 2001. ISBN0-520-23033-7 Collins, Ronald & Skover, David. Mania: The Story of the Outraged & Outrageous Lives that Launched a Cultural Revolution (Top-Five Books, March 2013) Cook, Bruce The Beat Generation: The tumultuous '50s movement and its impact on today. New York: Charles Scribner's Sons, 1971. ISBN0-684-12371-1. Espartaco, Carlos Eduardo Sanguinetti: The Experience of Limits. Ediciones de Arte Gaglianone. Buenos Aires, Argentine, 1989. ISBN950-9004-98-7 Gifford, Barry and Lawrence Lee Jack's Book An Oral Biography Of Jack Kerouac, New York: St. Martin's Press, 1978. ISBN0-312-43942-3 Gorski, Hedwig. * Robert Creeley 1982 TV Interview with Hedwig Gorski transcript included in special Robert Creeley Issue, Journal of American Studies of Turkey (JAST), No. 27, Spring 2008. Grace, Nancy Jack Kerouac and the Literary Imagination, New York: Palgrave Macmillan, 2007. ISBN1-4039-6850-0 Hemmer, Kurt (ed.). Encyclopedia of Beat Literature. Facts on File, 2006. ISBN0-8160-4297-7 Hrebeniak, Michael. Action Writing: Jack Kerouac's Wild Form, Carbondale, IL: Southern Illinois UP, 2006. Johnson, Ronna C. and Nancy Grace. Girls Who Wore Black: Women Writing the Beat Generation. Rutgers, 2002. ISBN0-813-53064-4 Knight, Brenda. Women of the Beat Generation; The Writers, Artists, and Muses at the Heart of a Revolution. General Books LLC, 2010. ISBN1153571900 ISBN978-1153571906 McDarrah, Fred W., and Gloria S. McDarrah. Beat Generation: Glory Days in Greenwich Village Schirmer Books (September 1996) ISBN0-8256-7160-4 McNally, Dennis. Desolate Angel: Jack Kerouac, the Beat Generation, and America. NY: DeCapo, 2003. ISBN0-306-81222-3 Miles, Barry. The Beat Hotel: Ginsberg, Burroughs & Corso in Paris, 1957–1963. NY: Grove Press, 2001. ISBN0-8021-3817-9 Peabody, Richard. A Different Beat: Writing by Women of the Beat Generation. Serpent's Tail, 1997. ISBN1852424311 / ISBN978-1852424312 Sargeant, Jack. Naked Lens: Beat Cinema. NY: Soft Skull, 2009 (third edition) Sanguinetti, Eduardo. Alter Ego. Edinburgh: Pentland, 1986. ISBN0946270171, 9780946270170 Sanders, Ed. Tales of Beatnik Glory (second edition, 1990) ISBN0-8065-1172-9 Theado, Matt (ed.). The Beats: A Literary Reference. NY: Carrol & Graff, 2002. ISBN0-7867-1099-3 Watson, Steven. The Birth of the Beat Generation: Visionaries, Rebels, and Hipsters, 1944–1960. NY: Pantheon, 1998. ISBN0-375-70153-2
While many authors claim to be directly influenced by the Beats, the Beat Generation phenomenon itself has had an influence on American culture leading more broadly to the hippie movements of the 1960s.
Beat Generation is a play written by Jack Kerouac upon returning home to Florida after his seminal work "On the Road" had been published in 1957. Gerald Nicosia, a Kerouac biographer and family friend has said that theatre producer Leo Gavin suggested that Kerouac should write a play; the outcome being "Beat Generation".
In 1948, Kerouac introduced the phrase "Beat Generation", generalizing from his social circle to characterize the underground, anticonformist youth gathering in New York at that time. The name came up in conversation with John Clellon Holmes, who published an early Beat Generation novel titled "Go" (1952), along with the manifesto "This Is the Beat Generation" in "The New York Times Magazine". In 1954, Nolan Miller published his third novel "Why I Am So Beat" (Putnam), detailing the weekend parties of four students.
The origin of the term "beat" being applied to a generation was conceived by Jack Kerouac who told Holmes, "You know, this is really a beat generation." The term later became part of common parlance when Holmes published an article in "The New York Times Magazine" entitled "This Is the Beat Generation" on November 16, 1952 (pg.10). In the article, Holmes attributes the term to Kerouac, who had acquired the idea from Herbert Huncke. Holmes came to the conclusion that the values and ambitions of the Beat Generation were symbolic of something bigger, which was the inspiration for "Go".
A blast beat is traditionally played as an alternating single-stroke roll broken up between the kick drum and the snare drum. Blast beats are counted in 32nd or 16th notes. In a modern musical context blast beats are usually regarded as such when played at a minimum of above 90 beats per minute 32nd notes, or 180 bpm 16th notes. Early blast beats were generally quite slow and less precise compared to today's standards. Nowadays, a blast beat is normally played from 180 bpm 16th notes up to such high tempos as in the range of 250-280 bpm 16th notes (or even higher). There is also the "gravity blast", not to be confused with the one-handed "gravity roll" (see below). This technique uses the rim of the snare drum as a fulcrum, allowing two snare hits with one downward motion (essentially doing the work of two hands with only one).
The department is broken into three districts each further divided into beats. The Northern district covers Eastern Richmond (beat 7), the El Sobrante and May Valleys (beat 9) in addition to the Hilltop and Parrchester Village areas (beat 8), generally the areas east of 23rd street and north of Ohio Avenue. The Southern district covers Point Richmond, Point Molate, the Chevron Richmond Refinery area, Marina Bay (beat 1), and the Richmond Annex (beat 3) in addition to the South of Downtown Area (beat 2). It is generally defined as the areas west of Garrard Boulevard and south of Ohio Avenue. Finally the Central district covers the area surrounding Downtown and the notoriously crime ridden Iron Triangle, bounded by Ohio Avenue, Garrard Street, 23rd Street and the city limits with unincorporated North Richmond, in addition to an exclave surrounding the city dump. The Central district has three beats, beat 4 east of Carlson Boulevard, beat 6 south of Barrett Avenue and beat 5 north of Barrett Avenue plus the dump.
In Shona music, the kutsinhira is the following part. The kutsinhira is often a beat behind the kushaura part. More generally, the kutsinhira is the part that is more, or mostly off the beat when compared to the kushaura.
The word "beatnik" was coined by Herb Caen in his column in the "San Francisco Chronicle" on April 2, 1958. Caen wrote "Look magazine, preparing a picture spread on S.F.'s Beat Generation (oh, no, not AGAIN!), hosted a party in a No. Beach house for 50 Beatniks, and by the time word got around the sour grapevine, over 250 bearded cats and kits were on hand, slopping up Mike Cowles' free booze. They're only Beat, y'know, when it comes to work ..." Caen coined the term by adding the Slavic suffix "-nik" to the Beat Generation.
"Readings by Jack Kerouac on the Beat Generation" was released in January 1960 on Verve Records on LP. In June 1990, Rhino Entertainment reissued the album on CD as part of the box set "The Jack Kerouac Collection", also featuring "Poetry for the Beat Generation", "Blues and Haikus" and "The Last Word". The CD reissue included a bonus track, "Is There a Beat Generation?", a live lecture by Kerouac to students of Hunter College in Manhattan, New York on November 6, 1958. A remastered CD version was issued on October 28, 1997 on Verve Records.
Generally, humans have the ability to hear musical beat and rhythm beginning in infancy. Some people, however, are unable to identify beat and rhythm of music, suffering from what is known as beat deafness. Beat deafness is a newly discovered form of congenital amusia, in which people lack the ability to identify or “hear” the beat in a piece of music. Unlike most hearing impairments in which an individual is unable to hear any sort of sound stimuli, those with beat deafness are generally able to hear normally, but unable to identify beat and rhythm in music. Those with beat deafness are also unable to dance in step to any type of music. Even people who do not dance well can at least coordinate their movements to the song they are listening to, because they can easily keep time to the beat.
Fused minions take on physical characteristics of both its parent creatures, allowing the player to customize the appearance of each one, and its abilities. Each minion has a collection of elemental attacks which can be passed from generation to generation. Strategy generally follows a rock/paper/scissors pattern (Wind beats Earth beats Water beats Fire beats Wind), as each wild Minion has an element (although fused Minions may have more than one).
All three forms of bursting are capable of beating and periodic bursting. Periodic bursting (or just bursting) is of more interest because many phenomena are controlled by, or arise from, bursting. For example, bursting due to a changing membrane potential is common in various neurons, including but not limited to cortical chattering neurons, thalamacortical neurons, and pacemaker neurons. Pacemakers in general are known to burst and synchronize as a population, thus generating a robust rhythm that can maintain repetitive tasks like breathing, walking, and eating. Beating occurs when a cell bursts continuously with no periodic quiescent periods, but beating is often considered to be an extreme case and is rarely of primary interest.
In 2016, Wax Tailor released his fifth album "By Any Beats Necessary". The title references the Malcolm X phrase "By Any Means Necessary", which was inspired by Sartre's play "Dirty Hands". The 'Beat' also draws a line towards the Beat Generation, Kerouac's famous "On The Road" novel, and this quest for an better place: "In this time when each of us needs a little escape, I conceptualized this album as a sort of soundtrack to a road trip among the great expanses." 
Notice that palmas are often (though by no means always) silent during beats 4 to 6, even if beat number 6 is a "strong one". This is specially true when no dancing takes place: the main interest there is the singing (or playing) and too much percussion can take attention away from the music. Those beats though are often marked when there is dance, or when performing other palos in the same metre like Alegrías or Bulería por soleá. However, these are not to be taken as hard-and-fast rules, but just as general guidelines.
In "Minor Characters" (Houghton Mifflin, 1983), the book she is best known for, she looked back at the years 1957 and 1958, the time when Kerouac rose from obscurity to fame with the publication of "On the Road". Johnson brought attention to the experiences of women associated with the Beat Generation writers. Her memoir won a 1983 National Book Critics Circle Award. Other memoirs and anthologies have since been published by and about women of the Beat Generation.
Huncke himself was a natural storyteller, a unique character with a paradoxically honest take on life. Later, after the formation of the so-called Beat Generation, members of the Beats encouraged Huncke to publish his notebook writings, which he did with limited success in 1964 with Diane DiPrima's Poet's Press. (Huncke's Journal) Huncke used the word "Beat" to describe someone living with no money and few prospects. "Beat to my socks," he said. Huncke coined the phrase in a conversation with Jack Kerouac, who was interested in how their generation would be remembered. "I'm beat," was Huncke's reply, meaning tired and beat to his socks. Kerouac used the term to describe an entire generation. Jack Kerouac later insisted that "Beat" was derived from beatification, to be supremely happy. However, it is thought that this definition was a defense of the beat way of life, which was frowned upon and offended many American sensibilities.
Some musicians are also considered to be part of the Beat Generation’s legacy including The Doors, Bob Dylan, The Beatles, and Tom Waits. Thomas Pynchon and Tom Robbins are examples of authors influenced by the Beat generation.