Editing Beatnik (section)

==Stereotype==
[[File:Beatgirl (3).jpg|thumb|Stereotypical beatnik woman]]

In her memoir ''[[Minor Characters]]'', [[Joyce Johnson (author)|Joyce Johnson]] described how the stereotype was absorbed into American culture:

{{blockquote|"Beat Generation" sold books, sold black turtleneck sweaters and bongos, berets and dark glasses, sold a way of life that seemed like dangerous fun—thus to be either condemned or imitated. Suburban couples could have beatnik parties on Saturday nights and drink too much and fondle each other's wives.<ref>Johnson, Joyce. ''Minor Characters'', Houghton Mifflin, 1987.</ref>|sign=|source=}}

Kerouac biographer [[Ann Charters]] noted that the term "Beat" was appropriated to become a [[Madison Avenue]] marketing tool:

{{blockquote|The term caught on because it could mean anything. It could even be exploited in the affluent wake of the decade's extraordinary technological inventions. Almost immediately, for example, advertisements by "hip" record companies in New York used the idea of the Beat Generation to sell their new long-playing [[Gramophone record|vinyl records]].<ref>Charters, Ann. ''Beat Down to Your Soul: What Was the Beat Generation?'' Penguin, 1991.</ref>}}

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:

{{blockquote|Reporters are not generally well-versed in artistic movements, or the history of literature or art. And most are certain that their readers, or viewers, are of limited intellectual ability and must have things explained simply, in any case. Thus, the reporters in the media tried to relate something that was new to already preexisting frameworks and images that were only vaguely appropriate in their efforts to explain and simplify. With a variety of oversimplified and conventional formulas at their disposal, they fell back on the nearest stereotypical approximation of what the phenomenon resembled, as they saw it. And even worse, they did not see it clearly and completely at that. They got a quotation here and a photograph there—and it was their job to wrap it up in a comprehensible package—and if it seemed to violate the prevailing mandatory conformist doctrine, they would also be obliged to give it a negative spin as well. And in this, they were aided and abetted by the Poetic Establishment of the day. Thus, what came out in the media: from newspapers, magazines, TV, and the movies, was a product of the stereotypes of the 30s and 40s—though garbled—of a cross between a 1920s Greenwich Village bohemian artist and a [[Bebop|Bop]] musician, whose visual image was completed by mixing in [[Daliesque]] paintings, a beret, a [[Van dyke beard|Vandyck beard]], a turtleneck sweater, a pair of sandals, and set of bongo drums. A few authentic elements were added to the collective image: poets reading their poems, for example, but even this was made unintelligible by making all of the poets speak in some kind of phony Bop idiom. The consequence is, that even though we may know now that these images do not accurately reflect the reality of the Beat movement, we still subconsciously look for them when we look back to the 50s. We have not even yet completely escaped the visual imagery that has been so insistently forced upon us.<ref>Streiff, Thornton Lee. [https://web.archive.org/web/20080211221936/http://homepage.mac.com/thorntonstreiff/beatvortex.html#Introduction Introduction to Web site chronicling the Beat scene in Wichita, Kansas]. Web.archive.org</ref>}}