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The Beat Generation

You’re sitting in a coffeehouse in New York – Greenwich Village to be precise. To your left sits a cup of what you hope will fuel a productive afternoon of writing, with the spread of papers, pens and books that adorn the small, round table. As the sun rears its head through the misty window, your senses are aroused by the plumes of smoke and rumblings of music, your ears prick to the excited conversation – it’s the 1950s and you’re part of something, something vaguely resembling a counter-culture revolution (or at least that’s what you like to think.) Throngs of dissidents, poets, artists, writers, social explorers fill the joint. Creative anarchists reacting against the ugly bloat of materialism induced by World War II, experiencing the mysticism of drugs to the Beat.

1959, New York, New York, USA --- 2/3/1959-New York, NY: In the world of the beatnik, Dick Woods walks up the steps of the Gaslight Coffee Shop in New York's Greenwich Village. Long a setting for various Bohemian movements through the years, the Village is today a hangout of the Beat Generation, who gather in the coffee houses to talk philosophy, art and Jazz. --- Image by © Bettmann/CORBIS

1959, New York, New York, USA — 2/3/1959-New York, NY: In the world of the beatnik, Dick Woods walks up the steps of the Gaslight Coffee Shop in New York’s Greenwich Village. Long a setting for various Bohemian movements through the years, the Village is today a hangout of the Beat Generation, who gather in the coffee houses to talk philosophy, art and Jazz. — Image by © Bettmann/CORBIS

“Beat” was a condition, a radical removal from the mindless conformity fraught by consumerism. A common theme that linked them all together was a rejection of the prevailing American middle-class values, the purposelessness of modern society and the need for withdrawal and protest. In its advent in the late 1940s, a Beat Generation was generally centred in New York City and San Francisco, where it spun its web in Greenwich Village, North Beach, and the fringes of university neighbourhoods across the country. The Beat learned how to transform the lonely countryside as well as dismal flats in cities: otherness flowed in the movement’s veins. Wandering the pavements in Greenwich Village, to the San Remo all the way to the White Horse Tavern, you could smell change in the air.

12 May 1960, Greenwich Village, New York, New York, USA --- A spray-painted sign outside Greenwich Village's Cafe Wha? offers "The Villages Swinginst Cafe!" with "Beat poets, jazz, crazy bongos, congos" and "Live Beatniks, Creepniks, ?!?!?!." --- Image by © Bettmann/CORBIS

12 May 1960, Greenwich Village, New York, New York, USA — A spray-painted sign outside Greenwich Village’s Cafe Wha? offers “The Villages Swinginst Cafe!” with “Beat poets, jazz, crazy bongos, congos” and “Live Beatniks, Creepniks, ?!?!?!.” — Image by © Bettmann/CORBIS

The neighbourhood started life as a prosperous residential area during colonial times and had become a tenement district in the nineteenth century. However, artists and bohemians from across the country started to gravitate towards the village’s warm glow – not to mention the affordable rent for struggling artists. The Village provided ample opportunity for artists to express themselves, with an array of vaudeville theatres. One of the first venues was the Greenwich Village Follows, where dancers and musicians such as Martha Graham and Cole Porter started out. By the 1940s, the Village became an International meeting ground for writers spanning every genre.

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Slipping into the 1950s, the Village had become the hub of musicians, poets and artists flocked to discuss and cultivate ideas. For example, two of the most prolific American movements set up home in Greenwich village: nearly all of the Abstract Expressionists, including Jackson Pollock and Mark Rothko lived in the neighbourhood. Similarly, the New York School of Poets was sharing the same bars, restaurants, and lofts. In the next decade, Greenich Village attracted the furthest stretches of diverse creative minds, including: composer John Cage, artists Robert Rauschenberg and Jasper Johns and dancers Merce Cunningham, to name a few.

Mark Rothko, Rites of Lilith,1945

Mark Rothko, Rites of Lilith,1945

another

Among its most influential members were Gary Sunder, the radical poet Allen Ginsberg, William Burroughs and Jack Kerouac. Kerouac was the acknowledged leader and spokesman for the Beat Generation. The major Beat writings include Jack Kerouac’s On the Road, Allen Ginsberg’s Howl, and William Burroughs’ Naked Lunch. Both Howl and Naked Lunch became the focus of obscenity trials in the United States that helped to liberalize what could be legally published.

Jack Kerouac

Jack Kerouac

Jackson Pollock.

Jackson Pollock.1952.

 

Robert Rauschenberg 1963.

Robert Rauschenberg 1963.

Allen Ginsberg said some essential effects of Beat Generation artistic movement could be characterized in the following terms:

  1. Spiritual liberation, sexual “revolution” or “liberation,” i.e., gay liberation, somewhat catalyzing women’s liberation, black liberation, Gray Panther activism.
  2. Liberation of the word from censorship.
  3. Demystification and/or decriminalization of some laws against marijuana and other drugs.
  4. The evolution of rhythm and blues into rock and roll as a high art form, as evidenced by the Beatles, Bob Dylan, and other popular musicians influenced in the later fifties and sixties by Beat generation poets’ and writers’ works.
  5. The spread of ecological consciousness, emphasized early on by Gary Snyder and Michael McClure, the notion of a “Fresh Planet.”
  6. Opposition to the military-industrial machine civilization, as emphasized in writings of Burroughs, Huncke, Ginsberg, and Kerouac.
  7. Attention to what Kerouac called (after Spengler) a “second religiousness” developing within an advanced civilization.
  8. Return to an appreciation of idiosyncrasy as against state regimentation.
  9. Respect for land and indigenous peoples and creatures, as proclaimed by Kerouac in his slogan from On the Road ‘The Earth is an Indian thing.’
13 Jun 1960, New York, New York, USA --- A police officer watches a line of people holding placards in front of City Hall protesting the closure of Greenwich Village coffee shops. --- Image by © Bettmann/CORBIS

13 Jun 1960, New York, New York, USA — A police officer watches a line of people holding placards in front of City Hall protesting the closure of Greenwich Village coffee shops. — Image by © Bettmann/CORBIS

13 Jul 1959, Greenwich Village, Manhattan, New York, New York, USA --- 7/13/1959-New York, NY- Poet Dick Woods sits at a table with Eddy Slaton, in the Gaslight coffee house in Greenwich Village. A setting for various Bohemian movements through the years, the Village is today a hangout of the Beat Generation, who gather in the coffee houses to talk philosophy and art and jazz. --- Image by © Bettmann/CORBIS

13 Jul 1959, Greenwich Village, Manhattan, New York, New York, USA — 7/13/1959-New York, NY- Poet Dick Woods sits at a table with Eddy Slaton, in the Gaslight coffee house in Greenwich Village. A setting for various Bohemian movements through the years, the Village is today a hangout of the Beat Generation, who gather in the coffee houses to talk philosophy and art and jazz. — Image by © Bettmann/CORBIS

So, as you can see, the Beat generation provoked changes in artistic thought and creation.

14 Nov 1959, Greenwich Village, Manhattan, New York, New York, USA --- Beatniks gather at a Greenwich Village coffeehouse in November 1959. --- Image by © Bettmann/CORBIS

14 Nov 1959, Greenwich Village, Manhattan, New York, New York, USA — Beatniks gather at a Greenwich Village coffeehouse in November 1959. — Image by © Bettmann/CORBIS

As the Beat Movement was getting underway, bebop was already going strong, especially in New York City, where 52nd Street was bustling with activity in jazz clubs up and down its length. Bebop was an innovative style of jazz which saw its heyday in the ’40s, characterized by smaller combos as opposed to big bands and a larger focus on virtuosity. Bebop’s renaissance came about in the heart of New York City, where musicians like Dizzy Gillespie, Thelonious Monk, Charlie Parker, Max Roach and Miles Davis were ushering in a new era for jazz music.

Charlie Parker. Dizzy Gillespie. “Groovin High”.

Jack Kerouac, Allen Ginsberg and and friends spent much of their time in New York clubs such as the Red Drum, Minton’s, the Open Door and other hangouts, shooting the breeze and digging the music. Charlie Parker, Dizzy Gillespie and Miles Davis rapidly became what Allen Ginsberg dubbed “Secret Heroes” to this group of aesthetes.

Jack Kerouac. “The Beat generation”.

“The word ‘beat’ was primarily in use after World War II by jazz musicians and hustlers as a slang term meaning down and out, or poor and exhausted”. Kerouac went on to twist the meaning of the term “beat” to serve his own purposes, explaining that it meant “beatitude, not beat up. You feel this. You feel it in a beat, in jazz real cool jazz”.

The Beat authors borrowed many other terms from the jazz slang of the ’40s, peppering their works with words such as “square,” “cats,” “nowhere,” and “dig.” But jazz meant much more than just a vocabulary to the Beat writers. To them, jazz was a way of life, a completely different way to approach the creative process. In his book ‘Venice West’, John Arthur Maynard writes:

“Jazz served as the ultimate point of reference, even though, or perhaps even because, few among them played it. From it they adopted the mythos of the brooding, tortured, solitary artist, performing with others but always alone. They talked the talk of jazz, built communal rites around using the jazzman’s drugs, and worshipped the dead jazz musicians most fervently. The musician whose music was fatal represented pure spontaneity.”

BEATGENERATION_LOGO

 

In the late 1960s personalities like Andy Warhol and Lou Reed increased the publicity of this already popular neighbourhood, making it increasingly desirable and expensive. As many began the transition to the less expensive Lower East Side, Greenwich Village went through its final phase with the influx of major artists organizations such as Negro Ensemble Company. Today, however, rising rent has made it nearly impossible for young artists to live in lower Manhattan, ending the reign of one of the most culturally impressive neighbourhoods in American history.

 

William S. Burroughs devant le Théâtre de lOdéon Paris 1959.

William S. Burroughs devant le Théâtre de lOdéon Paris 1959

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HOMBRE MECANICO (Edicion Mexico) (2014) CD: Precio España / Europe. 10 EUR. Fuera España 5 EUR. + gastos de envío.

Edición limitada en CD del álbum Mexicano con un tracklist diferente al disco Español.

Tracklist: 1. Sal. 2. Aire (Versión Superelectric) 3. Héroe de Metal. 4. Cumbres de éxtasis 5. Cómprame. 6. Te veo bailar 7. Yo sé  8.El Pasajero. 9. Que No 10. Sal (B.O.U.L.E. Remix). 11.Aire (Versión Electroshock).

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HOMBRE MECANICO (2013) CD: Precio España / Europe. 10 EUR. Fuera españa 6 EUR. + gastos de envío.

Un proyecto de espíritu luminoso en donde se mueve con naturalidad dentro de una ecléctica colección de canciones – producidas por Stefano Maccarrone del grupo Mendetz- que arrojan luz sobre muchas de sus fuentes de inspiración musical; del puro pop a la electrónica y más allá.

Tracklist: 1. Plastic Monsters. 2. Yo sé. 3. Sal. 4. Te veo bailar. 5. Cómprame. 6. Cumbres de éxtasis. 7. Yo sé 2.0. 8. Tanto tiempo sin ti. 9. The saint. 10. Que no. 11. Te veo bailar 2.0. 12. Sal 2.0. 13. Heroe de metal.

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SANTO, SAL A BAILAR E.P. (5 canciones) (2013) CD: 4 Eur + gastos de envío

Edición limitada. “SANTO, SAL BAILAR E.P.” “SAL” es el primer single “oficial” del próximo álbum de Pedro Marín “Hombre Mecánico” 

Contiene 3 canciones del nuevo ábum “Hombre Mecánico”producido por Stefano Maccarrone mas 2 temas adicionales que no estan en el Cd: La remezcla de “Sal” por el DJ y Productor B.O.U.L.E. y un tema extra; “El Pasajero” una colaboración de Marin con Luis Miguelez (Glamour to Kill) y el grupo de hardcore valenciano Gore Gore Gs.

Tracklist: 1. Sal. 2. Sal ( B.O.U.L.E. Remix). 3. The Saint. 4. Te veo bailar. 5. El pasajero.

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I WILL GLAM (2009) CD: 5 Eur + gastos de envío

“I Will Glam” es un disco optimista y muy particular dentro de la carrera de Marín en el que colaboran grandes musicos de la escena Rock alternativa española (como Eric Jimenez, bateria de Los Planetas, Lagartija Nick). Diez temas compuestos por Pedro Marín…

Tracklist: 1. El día después. 2. Rock ´n Roll stars. 3. El influjo de la luna / Angeldust.  4. Glam song. 5. Ahora creo en el amor. 6. Voy a ser yo. 7. Glamarama. 8. Entrar en acción. 9. Instinto animal. 10. Buenas noches.

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PULPO NEGRO (2007) 5 Eur + gastos de envío

El impresionante álbum con el que Pedro Marín volvió a la escena electro pop en 2007…

Tracklist: 1. Pulpo Negro. 2. Ave Fenix. 3. Tiempo perdido. 4. Bella en la noche. 5. Noche. 6. Ven, sígueme. 7. Sueños. 8. Ojos de cristal. 9. Agua y sal. 10. Lili Marlen. 11. Pulpo Negro (Die letze by Cop-Team Rmx). 12. Pulpo Negro (Miguelez Mix).

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Pedro_Marin-Diamonds-FrontalDIAMONDS (2006): Precio España. 10 EUR. Fuera españa 6 EUR + Gastos de envío.

Edición limitada. “Diamonds”. El único álbum en Inglés de Pedro Marín. Salió pocos meses antes de “Pulpo Negro”. Es el disco de versiones de Lear que se encuentra descatalogado en la actualidad. Unicamente disponible en CD desde esta web.

Tracklist: 1. Black holes. 2. Follow me. 3. Run baby run. 4. Blood and honey. 5. Fashion pack. 6. Gold. 7. The sphinx. 8. Enigma. 9. Tomorrow. 10. Diamonds. + 7 Remixes.

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AIRE EP + PULPO NEGRO REMEZCLAS EP
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1.EP Promocional “Aire” (2007). Incluye la canción + la versión extended.

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SLOW (Sus mejores canciones lentas 1980-2014 )(2015)

“SLOW” Una colección de las mejores canciones lentas de Pedro con muchas sorpresas. Ya está disponible en iTunes… “Quería que fuese mas que una colección de canciones lentas para estos tiempos rápidos; un viaje, una experiencia sensorial de cierta intensidad, con una coherencia y un ritmo”.

 

 

HOMBRE MECANICO (EDICION DELUXE) (2013)

Un proyecto de espíritu luminoso en donde se mueve con naturalidad dentro de una ecléctica colección de canciones – producidas por Stefano Maccarrone del grupo Mendetz- que arrojan luz sobre  sus muchas fuentes de inspiración musical; del puro pop a la electrónica y más allá.

TE VEO BAILAR (2012)

El nuevo single de Pedro Marin “Te veo Bailar”. Un anticipo de su próximo álbum; “Hombre Mecánico”. Producido por Stefano Maccarrone.

I WILL GLAM (2009)

“I Will Glam” es un disco optimista, luminoso en el que colaboran grandes musicos de la escena Rock alternativa española como Eric Jimenez, bateria de Los Planetas, Lagartija Nick). Diez temas compuestos por Pedro Marín…

PULPO NEGRO (2007)

El impresionante álbum con el que Pedro Marín volvió a la escena electro pop en 2007…

AIRE single  – NUEVA VERSION (2008)

Nueva grabación de la canción. Single y versión extended.

DIRECTO “I WILL GLAM TOUR (2010)

PEDRO MARIN. “I WILL GLAM TOUR”. EP en directo grabado durante los conciertos de 2009 / 2010…

RAREZAS (2008)

Reúne tres canciones inéditas de Pedro Marín que por diversas razones no fueron incluidas en ninguno de sus últimos álbums. Destaca una colaboración con Digital 21…

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