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A substitute teacher from the inner city refuses to be messed with while taking attendance.
So i was pretty hesitant to make this video... but after all of your request, here is my Draw My Life video! Check out my 2nd Channel for more vlogs: http://...
Music video by Adele performing Rolling In The Deep. (C) 2010 XL Recordings Ltd. #VEVOCertified on July 25, 2011. http://www.vevo.com/certified http://www.yo...
Music video by P!nk performing Try (The Truth About Love - Live From Los Angeles). (C) 2012 RCA Records, a division of Sony Music Entertainment.
"Just One Last Time" feat. Taped Rai. Available to download on iTunes including remixes of : Tiësto, HARD ROCK SOFA & Deniz Koyu http://smarturl.it/DGJustOne...
Subscribe for new compilations every Friday! ▻ http://bit.ly/failarmy Facebook ▻ http://facebook.com/failarmyy Twitter ▻ http://twitter.com/RealFailArmy Down...
YOLO is available on iTunes now! http://smarturl.it/lonelyIslandYolo New album coming soon... Check out the awesome band the music in YOLO is sampled from Th...
Don't be these people. Mapoti See Bloopers and Behind-The-Scenes Here!: http://youtu.be/dfpo7uXwJnM Huge thank you and shout out to Dtrix: http://www.youtube...
Buy the track here: http://atlr.ec/TZ8yBf Directed by Tony T. Datis.
Macklemore & Ryan Lewis present the official music video for Can't Hold Us feat. Ray Dalton. Can't Hold Us on iTunes: https://itunes.apple.com/us/album/cant-...
This video accidentally turned out kind of sad, ME SO SOWWY IT NOT POSED TO BE SAD WHO WANTS HUGS AND COOKIES? Also, FYI for anyone attempting this, it takes...
What people expect romance to be vs what it really is... Follow Catherine! https://twitter.com/CDekoekkoek Check out my 2nd Channel for more vlogs: http://ww...
Music video by Eminem performing Love The Way You Lie. © 2010 Aftermath Records #VEVOCertified on September 13, 2011. http://www.vevo.com/certified http://ww...
||The neutrality of this article is disputed. (October 2012)|
Hipster refers to a subculture of young, urban middle class adults and older teenagers that appeared in the 1990s. The subculture is associated with independent music, a varied non-mainstream fashion sensibility, progressive or independent political views, alternative spirituality or atheism/agnosticism, and alternative lifestyles. Interests in media include independent film, magazines such as Clash, and websites like Pitchfork Media.
Hipster culture has been described as a "mutating, trans-Atlantic melting pot of styles, tastes and behavior[s]". Christian Lorentzen of Time Out New York argues that "hipsterism fetishizes the authentic" elements of all of the "fringe movements of the postwar era—beat, hippie, punk, even grunge", and draws on the "cultural stores of every unmelted ethnicity", and "regurgitates it with a winking in authenticity".
Origins in the 1940s
The term itself was coined during the jazz age, when "hip" emerged as an adjective to describe aficionados of the growing scene. Although the adjective's exact origins are disputed, some say it was a derivative of "hop", a slang term for opium, while others believe it comes from the West African word "hipi", meaning "to open one's eyes". The essence of the definition of "hip", attested as early as 1902, is "aware" or "in the know". Conversely, the antonym unhip connotes those who are unaware of their surroundings, also including those who are opposed to hipness.
Nevertheless, "hip" eventually acquired the common English suffix -ster (as in spinster and gangster), and "hipster" entered the language. The first dictionary to list the word is the short glossary "For Characters Who Don't Dig Jive Talk", which was included with Harry Gibson's 1944 album, Boogie Woogie In Blue. The entry for "hipsters" defined them as "characters who like hot jazz". Initially, hipsters were usually middle-class white youths seeking to emulate the lifestyle of the largely black jazz musicians they followed. In The Jazz Scene (1959), author Eric Hobsbawm (originally writing under the pen name Francis Newton) described hipster language—i.e., "jive-talk or hipster-talk"—as "an argot or cant designed to set the group apart from outsiders".
However, the subculture rapidly expanded, and after World War II, a burgeoning literary scene grew up around it. Jack Kerouac described 1940s hipsters as "rising and roaming America, bumming and hitchhiking everywhere [as] characters of a special spirituality". In his essay "The White Negro", Norman Mailer characterized hipsters as American existentialists, living a life surrounded by death—annihilated by atomic war or strangled by social conformity—and electing instead to "divorce [themselves] from society, to exist without roots, to set out on that uncharted journey into the rebellious imperatives of the self". The word is used in the 1980 song Beasley Street by John Cooper Clarke: "The hipster and his hired hat drive a borrowed car."
1990s through early 2010s
"Hipsters are the friends who sneer when you cop to liking Coldplay. They're the people who wear t-shirts silk-screened with quotes from movies you've never heard of and the only ones in America who still think Pabst Blue Ribbon is a good beer. They sport cowboy hats and berets and think Kanye West stole their sunglasses. Everything about them is exactingly constructed to give off the vibe that they just don't care."
In early 2000, both the New York Times and Time Out New York ran profiles of Williamsburg, Brooklyn, without using the term hipster; the Times refers to "bohemians" and TONY to "arty East Village types". By 2003, when The Hipster Handbook was published by Williamsburg resident Robert Lanham, the term had come into widespread use in relation to Williamsburg and similar neighborhoods. The Hipster Handbook described hipsters as young people with "mop-top haircuts, swinging retro pocketbooks, talking on cell phones, smoking European cigarettes... strutting in platform shoes with a biography of Che Guevara sticking out of their bags". Lanham further describes hipsters thus: "You graduated from a liberal arts school whose football team hasn't won a game since the Reagan administration" and "you have one Republican friend who you always describe as being your 'one Republican friend.'" One author dates the initial phase of the revival of the term from 1999 to 2003.
A 2009 Time magazine article described hipsters thus: "take your grandmother's sweater and Bob Dylan's Wayfarers, add jean shorts, Converse All-Stars and a can of Pabst and bam — hipster." Slate writer Brandon Stosuy noted that "Heavy metal has recently conquered a new frontier, making an unexpected crossover into the realm of hipsterdom". He argues that the "current revival seems to be a natural mutation from the hipster fascination with post-punk, noise, and no wave", which allowed even the "nerdiest indie kids to dip their toes into jagged, autistic sounds". He argues that a "byproduct" of this development was an "investigation of a musical culture that many had previously feared or fetishized from afar".
In 2008, Utne Reader magazine writer Jake Mohan described "hipster rap" as "consisting of the most recent crop of MCs and DJs who flout conventional hip-hop fashions, eschewing baggy clothes and gold chains for tight jeans, big sunglasses, the occasional keffiyeh, and other trappings of the hipster lifestyle". He notes that the "old-school hip-hop website Unkut, and Jersey City rapper Mazzi" have criticized mainstream rappers whom they deem to be posers or "fags for copping the metrosexual appearances of hipster fashion". Prefix Mag writer Ethan Stanislawski argues that there are racial elements to the rise of hipster rap. He claims that there "have been a slew of angry retorts to the rise of hipster rap", which he says can be summed up as "white kids want the funky otherness of hip-hop ... without all the scary black people".
In his 2011 book HipsterMattic, author Matt Granfield summed up hipster culture this way:
"While mainstream society of the 2000s (decade) had been busying itself with reality television, dance music, and locating the whereabouts of Britney Spears's underpants, an uprising was quietly and conscientiously taking place behind the scenes. Long-forgotten styles of clothing, beer, cigarettes and music were becoming popular again. Retro was cool, the environment was precious and old was the new 'new'. Kids wanted to wear Sylvia Plath's cardigans and Buddy Holly's glasses — they revelled in the irony of making something so nerdy so cool. They wanted to live sustainably and eat organic gluten-free grains. Above all, they wanted to be recognised for being different — to diverge from the mainstream and carve a cultural niche all for themselves. For this new generation, style wasn't something you could buy in a department store, it became something you found in a thrift shop, or, ideally, made yourself. The way to be cool wasn't to look like a television star: it was to look like as though you'd never seen television."
As hipsters, "young creatives", priced out of Bohemian urban neighborhoods in Brooklyn such as Williamsburg, Park Slope, Carroll Gardens, Greenpoint, and Boerum Hill, moved into suburbs near New York City such as Hastings-on-Hudson The New York Times coined the neologism "Hipsturbia" to describe the hip lifestyle as lived in suburbia. Dobbs Ferry, Irvington and Tarrytown were also cited.
Christian Lorentzen of Time Out New York claims that metrosexuality is the hipster appropriation of gay culture, as a trait carried over from their "Emo" phase. He writes that "these aesthetics are assimilated—cannibalized—into a repertoire of meaninglessness, from which the hipster can construct an identity in the manner of a collage, or a shuffled playlist on an iPod." He argues that "hipsterism fetishizes the authentic" elements of all of the "fringe movements of the postwar era—Beat, hippie, punk, even grunge", and draws on the "cultural stores of every unmelted ethnicity" and "gay style", and then "regurgitates it with a winking inauthenticity". He claims that this group of "18-to-34-year-olds", who are mostly white, "have defanged, skinned and consumed" all of these influences. Lorentzen says hipsters, "in their present undead incarnation", are "essentially people who think of themselves as being cooler than America", also referring to them as "the assassins of cool". He also criticizes how the subculture's original menace has long been abandoned and has been replaced with "the form of not-quite-passive aggression called snark".
In a Huffington Post article entitled "Who's a Hipster?", Julia Plevin argues that the "definition of 'hipster' remains opaque to anyone outside this self-proclaiming, highly-selective circle". She claims that the "whole point of hipsters is that they avoid labels and being labeled. However, they all dress the same and act the same and conform in their non-conformity" to an "iconic carefully created sloppy vintage look".
Rob Horning developed a critique of hipsterism in his April 2009 article "The Death of the Hipster" in PopMatters, exploring several possible definitions for the hipster. He muses that the hipster might be the "embodiment of postmodernism as a spent force, revealing what happens when pastiche and irony exhaust themselves as aesthetics", or might be "a kind of permanent cultural middleman in hypermediated late capitalism, selling out alternative sources of social power developed by outsider groups, just as the original 'white negros' evinced by Norman Mailer did to the original, pre-pejorative 'hipsters'—blacks...".
Horning also proposed that the role of hipsters may be to "appropriat[e] the new cultural capital forms, delivering them to mainstream media in a commercial form and stripping their inventors ... of the power and the glory". Horning argues that the "problem with hipsters" is the "way in which they reduce the particularity of anything you might be curious about or invested in into the same dreary common denominator of how 'cool' it is perceived to be", as "just another signifier of personal identity". Furthermore, he argues that the "hipster is defined by a lack of authenticity, by a sense of lateness to the scene" or the way that they transform the situation into a "self-conscious scene, something others can scrutinize and exploit".
Dan Fletcher in Time seems to support this theory, positing that stores like Urban Outfitters have mass-produced hipster chic, merging hipsterdom with parts of mainstream culture, thus overshadowing its originators' still-strong alternative art and music scene. According to Fletcher, "Hipsters manage to attract a loathing unique in its intensity. Critics have described the loosely defined group as smug, full of contradictions and, ultimately, the dead end of Western civilization."
Elise Thompson, an editor for the LA blog LAist argues that "people who came of age in the 70s and 80s punk rock movement seem to universally hate 'hipsters'", which she defines as people wearing "expensive 'alternative' fashion[s]", going to the "latest, coolest, hippest bar...[and] listen[ing] to the latest, coolest, hippest band". Thompson argues that hipsters "don't seem to subscribe to any particular philosophy ... [or] ... particular genre of music". Instead, she argues that they are "soldiers of fortune of style" who take up whatever is popular and in style, "appropriat[ing] the style[s]" of past countercultural movements such as punk, while "discard[ing] everything that the style stood for".
Zeynep Arsel and Craig Thompson
Drawing from Pierre Bourdieu's work and Thomas Frank's theories of co-optation, Zeynep Arsel and Craig Thompson argue that in order to segment and co-opt the indie marketplace, mass media and marketers have engaged in commercial "mythmaking" and contributed to the formation of the contemporary discourse about hipsters. They substantiate this argument using a historical discourse analysis of the term and its use in the popular culture, based on Arsel's dissertation that was published in 2007.
Their argument is that the contemporary depiction of hipster is generated through mass media narratives with different commercial and ideological interests. In other words, hipster is less of an objective category, and more of a culturally- and ideologically-shaped and mass-mediated modern mythology that appropriates the indie consumption field and eventually turns into a form of stigma. Arsel and Thompson also interview participants of the indie culture (DJs, designers, writers) to better understand how they feel about being labeled as one. Their findings demonstrate three strategies for dissociation from the hipster stereotype: aesthetic discrimination, symbolic demarcation, and proclaiming sovereignty. These strategies, empowered by one's status in the indie field (or their cultural capital) enable these individuals to defend their field dependent cultural investments and tastes from devaluating hipster mythology.
Their work explains why people who are ostensibly fitting the hipster stereotype profusely deny being one: hipster mythology devaluates their tastes and interests and thus they have to socially distinguish themselves from this cultural category and defend their tastes from devaluation. To succeed in denying being a hipster, while looking, acting, and consuming like one, these individuals demythologize their existing consumption practices by engaging in rhetorics and practices that symbolically differentiate their actions from the hipster stigma.
Mark Greif, a founder of n+1 and an assistant professor at The New School, in a New York Times editorial, states that "hipster" is often used by youth from disparate economic backgrounds to jockey for social position. He questions the contradictory nature of the label, and the way that no one thinks of themselves as a hipster: "Paradoxically, those who used the insult were themselves often said to resemble hipsters — they wore the skinny jeans and big eyeglasses, gathered in tiny enclaves in big cities, and looked down on mainstream fashions and 'tourists.' " He believes the much-cited difficulty in analyzing the term stems from the fact that any attempt to do so provokes universal anxiety, since it "calls everyone's bluff". Like Arsel and Thompson, he draws from Distinction: A Social Critique of the Judgement of Taste by Pierre Bourdieu to conclude:
You can see how hipster neighborhoods are crossroads where young people from different origins, all crammed together, jockey for social gain. One hipster subgroup's strategy is to disparage others as "liberal arts college grads with too much time on their hands"; the attack is leveled at the children of the upper middle class who move to cities after college with hopes of working in the "creative professions". These hipsters are instantly declassed, reservoired in abject internships and ignored in the urban hierarchy — but able to use college-taught skills of classification, collection and appreciation to generate a superior body of cultural "cool".
They, in turn, may malign the "trust fund hipsters". This challenges the philistine wealthy who, possessed of money but not the nose for culture, convert real capital into "cultural capital" (Bourdieu's most famous coinage), acquiring subculture as if it were ready-to-wear. (Think of Paris Hilton in her trucker hat.) Both groups, meanwhile, look down on the couch-surfing, old-clothes-wearing hipsters who seem most authentic but are also often the most socially precarious — the lower-middle-class young, moving up through style, but with no backstop of parental culture or family capital. They are the bartenders and boutique clerks who wait on their well-to-do peers and wealthy tourists. Only on the basis of their cool clothes can they be "superior": hipster knowledge compensates for economic immobility.
Greif's efforts puts the term "hipster" into a socioeconomic framework rooted in the petty bourgeois tendencies of a youth generation unsure of their future social status. The cultural trend is indicative of a social structure with heightened economic anxiety and lessened class mobility.
In popular culture
Vancouver has a "Real Housewives of Vancouver" show. Inspired by the success of this show, Britt Irvin and Jesse Haddock have created a proposed "Real Hipsters of Vancouver" show. The pair put out a casting call and "soon got more responses than they could keep up with". The show is expected to feature "plaid-shirted bohemians with thick glasses...argu[ing] why Fellini is better than Antonioni, while a Bon Iver-like solo artist plays open mic night at a Main Street cafe". They are looking for six or seven "hip, fun, attractive people under 40 who believe that 'living their life is an art in itself', who romanticize their youth and who live in constant performance mode".
- "Poll: Many Americans dislike hipsters, are open to hipster annoyance levy". Washington Times. 2013-05-13. Retrieved 2013-05-18.
- October 12, 2010 (2010-10-12). "What do hipsters and pornography have in common? - latimes.com". Latimesblogs.latimes.com. Retrieved 2013-05-18.
- Douglas Haddow (2008-07-29). "Hipster: The Dead End of Western Civilization". Adbusters. Retrieved 2008-09-08.
- Lorentzen, Christian (May 30–June 5, 2007). "Kill the hipster: Why the hipster must die: A modest proposal to save New York cool". Time Out New York.
- Dan Fletcher (2009-07-29). "Hipsters". time.com. Retrieved 2009-11-01.
- http://www.hyzercreek.com/boogie_in_blue.htm This short glossary of jive expressions was also printed on playbills handed out at Gibson's concerts for a few years. It was not a complete glossary of jive, however, as it included only jive expressions that were found in the lyrics to his songs. The same year, Cab Calloway published The New Cab Calloway's Hepster's Dictionary of Jive, which had no listing for Hipster, and because there was also a 1940 edition of Calloway's Hepster's (an obvious play on "Webster's") Dictionary, it appears that "hepster" pre-dates "hipster".
- Kerouac, Jack. "About the Beat Generation", (1957), published as "Aftermath: The Philosophy of the Beat Generation" in Esquire, March 1958
- "Brooklyn Nights Turn Brighter" by Ann Powers. New York Times February 11, 2000. 
- "The Bedford Files". Time Out New York, February 3–10, 2000 pg 17
- Robert Lanham, The Hipster Handbook (2003) p. 1.
- Mark Greif (2010-10-24). "What Was the Hipster?". New York Mag. Retrieved 2011-12-03.
- Brandon Stosuy (2005-08-19). "Heavy Metal: It's alive and flourishing.". Slate. Retrieved 2008-09-08.
- Jake Mohan (2008-06-13). "Hipster Rap: The Latest Hater Battleground". Utne Reader. Retrieved 2008-09-08.
- Ethan Stanislawski (2008-06-20). "The Chicago Reader has hip-hop hipster backlash against hip-hop hipster backlash". Prefix Mag. Retrieved 2008-09-08.
- Granfield, Matt (2011). HipsterMattic. Allen & Unwin. ISBN 978-1-74237-785-8.
- Alex Williams (February 15, 2013). "Creating Hipsturbia". The New York Times. Retrieved February 18, 2013. "The creative class is trying to replicate urban life in the suburbs"
- Julia Plevin. "Who's a Hipster?" Huffington Post. August 8, 2008
- Rob Horning (2009-04-13). "The Death of the Hipster". Pop Matters. popmatters.com. Retrieved 2010-01-22.
- Thompson, Elise. "Why Does Everyone Hate Hipster Assholes?" February 20, 2008 .
- Arsel, Zeynep and Craig J. Thompson. "Demythologizing Consumption Practices: How Consumers Protect their Field-Dependent Identity Investments From Devaluing Marketplace Myths". Journal of Consumer Research, August 26, 2010, doi:10.1086/656389
- Mark Greif (2010-10-15). "The Sociology of the Hipster". The New York Times (http://www.nytimes.com/). Retrieved 2010-10-15.
- 'Real Hipsters Of Vancouver' Holds Auditions The Huffington Post B.C. | By Jesse Ferreras Posted: 03/08/2013
|Wikimedia Commons has media related to: Hipsters|
- Robert Lanham deconstructs hipsters in The Morning News
- "The Sad Science of Hipsterism: The Psychology of Indie Bands, PBR and Weird Facial Hair" in Psychology Today
- "What Was the Hipster?" Mark Greif, New York, October 24, 2010
- "Will The Last Hipster Please Turn Out The Lights? New York cool dies its thousandth death. A satire." Zev Borow, New York, May 21, 2005
- "Selling Out" David McRaney "You Are Not So Smart" April 12, 2010