It is Okay to be a Hipster
Youalmost always know hipsters when you see them. The recognition is instant. Yetof all the American sub-cultural youth movements that have originated in thetwentieth century, whether it were the hippies, the beatniks or the punks, thehipster scene is the most differentiated, if not elusive of all.
Assuch, coming up with a uniform, encompassing characterization of “the hipster”is quite the challenge and will very likely not suffice. Ultimately, whatdefines the hipster? And more so, why has the hipster become the subject of somuch mockery, if not sheer vilification?
Originallythe term “hipster” was first coined in the 1940s, when the word “hip” came intoview as a qualifier to describe aficionados of the growing jazz and bluesscene. Hipsters then, usually white middle class youngsters, began to adopt thelifestyle of the largely blackamoor musicians they admired. After thissub-cultural scene slowly subdued just a decade later, it quaintly took quitesome years for the American hipster to come back into colloquial vernacularuse.
Whilefraught with historical meaning, it was by the end of the twentieth centurythat the hipster would return to the limelight. As such, the first flurry of“modern hipsterism” rose up as a quirky avant-garde trend, referring to youngbohemian artists, most of who were living in the Brooklyn neighbourhood ofWilliamsburg, New York. What all the more united these artsy denizens was theirappreciation for offbeat, non- mainstream fashion and culture. In view of this,the redefined hipster culture began to signify a miscellaneous group of youngcity-dwellers, highly ‘in the know of’ the more obscure alternative musicstyles like indie rock and unconventional, independent cult films andmagazines.
Throughthe rise of online photo blogs and social networking sites, insights into there-born hipster scene started to reach the more sheltered suburban audiences atan exponential rate. These once intricate levels of ‘connoisseurship’ of aniche culture were becoming increasingly snapped up, if not shamelessly copiedby the larger crowd. In a matter of a few years, hipster tribes (or what itappeared to be) had begun to spread like zombies.
Hence,from Seattle to Philadelphia, New Orleans and San Francisco, the former fringeculture had become omnipresent in virtually every cornerstone of urban America.By consequenceYoualmost always know hipsters when you see them. The recognition is instant. Yetof all the American sub-cultural youth movements that have originated in thetwentieth century, whether it were the hippies, the beatniks or the punks, thehipster scene is the most differentiated, if not elusive of all.
Assuch, coming up with a uniform, encompassing characterization of “the hipster”is quite the challenge and will very likely not suffice. Ultimately, whatdefines the hipster? And more so, why has the hipster become the subject of somuch mockery, if not sheer vilification?
Originallythe term “hipster” was first coined in the 1940s, when the word “hip” came intoview as a qualifier to describe aficionados of the growing jazz and bluesscene. Hipsters then, usually white middle class youngsters, began to adopt thelifestyle of the largely blackamoor musicians they admired. After thissub-cultural scene slowly subdued just a decade later, it quaintly took quitesome years for the American hipster to come back into colloquial vernacularuse.
Whilefraught with historical meaning, it was by the end of the twentieth centurythat the hipster would return to the limelight. As such, the first flurry of“modern hipsterism” rose up as a quirky avant-garde trend, referring to youngbohemian artists, most of who were living in the Brooklyn neighbourhood ofWilliamsburg, New York. What all the more united these artsy denizens was theirappreciation for offbeat, non- mainstream fashion and culture. In view of this,the redefined hipster culture began to signify a miscellaneous group of youngcity-dwellers, highly ‘in the know of’ the more obscure alternative musicstyles like indie rock and unconventional, independent cult films andmagazines.
Throughthe rise of online photo blogs and social networking sites, insights into there-born hipster scene started to reach the more sheltered suburban audiences atan exponential rate. These once intricate levels of ‘connoisseurship’ of aniche culture were becoming increasingly snapped up, if not shamelessly copiedby the larger crowd. In a matter of a few years, hipster tribes (or what itappeared to be) had begun to spread like zombies.
Hence,from Seattle to Philadelphia, New Orleans and San Francisco, the former fringeculture had become omnipresent in virtually every cornerstone of urban America.By consequence then, the modern hipster has demoted in lingo to resort to asomewhat ill defined and pervasive general taste culture. Hence, thecontemporary hipster has come to embody a highly diffused group of young, moreor less hip people. Furthermore, in one decade the hipster has incarnated frombeing an exclusive marker of ‘underground’ cultural marginalism, to asubculture that has diversified and matured to move beyond these stern borders.
Ineffect then, the hipster has gained many faces. In spite of what ispersistently stated by its adversaries, there is no such thing as a unified“hipster look” or a prototypical hipster. The stylistic variations inincarnation are plenty. That said, there certainly are several commonalities tobe drawn in terms of appearance.
Forone, hipster aesthetic commonly tends to approximate a thrift store inspired,low-key, ironic and increasingly eco-friendly style. Accordingly, all thingsremotely odd, ‘boho’ or vintage are easily linked up with hipster style. Ifanything then, it can be concluded that hipsters are inclined to have absolutesuperb fashion sensibilities.
Evenmore so, the hipster is generally courted to be creative, well educated,(part-time) vegetarian, politically progressive and in view of this, tends todiscard the culturally ignorant attitude of the mainstream consumer. Hence,first and foremost, hipster ethos is a liberal ‘state of mind’, carried throughby a composite of independent individuals, rather than just some ‘meaningless’fad or trivial image thing.
Takingall this into account, it shouldn’t have to feel like an insult to be ahipster, on the contrary. Yet, what is up then with all the disdain andderision that is unceasingly dumped on hipsters?
By result, the general debate on hipsters has become so laden, almostcaricatural with hollow stereotypes and pejorative assumptions that it is toargue on what ultimately defines a hipster.
Detractors and critics claim that the modern hipster has come torefer to an air of knowing about exclusive things before anyone else. Elitistyoungsters are said to act with a pretense of superior knowledge, as someallege, “hipper than thou.” Furthermore, it is regularly assumed that hipsterculture is devoid of substance and originality. Hipsters would merelyre-appropriate and copy-paste, but not actively contribute in creating newthings. For these reasons, many people wouldn’t mind seeing the hipster go theway of the dodo. Unjustly, the hipster word has become a derogatory phrase.
In comparison to the much larger mainstream mass,hipsters are culturally highly cultivated and as such, often pioneers andleaders of the finest cultural trends and ideals. The hipster is a savant atpicking up the tiny changes of rapidly cycling consumer distinction. And thinkof the witty banter hipsters have inspired in fashion. More so, there is ampleartwork, music and clothing being made by young urbanites. Many hipsters occupyeminent positions in the music, art, and fashion industry. If anything, it isabsolute fiction that most hipsters live off their parent’s trust funds or areunemployed yuppies and gentrifiers (which are in itself contradictions interms).
Sonext time someone qualifies you as a hipster, consider it a flattering remarkand just hang loose. Really, it is okay to be a hipster.
Youalmost always know hipsters when you see them. The recognition is instant. Yetof all the American sub-cultural youth movements that have originated in thetwentieth century, whether it were the hippies, the beatniks or the punks, thehipster scene is the most differentiated, if not elusive of all.
Assuch, coming up with a uniform, encompassing characterization of “the hipster”is quite the challenge and will very likely not suffice. Ultimately, whatdefines the hipster? And more so, why has the hipster become the subject of somuch mockery, if not sheer vilification?
Originallythe term “hipster” was first coined in the 1940s, when the word “hip” came intoview as a qualifier to describe aficionados of the growing jazz and bluesscene. Hipsters then, usually white middle class youngsters, began to adopt thelifestyle of the largely blackamoor musicians they admired. After thissub-cultural scene slowly subdued just a decade later, it quaintly took quitesome years for the American hipster to come back into colloquial vernacularuse.
Whilefraught with historical meaning, it was by the end of the twentieth centurythat the hipster would return to the limelight. As such, the first flurry of“modern hipsterism” rose up as a quirky avant-garde trend, referring to youngbohemian artists, most of who were living in the Brooklyn neighbourhood ofWilliamsburg, New York. What all the more united these artsy denizens was theirappreciation for offbeat, non- mainstream fashion and culture. In view of this,the redefined hipster culture began to signify a miscellaneous group of youngcity-dwellers, highly ‘in the know of’ the more obscure alternative musicstyles like indie rock and unconventional, independent cult films andmagazines.
Throughthe rise of online photo blogs and social networking sites, insights into there-born hipster scene started to reach the more sheltered suburban audiences atan exponential rate. These once intricate levels of ‘connoisseurship’ of aniche culture were becoming increasingly snapped up, if not shamelessly copiedby the larger crowd. In a matter of a few years, hipster tribes (or what itappeared to be) had begun to spread like zombies.
Hence,from Seattle to Philadelphia, New Orleans and San Francisco, the former fringeculture had become omnipresent in virtually every cornerstone of urban America.By consequenceYoualmost always know hipsters when you see them. The recognition is instant. Yetof all the American sub-cultural youth movements that have originated in thetwentieth century, whether it were the hippies, the beatniks or the punks, thehipster scene is the most differentiated, if not elusive of all.
Assuch, coming up with a uniform, encompassing characterization of “the hipster”is quite the challenge and will very likely not suffice. Ultimately, whatdefines the hipster? And more so, why has the hipster become the subject of somuch mockery, if not sheer vilification?
Originallythe term “hipster” was first coined in the 1940s, when the word “hip” came intoview as a qualifier to describe aficionados of the growing jazz and bluesscene. Hipsters then, usually white middle class youngsters, began to adopt thelifestyle of the largely blackamoor musicians they admired. After thissub-cultural scene slowly subdued just a decade later, it quaintly took quitesome years for the American hipster to come back into colloquial vernacularuse.
Whilefraught with historical meaning, it was by the end of the twentieth centurythat the hipster would return to the limelight. As such, the first flurry of“modern hipsterism” rose up as a quirky avant-garde trend, referring to youngbohemian artists, most of who were living in the Brooklyn neighbourhood ofWilliamsburg, New York. What all the more united these artsy denizens was theirappreciation for offbeat, non- mainstream fashion and culture. In view of this,the redefined hipster culture began to signify a miscellaneous group of youngcity-dwellers, highly ‘in the know of’ the more obscure alternative musicstyles like indie rock and unconventional, independent cult films andmagazines.
Throughthe rise of online photo blogs and social networking sites, insights into there-born hipster scene started to reach the more sheltered suburban audiences atan exponential rate. These once intricate levels of ‘connoisseurship’ of aniche culture were becoming increasingly snapped up, if not shamelessly copiedby the larger crowd. In a matter of a few years, hipster tribes (or what itappeared to be) had begun to spread like zombies.
Hence,from Seattle to Philadelphia, New Orleans and San Francisco, the former fringeculture had become omnipresent in virtually every cornerstone of urban America.By consequence then, the modern hipster has demoted in lingo to resort to asomewhat ill defined and pervasive general taste culture. Hence, thecontemporary hipster has come to embody a highly diffused group of young, moreor less hip people. Furthermore, in one decade the hipster has incarnated frombeing an exclusive marker of ‘underground’ cultural marginalism, to asubculture that has diversified and matured to move beyond these stern borders.
Ineffect then, the hipster has gained many faces. In spite of what ispersistently stated by its adversaries, there is no such thing as a unified“hipster look” or a prototypical hipster. The stylistic variations inincarnation are plenty. That said, there certainly are several commonalities tobe drawn in terms of appearance.
Forone, hipster aesthetic commonly tends to approximate a thrift store inspired,low-key, ironic and increasingly eco-friendly style. Accordingly, all thingsremotely odd, ‘boho’ or vintage are easily linked up with hipster style. Ifanything then, it can be concluded that hipsters are inclined to have absolutesuperb fashion sensibilities.
Evenmore so, the hipster is generally courted to be creative, well educated,(part-time) vegetarian, politically progressive and in view of this, tends todiscard the culturally ignorant attitude of the mainstream consumer. Hence,first and foremost, hipster ethos is a liberal ‘state of mind’, carried throughby a composite of independent individuals, rather than just some ‘meaningless’fad or trivial image thing.
Takingall this into account, it shouldn’t have to feel like an insult to be ahipster, on the contrary. Yet, what is up then with all the disdain andderision that is unceasingly dumped on hipsters?
By result, the general debate on hipsters has become so laden, almostcaricatural with hollow stereotypes and pejorative assumptions that it is toargue on what ultimately defines a hipster.
Detractors and critics claim that the modern hipster has come torefer to an air of knowing about exclusive things before anyone else. Elitistyoungsters are said to act with a pretense of superior knowledge, as someallege, “hipper than thou.” Furthermore, it is regularly assumed that hipsterculture is devoid of substance and originality. Hipsters would merelyre-appropriate and copy-paste, but not actively contribute in creating newthings. For these reasons, many people wouldn’t mind seeing the hipster go theway of the dodo. Unjustly, the hipster word has become a derogatory phrase.
In comparison to the much larger mainstream mass,hipsters are culturally highly cultivated and as such, often pioneers andleaders of the finest cultural trends and ideals. The hipster is a savant atpicking up the tiny changes of rapidly cycling consumer distinction. And thinkof the witty banter hipsters have inspired in fashion. More so, there is ampleartwork, music and clothing being made by young urbanites. Many hipsters occupyeminent positions in the music, art, and fashion industry. If anything, it isabsolute fiction that most hipsters live off their parent’s trust funds or areunemployed yuppies and gentrifiers (which are in itself contradictions interms).
Sonext time someone qualifies you as a hipster, consider it a flattering remarkand just hang loose. Really, it is okay to be a hipster.
