|
"It sounds SO much better on vinyl" 
|
#
?
Mar 21, 2015 23:13
|
|
|
|
| # ? Apr 18, 2024 17:57 |
|
|
 before it was cool
|
|
#
?
Mar 21, 2015 23:14
|
|
|
I live in east Austin and am white
|
|
#
?
Mar 21, 2015 23:15
|
|
|
Are my jeans tight enough?
|
|
#
?
Mar 21, 2015 23:15
|
|
|
I created this thread so long ago while listening to a band you've never heard of. Excuse me while I drink my single-sourced mocha and eat my food truck torta that cost me $23.
|
|
#
?
Mar 21, 2015 23:16
|
|
|
Me, listening to 4 Non Blondes: Hey, what's going on in this thread?
|
|
#
?
Mar 21, 2015 23:17
|
|
|
GBS is all hipsters already OP
|
|
#
?
Mar 21, 2015 23:17
|
|
|
saturday nights i like to smoke tea with the negroes at this quaint jazz club in harlem, then i'll usually pop some benzedrine and spend the rest of the night writing convoluted poetry while only taking breaks to have homosexual relations with every man in my building
|
|
#
?
Mar 21, 2015 23:20
|
|
|
Hipsters are a myth put forward by the music industry to discredit and shame counterculture scenes. They don't actually exist.
|
|
#
?
Mar 21, 2015 23:40
|
|
|
gets laid regularly
|
|
|
#
?
Mar 21, 2015 23:41
|
|
|
I'm all about that 80's cartoon show. (Was born in the late 90's.)
|
|
#
?
Mar 21, 2015 23:51
|
|
|
haha look at me im enjoying a thing im such a hipster
|
|
#
?
Mar 22, 2015 00:00
|
|
|
im such a hipster, i wear clothes that arent repurposed tents and looney tunes t-shirts
|
|
#
?
Mar 22, 2015 00:01
|
|
|
i have good taste in music, ride a fixed gear and love cocaine
|
|
#
?
Mar 22, 2015 00:07
|
|
|
I liked this thread before it was cool
|
|
#
?
Mar 22, 2015 00:08
|
|
|
Wears a sweater in 90 degree heat.
|
|
#
?
Mar 22, 2015 00:09
|
|
|
a hole-y ghost posted:GBS is all hipsters already OP nah, goons are hipsters that don't get laid and are fat-fat, whereas hipsters are goons who get laid and skinnyfat other than that, theres not much difference
|
|
#
?
Mar 22, 2015 00:09
|
|
|
flat white please
|
|
#
?
Mar 22, 2015 00:10
|
|
|
i have a beard but i take the time to trim it?
|
|
#
?
Mar 22, 2015 00:11
|
|
|
Look at me I wear fashionable, if a bit garish, clothes that fit instead of dressing like a 1994 grandma from Ohio. Normcore edit: Fashionable clothes are too mainstream, time to dress like a 1994 grandma from Ohio FreudianSlippers fucked around with this message at 00:16 on Mar 22, 2015 |
|
#
?
Mar 22, 2015 00:14
|
|
|
FreudianSlippers posted:Look at me I wear fashionable, if a bit garish, clothes that fit when I'm not dressing like a grandma from Ohio in in 1994. more accurate honestly
|
|
#
?
Mar 22, 2015 00:16
|
|
|
Horrendous acne scars.
|
|
#
?
Mar 22, 2015 00:18
|
|
|
sadly if you're not at least a little hipster you end up being the guy version of a basic bitch
|
|
#
?
Mar 22, 2015 00:18
|
|
|
i think the goon definition of "hipster" is any white person in their 20s who wasn't a STEM major. it's quite broad and imprecise.
|
|
#
?
Mar 22, 2015 00:18
|
|
|
you either die a nerd or you live long enough to see yourself become a hipster
|
|
#
?
Mar 22, 2015 00:21
|
|
|
*breaks into lengthy dissertation on the state of biking on america's roads*
|
|
#
?
Mar 22, 2015 00:23
|
|
|
"nah, that's too mainstream" *unironically loves Kanye*
|
|
#
?
Mar 22, 2015 00:31
|
|
|
My favorite band is Three Dog Night. *plays nothing but Three Dog Night, pissing off everyone in earshot* You just don't get it.
|
|
#
?
Mar 22, 2015 00:38
|
|
|
Hipster Becomes a Cultural Brand for Indie Independent modes of music production and distribution can be traced back to early blues and jazz labels, which built their business by catering to avant-garde tastes and tapping into the creative talent pool of African American culture. During the 1950s and 1960s, independent music labels harmoniously coexisted with those that were owned by larger corporations; they accounted for roughly half of overall national album sales and maintained a relatively high degree of autonomy while still receiving financial assistance from the major labels (Reynolds 2005). During the 1970s, this symbiotic arrangement began to break down as indie label stakeholders complained about the loss of artistic freedom and pressures for commercial accessibility emanating from the influence of the larger corporate labels. In response, indie labels linked to the insurgent punk rock movement made a strategic decision to operate outside of this corporate subsidy system. After the demise of punk, this network of independent labels remained and continued to promote forms of music that diverged, often aggressively so, from the mainstream (Top 40) genres distributed by major corporate labels. Nonetheless, indie distributors still functioned as a de facto “farm system for majors” (Reynolds 2005, 391) by discovering and cultivating new talent whose innovative sounds would prove to have broader commercial appeal. By the mid-1990s, the independent music scenes in North America and Europe were thriving and cycling through microgenres, such as shoegaze, slowcore, and psychobilly, at an exceedingly rapid rate. Around this time, music critics began to associate the aficionados of indie music with the hipster icon, primarily in reference to their distaste for mainstream middlebrow commercial culture (Christgau 1996). This connection between the hipster myth and the indie field of consumption became more codified and culturally established as the indie marketplace itself matured. Pitchfork Media, an important arbiter of indie taste (Freedom du Lac 2006), was established in 1996 as a webzine aiming to redress the paucity of indie coverage by the mainstream music media (Itzkoff 2006). By 2003, it reached a sufficient critical mass to warrant a major story in Newsweek (Begun 2003). At the same time, niche lifestyle media like Arthur, Vice, Spin, and Bust, which already prominently featured indie cultural products, began attracting advertisements from small brands and DIY collectives. American Apparel, founded in 1997, established exclusive contracts with record labels like Barsuk, Merge, and Sub Pop for merchandising. Urban Outfitters partnered with Insound, the indie music retailer, to craft a monthly best-of mix record to be sold at Urban Outfitters. These structural linkages between various indie brands and consumption domains were further underscored by the labeling of the corresponding lifestyle practices as “hipster” by cultural producers and pop culture critics (Reynolds 2007). From Cultural Icon to Cultural Caricature As the hipster became more visible in the American public sphere, parodies and critiques of the hipster icon emerged as a result of reflexive public engagement with the narrative. In 2003, two books mocking the hipster culture were published. Aiello's (2003) Field Guide to the Urban Hipster provided a tongue-in-cheek taxonomy of hipsters' quintessential cultural outlooks, interpersonal demeanor, tastes, and fashion sensibilities. An even more popular satire, The Hipster Handbook (Lanham, Nicely, and Bechtel 2003), lampooned hipsters while ostensibly teaching its readers the cultural and aesthetic rules for performing this cultural identity. The popularity of these two books ignited an intense cultural debate on the topic, which manifested itself in Web sites dedicated to the phenomenon (e.g., http://www.hipstersareannoying.com http://www.diehipster.com http://www.latfh.com); a vast number of blog entries, cartoons, and bulletin board discussions; and a satirical “Hipster Bingo” (http://www.catbirdseat.org/catbirdseat/bingo.html) game that become a viral sensation, earning recognition in USA Today’s “Hot Sites.” In a high-profile cover story, Adbusters upped the critical ante by declaring hipsters to be “the end of Western civilization—a culture so detached and disconnected that it has stopped giving birth to anything new” (Haddow 2008). This derisive trend gained further momentum through a gamut of poison-pen op-eds by arts and fashion critics who condemned hipsters as a bourgeois affectation that, among other presumed inequities, “fetishizes the authentic and regurgitates it with a winking inauthenticity” (Lorentzen 2007). While the 1950s hipster had been represented as a countercultural iconoclast who defied the consumerist norms of middle-class culture, the millennial hipster increasingly came to be represented as an überconsumer of trends and as a new, and rather gullible, target market (Baar 2003; Binkley 2005; Hempel 2006; Jeffers 2003; McLaughlin 2003; Welsh 2001) that consumes cool rather than creating it (Haddow 2008). The Hipster Handbook is, in fact, a 169-page catalog of possessions, styles, and tastes that schematizes this consumption. Hipster Bingo lists Pabst Blue Ribbon, Puma, Miller High Life, and the trucker hat as some of the signs by which to identify hipsters. Last but not least, The Last of the Hipsters—a viral video that has received more than a million hits on YouTube—portrays three hipsters who are survivors of a nuclear holocaust but who remain obsessed with arcane pop-culture trivia, ironic self-presentation, and the status value of having the latest-generation iPod. As these satirical and critical depictions reached a cultural tipping point, their negative connotations also filtered into branding and advertising strategies that drew from the hipster myth. For example, Apple's high-profile “I'm a Mac and I'm a PC” advertisements were quickly and widely read as a competitive repartee between the uncool businessman nerd and a prototypical culture-savvy hipster (Stevenson 2006). Soon, consumer-generated send-ups of this campaign were being posted on YouTube and other social media sites, generating considerable traffic. In these ad parodies, the Apple hipster was portrayed as superficial, narcissistic, pretentious, and indolent, whereas the PC nerd represented a paragon of commonsense virtue, maturity, industriousness, and imperviousness to faddishness. This mythological branding of the indie consumption field provides the contextual backdrop for our analysis of consumers who experience this marketplace myth as a contestable and undesired imposition on their indie-oriented interests, activities, identities, and attained status positions in the field. In the following sections, we first discuss the different social paths that led consumers to make investments in the indie field of consumption. These paths of entry and investment are notable because they are largely devoid of mythic/therapeutic motivations that are assumed by the existing identity-myth literature. Next, we explicate the subsequent demythologizing practices that indie consumers use to protect the identity value of their field-dependent cultural and social capital from what they deem to be a devaluing marketplace myth.
|
|
#
?
Mar 22, 2015 00:41
|
|
|
|
|
#
?
Mar 22, 2015 00:58
|
|
|
the past sucked as much as the present, good point
|
|
#
?
Mar 22, 2015 00:59
|
|
|
I too long for the days of wearing three layers of wool clothing 365 days a year
|
|
#
?
Mar 22, 2015 01:34
|
|
|
The Tao Jones posted:I too long for the days of wearing three layers of wool clothing 365 days a year honestly i've been watching this television program called 'justified' and there's a character who wears cool jackets and vests and pocketwatches and always buttons his shirt up to the top button but doesn't wear a tie and i totally wish i could rock that look but i'm not a loving fictional character on the FX so i wear normal clothes and cry inside
|
|
#
?
Mar 22, 2015 02:23
|
|
|
i like a lot of music you don't know about, and also have strong, irritating opinions about coffee and beer.
|
|
#
?
Mar 22, 2015 02:27
|
|
|
i have three part-time jobs it's great!!
|
|
#
?
Mar 22, 2015 02:30
|
|
|
Hi I have girly-looking tattoos and also some kind of rear end in a top hat pet such as a cat or a ferret
|
|
#
?
Mar 22, 2015 02:38
|
|
|
Once this thread reaches two pages it will be too mainstream for me.
|
|
#
?
Mar 22, 2015 02:40
|
|
|
*cums on my own chest*
|
|
#
?
Mar 22, 2015 02:42
|
|
|
The 1800's were pretty homoerotic        
|
|
#
?
Mar 22, 2015 02:44
|
|
|
|
| # ? Apr 18, 2024 17:57 |
|
|
what's the difference?
|
|
#
?
Mar 22, 2015 02:48
|
|
