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Hipster Stores Biography

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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, going to the "latest, coolest, hippest bar. to the latest, coolest, hippest band". Thompson argues that hipsters "don't seem to subscribe to any particular philosophy . 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 claim 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 cultur 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 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.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.

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 "gay style," and then "regurgitates it with a winking inauthenticity." 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 argues 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 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".

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