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Hipsters Biography

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The hipster subculture typically consists of white millennials living in urban areas. The subculture has been described as a "mutating, trans-Atlantic melting pot of styles, tastes and behavior and is broadly associated with indie and alternative music, a varied non-mainstream fashion sensibility, generally progressive political views, organic and artisanal foods, and alternative lifestyles. Hipsters are typically described as affluent or middle class young Bohemians who reside in gentrifying neighborhoods.

The term in its current usage first appeared in the 1990s and became particularly prominent in the 2010s being derived from the term used to describe earlier movements in the 1940s Members of the subculture typically do not self-identify as hipsters, and the word hipster is often used as a pejorative to describe someone who is pretentious, overly trendy or effete. Some analysts contend that the notion of the contemporary hipster is actually a myth created by marketing Zoot-suited hipsters in the 1940s. Nevertheless, "hip" eventually acquired the common English suffix -ster 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. 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 1939 edition of Calloway's Hepster's (an obvious play on "Webster's") Dictionary, it appears that "hepster" pre-dates "hipster". Initially, hipsters were usually middle-class white youths seeking to emulate the lifestyle of the largely black jazz musicians they followed

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 characters of a special spirituality". Toward the beginning of his poem Howl, Allen Ginsberg mentioned "angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night". In his essay "The White Negro", Norman Mailer characterized hipsters as American existentialists, living a life surrounded by deat annihilated by atomic war or strangled by social conformity and electing instead to "divorce from society, to exist without roots, to set out on that uncharted journey into the rebellious imperatives of the self"As hipsters, "young creatives", priced out of Bohemian urban neighborhoods in Brooklyn such as Williamsburg, Park Slope, and Greenpoint 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.

A minor trend of cross acculturation of Chabad Hasidism and Hipster subculture appeared within the New York Jewish community, beginning in the late 2000s. A significant number of members of the Chabad Hasidic community, mostly residing Crown Heights, Brooklyn, appear to now have adopted various cultural affinities as the local hipster subculture. These cross-acculturated Hasidim have been dubbed "Chabad hipsters" or "Hasidic hipsters."The Soho Synagogue, established by Chabad emissaries in SoHo, Manhattan, have branded themselves as a "hipster synagogue." The trend of Chabad Hasidic hipsters stands in contrast to the tensions experienced between the Satmar Hasidic community in Williamsburg, Brooklyn, and the local hipster population.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 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".

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