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Saturday 28 March 2015

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How To Dress Hipster Biography

Source:- Google.com.pk

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".

The hipster world that Kerouac and Ginsberg drifted in and out of from the mid-1940s to the early-1950s was an amorphous movement without ideology, more a pose than an attitude; a way of "being" without attempting to explain why. Hipsters themselves were not about to supply explanations. Their language, limited as it was, was sufficiently obscure to defy translation into everyday speech. Their rejection of the commonplace was so complete that they could barely acknowledge reality. The measure of their withdrawal was their distrust of language. A word like cool could mean any of a number of contradictory things its definition came not from the meaning of the word but from the emotion behind it and the accompanying non-verbal facial or body expressions. When hipsters did put together a coherent sentence, it was always prefaced with the word like as if to state at the onset that what would follow was probably an illusion. There was neither a future nor a past, only a present that existed on the existential wings of sound. A Charlie Parker bebop solo that was the truth.

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