guerrilla semiotics

“…as time marches forward, hipsters seem to be quite adaptable. When they were first identified as a demographic, circa 1998, the two most dominant hipster aesthetics were twee—think Belle and Sebastian, sweater vests, and Ira Glass—and a white trash-chic epitomized by the tattoos and wifebeaters found in Vice magazine. (Greif referred to these two types as “non-aggressives” and “aggressives,” respectively.) Jump forward 10 years, and the latest wave of hipsters have their own trends—beards, “freak folk,” Depression-era chic—all of which communicate: “I take careful care to cultivate an aesthetic, by which I hope you’ll judge me.” The styles have changed, but the overall sensibility of the hipster remains intact.”

“First and foremost, hipsterism is about stuff. It’s the natural byproduct of a consumption-obsessed culture with a thriving middle class. The complete works of Johnny Cash on vinyl. An iPhone packed with apps. Thick-framed glasses without the lenses. Throw in an unwavering certainty that your tastes are superior to everyone else’s, and you’re on your way to establishing a hipster aesthetic.”

“The second element is pastiche, the hodgepodge blending of elements from pop culture to create a sensibility. Whether it be the goofy “post-punk-electro-blog-house” labels associated with hipster music, or the entire film career of Wes Anderson, pastiche is essential to hipsterdom.”

“Finally there’s irony, a knee-jerk way for hipsters to emotionally distance themselves from sincerely appreciating things. While the hipster’s ironic sensibility has always been the subject of ire, pretending to be disaffected isn’t exactly a novel concept among people who are “cool.” ”

—thank you, thank you, thank you Robert Lanham

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“the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved… the ones who never yawn or say a commonplace thing.” – Jack Kerouac, On the Road

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