no*dice
shit sucks!
Der Typ fasst gut in Worte was ich nicht so ausdrücken kann wenn ich diese Spezies sehe. Er führt den verlinkten Blog.
Tangiert ja auch die Stahlecke und ich häts heit auch gern so gechrieben.
"Increasingly, people either like to say that the word "hipster" is no longer relevant, or that it's petty to make the distinction. However, I think it's foolish to ignore a pop cultural phenomenon that's so readily apparent, and that for better or worse will define this time period in the same way hippies defined the 1960s or yuppies defined the 1980s. Moreover, I'd argue that most people have a visceral reaction when they enter a neighborhood like Williamsburg and see, say, a recent Bard graduate loitering in front of a high-end coffee shop with a $4,000 track racing bicycle and a set of brass knuckles tattooed on his arm. It's hard not to be amazed at the irony.
However, for me at least, the idea that these people are simply "generating an atmosphere" somehow makes my own reaction less visceral. Previously when I saw someone like that, I thought they were appropriating a lifestyle with which they had no experience in order to fool people into thinking they were "authentic," and I found this simultaneously humorous and infuriating. Now, though, I realize they're providing "atmosphere," and that they're kind of like real-life movie extras whose purpose is to foster prosperity by visually enhancing a neighborhood so that it attracts "more obviously productive types."
Sure, this notion may be depressing, but at least it makes sense. These people aren't cultural con artists. Rather, they're unwitting dupes who serve as attractive ground cover and eventually become the cultural mulch that fertilizes neighborhoods for the wealthier people who will inevitably supplant them.
They're certainly doing their job well, too. The person with the expensive bike and the expensive brass knuckle tattoo is ideal fauna for the streets of Williamsburg, and he looks just as at home in front of an old building covered in "street art" as he does in the lobby of a building full of overpriced "luxury lofts." His "ink" is the sort of stylized criminal imagery that denizens of such neighborhoods feel comfortable referencing since they enjoy the aesthetics yet are confident that they'll never actually have to encounter it. He's exactly the sort of bandit a wealthy urbanite wants to encounter: he looks like a hoodlum, but the most subversive act of which he's capable is making them a sub-par latte."
via: http://bikesnobnyc.blogspot.com/2011/06/creative-class-selflessness-of.html
Tangiert ja auch die Stahlecke und ich häts heit auch gern so gechrieben.
"Increasingly, people either like to say that the word "hipster" is no longer relevant, or that it's petty to make the distinction. However, I think it's foolish to ignore a pop cultural phenomenon that's so readily apparent, and that for better or worse will define this time period in the same way hippies defined the 1960s or yuppies defined the 1980s. Moreover, I'd argue that most people have a visceral reaction when they enter a neighborhood like Williamsburg and see, say, a recent Bard graduate loitering in front of a high-end coffee shop with a $4,000 track racing bicycle and a set of brass knuckles tattooed on his arm. It's hard not to be amazed at the irony.
However, for me at least, the idea that these people are simply "generating an atmosphere" somehow makes my own reaction less visceral. Previously when I saw someone like that, I thought they were appropriating a lifestyle with which they had no experience in order to fool people into thinking they were "authentic," and I found this simultaneously humorous and infuriating. Now, though, I realize they're providing "atmosphere," and that they're kind of like real-life movie extras whose purpose is to foster prosperity by visually enhancing a neighborhood so that it attracts "more obviously productive types."
Sure, this notion may be depressing, but at least it makes sense. These people aren't cultural con artists. Rather, they're unwitting dupes who serve as attractive ground cover and eventually become the cultural mulch that fertilizes neighborhoods for the wealthier people who will inevitably supplant them.
They're certainly doing their job well, too. The person with the expensive bike and the expensive brass knuckle tattoo is ideal fauna for the streets of Williamsburg, and he looks just as at home in front of an old building covered in "street art" as he does in the lobby of a building full of overpriced "luxury lofts." His "ink" is the sort of stylized criminal imagery that denizens of such neighborhoods feel comfortable referencing since they enjoy the aesthetics yet are confident that they'll never actually have to encounter it. He's exactly the sort of bandit a wealthy urbanite wants to encounter: he looks like a hoodlum, but the most subversive act of which he's capable is making them a sub-par latte."
via: http://bikesnobnyc.blogspot.com/2011/06/creative-class-selflessness-of.html
). 
