Hipsterism has gone too far when your coffee comes deconstructed.
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Tourism and global hipsterism have transformed the city where I once lived.
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There is a lot of crude hipsterism to wade through to understand this exhibition.
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If "I'm not on Facebook" used to be a hipsterism, it increasingly looks set to become a mainstream concern.
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Hipsterism is dead (or is it just ubiquitous?), the economy is iffy, and the cheap, disposable ethos of fast fashion has made its mark.
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Perhaps it's a backlash against all the overworked hipsterism: the gourmet pickles, charred radicchio, blackened steel and repurposed wood (thanks, Brooklyn and Silver Lake).
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Formerly known as the Tricycle, the theatre is fresh from a £5.5m ($7.15m) re-brand that ditched ramshackle homeliness in favour of slick, faintly corporate hipsterism.
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It also meant suggesting some inner sanctum of cool that, in the looping logic of hipsterism, would be degraded—uncool, by definition—if it ever became accessible to common mortals.
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Though the Shoreditch district can be fairly accused of off-the-rails hipsterism — manifested in its avocado bar and its upscale treehouse for adults — its dining scene is fast becoming one of London's best.
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To all of that you have to factor in the ineffable: that global hipsterism came to the conclusion that Amsterdam — with its orderly northern languor, its human scale, its society built around coffee and beer — was a place of relevance.
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Known in the 215s and 1980s for its squatter houses and borderland hipsterism, today it consists of a gentrified and touristy stretch along Bergmannstrasse and the grittier area clustered around the elevated U-Bahn tracks of the Kottbusser Tor — Turkish markets, cobblestone streets, excellent cafes and still-cheap rents.
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Hosting a noisy, disruptive protest—not to mention the massed ranks of press, radio, and TV—in a prime central London location, outside a closed restaurant, is pretty terrible PR, perhaps especially so for a business that trades on an aesthetic of carefully modeled ruin-porn authento-hipsterism.
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Reviews were mixed. Rick Marin, of the New York Times, gave it a favorable review, though he pointed out "much of the hipsterism he sanctions seems pretty mainstream, even if it is being 'appropriated'...Such quibbles, though, won't penetrate the protective pomo coating on Lanham's mirrored shades."The Good, the Bad and the Frado. by Rick Marin. Nytimes.com.
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Pitts was a practitioner and defender of S&M; and a participant in the gay leather community. While emphatically defending the validity of consensual S&M;, Pitts joined with other “radical gay sadists” in criticizing the “conservatism, consumerism, hipsterism, and outright sexism” he perceived in gay male leather and S&M; communities emerging visibly in the 1970s and exemplified by figures such as filmmaker Fred Halsted and author Larry Townsend.
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The music video for song "Northcote (So Hungover)" was created by director Craig Melville and produced by David Curry. The video satirises hipster culture which is currently popular in inner-city Melbourne, with humorous stereotypes and pretension thought to be present in neo-hipsterism. The Bedroom Philosopher has since recorded a version of the song composed entirely of comments made on the film clip's YouTube page. On 23 September 2010 the clip won the Australian Director Guild award in the music video category.
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Shepard and his actors were frustrated when Chicago was transferred, as many of his actors had helped to create their roles. Off-off-Broadway's tensions with Actors' Equity Association continued until the showcase code was created. This code allows union actors to perform in experimental, not-for-profit productions in exchange for being compensated for travel expenses to rehearsals. Jack Kroll said of the theatre: :Theatre Genesis is a mix of counterculture ingredients; a coolness that can explode like liquid oxygen, a dropout hipsterism, a polymorphous perversity of language and feeling, a Zap Comix mocking of straight heads.
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2014 anti-hipster sticker in Dresden, Germany. 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". He claims that this group of "18-to-34-year-olds", 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".
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The new philosophy of racial role reversal was transcribed by many popular hipster authors of the time. Norman Mailer's 1957 pamphlet, entitled "The White Negro", has become the paradigmatic example of hipster ideology. Mailer describes hipsters as individuals "with a middle-class background (who) attempt to put down their whiteness and adopt what they believe is the carefree, spontaneous, cool lifestyle of Negro hipsters: their manner of speaking and language, their use of milder narcotics, their appreciation of jazz and the blues, and their supposed concern with the good orgasm." In a nod to Mailer's discussion of hipsterism, the United States' Cold War deployments of African American culture and personalities for the purposes of public diplomacy has been discussed as "hipster diplomacy".
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Long-time Toronto, Canada, business relocates when hipsters adopt The Junction. 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[e] the new cultural capital forms, delivering them to mainstream media in a commercial form and stripping their inventors ... of the power and the glory".
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Hal Hinson of The Washington Post was unimpressed with the film, calling it Jarmusch's "least engaging, and the first in which his bohemian posturing actually becomes an irritant". Of the film's characters, critic Jonathan Rosenbaum of the Chicago Reader wrote that some were "beautifully imagined and realized, while others seem drawn from a more familiar stockpile, designed for reuse rather than discovery". David Denby, concluding a mixed review of the film for New York Magazine, mused that "one feels Jarmusch has pushed hipsterism and cool about as far as they can go, and that isn't nearly far enough." This reproach was echoed by other reviewers who found that the film's style did not stray far from that of the director's earlier work – a critical backlash that would be amplified two years later following the release of Night On Earth (1991).
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