Repost-Neither Commerce Nor Contemplation, Exactly?

Perhaps aestheticizing a city isn’t necessarily good for long-term prospects, at least not at the cost of actual jobs. Maybe it’s at best a second- or third- order priority.

Perhaps aestheticization can bring good to a city if there are already enough people providing goods in the city. Curating and criticizing art can be valuable, of course, but both seem second- or third-order priorities to actually making art (citizens, be wary of leaving arts in the hands of many enbalment-oriented Arts Councils, public radio and college professors, docents, Mayor’s Offices…they [often] have other interests and incentives aside from the art).

There are some things (bullshittery) which don’t sit right with me about the below video, this packaging of chocolate with high middle-brow tastes and vague Self-oriented hipster collectivism.

It strikes me as the kind of thing people from smaller towns and suburbs might imagine an ideal city to be on a visit, which is to say, potentially imbued with a lot of high middle-brow tastes these days (creative, urban, vibrant etc).

Such is my read, anyways, which probably says quite a bit about me.

The Mast Brothers invite customers into their process. They’re giving you bits of their individual Selves to mix with your individual Self as you band together towards the future that awaits. Come to the glittering Brooklyn upon the horizon.

Few chocolate-makers take pains to mention Mark Twain & Ralph Waldo Emerson in their promo videos:

From The American Conversative: ‘The Gentrification Trade-Off In Buffalo:’

‘Hidden away in the far western corner of New York State and straddling the Canadian border, Buffalo sometimes feels like the city that time forgot. Many of its storefronts, bars, and bowling alleys look like they haven’t been updated since the 1970s.’

Vincent Gallo has Italian roots and comes from an industrial, hard-working city full of Catholic immigrants and is also interested in the Arts. He was a visual artist who went to NYC, then L.A., and turned to film as a means to self-expression and potential financial success. Did he want Celebrity? Money? Fame?

This, apparently, is one aspect of ‘culture’ that’s been created:  The pursuit Self through celebrity, money and fame, as a thing that many, many people all share as an artifact of ‘culture.’

Probably all of the above in addition to self-expression and the pursuit of beauty and saying true things by creating images.

I can say it’s rare to find a tradition-defending aesthete and iconoclastic supporter of the Republican party. Maybe it’s the Buffalo roots.

It makes for great T.V. taking on the critics in a USA track-suit while defending the vision behind ‘Buffalo 66‘, even though he seems like, potentially, quite an asshole:

American cities relying on industries such as textiles, furniture, various light and heavy manufacturing, railroads, steel, coal, oil, automobiles etc. have seen good times come and go.

Sometimes the good times came and went one generation ago, sometimes three. Buffalo is certainly among those cities.

Will the good times come again?

It’s certainly making for ‘interesting’ politics.

The arts can be one lens with which to look at these problems and places…

Repost-Ah, Look At All The Lonely People-‘Jeff Koons Is Back’ Via Vanity Fair

-Banksy’s website here. Newsweek’s piece: ‘See You Banksy, Hello Invader.

I’d argue that it’s possible, especially with the constant cries of modernism to ‘make it new,‘ I think this is one way we’ve arrived at pop art, and the desire to blend conceptual art and popular music together. This is in evidence from The Talking Heads to Lady Gaga to Jay Z promoting his new album alongside Marina Abramovic at MOMA.

Another lens to understand the world as a citizen is the social sciences, and this blog favors the contrarians amongst what is increasingly monolithic and received opinion:

Here’s a fine example of how to exchange ideas. Two people gather in a forum to present and dispute the data used, the methodologies applied, the empirical evidence offered, and the conclusions and conjectures both might draw from their own thinking. There’s some light moderation and Q & A from the audience:

Maybe vocation, purpose and meaning have A LOT to do with our current issues. How to live and what to do?

Repost-The Cresting Of A Hipster Wave?-From The New York Observer: ‘Brooklyn Is Now Officially Over: The Ascendance of Brooklyn, the Lifestyle, Above All Else’

Full piece here.

First the Beats, then the Hippies, now the Hipsters?

For many years now, Brooklyn seems to have become a beacon for people involved in a restless search for culture and authenticity, group-membership and belonging, identity and some sense of purpose. This seems to be in addition to all the other job/career/immigration/mating reasons people have typically moved there.

It was a place where working-class people could afford a house.

Mind you, no one ever put-up a neon-sign over Brooklyn, flashing away into the night and visible from the suburbs (unless it was probably done ironically, mocking the ‘crass commercialism’ of a ‘bygone’ and fetishized era), but there have been some interesting demographic shifts going on. The words ‘community’ and ‘craft,’ ‘artisanal’ and ‘fair trade’ get thrown around a lot.

Have hipsters become part of the fabric of the city?

Here’s an interesting piece from Christy Wampole At The Ny Times ‘How To Live Without Irony:’

‘The hipster haunts every city street and university town. Manifesting a nostalgia for times he never lived himself, this contemporary urban harlequin appropriates outmoded fashions (the mustache, the tiny shorts), mechanisms (fixed-gear bicycles, portable record players) and hobbies (home brewing, playing trombone). He harvests awkwardness and self-consciousness. Before he makes any choice, he has proceeded through several stages of self-scrutiny. The hipster is a scholar of social forms, a student of cool.’

Christian Lorenzten has a less flattering take, in order to get at a more pure definition of ‘cool’:

Under the guise of “irony,” hipsterism fetishizes the authentic and regurgitates it with a winking inauthenticity. Those 18-to-34-year-olds called hipsters have defanged, skinned and consumed the fringe movements of the postwar era—Beat, hippie, punk, even grunge. Hungry for more, and sick with the anxiety of influence, they feed as well from the trough of the uncool, turning white trash chic, and gouging the husks of long-expired subcultures—vaudeville, burlesque, cowboys and pirates.

Of course, hipsterism being originally, and still mostly, the province of whites (the pastiest of whites), its acolytes raid the cultural stores of every unmelted ethnicity in the pot.

(Addition: Of course his version of ‘authentic’ seems to be that hipsters haven’t thankfully gone full Lefty).

Below are the Mast brothers, taking that hipster ethos into the business and branding of themselves as chocolate-makers, along with an entirely ‘old-timey’ aesthetic. Few chocolate-makers take pains to mention Mark Twain & Ralph Waldo Emerson:

——————–

It seems the tide may already have receded a bit.

From the Observer:

‘Economic bifurcation has increasingly divided a borough known for its vibrant blend of cultures, classes and races into two different worlds, each with its own set of schools, stores restaurants and bars, with those at the bottom receding from the larger consciousness of Brooklyn identity to the degree that The Wall Street Journal recently labeled Bed-Stuy’s “underserved” those who could not, until now, find a craft beer for under $7. ‘

Has the hipster been good for Brooklyn?

That’s debatable, and it depends on just who we’re talking about. I’m guessing the local anti-hipster perspective found at DieHipster.com represents genuine sentiment and grievance: Their Brooklyn has become a playground for extended childhood. Rents get raised. Locals are pushed-out and overrun. The area gentrifies and can actually become more divided. For all the talk of ‘community’ and ‘authenticity,’ there’s a surprising (or unsurprising, really) naive idealism and post-Boomer narcissism, self-regard, and self-interest amongst the hipster crowd.

All politics is local, and it’s playing out in Brooklyn.

Is the hipster good for free markets?

Theses are some pretty vague terms I’m throwing around. Obviously, some folks are, and Whole Foods is a good example, but I wonder about the creep of collectivism and communalism into the culture more generally.

Here’s a quote I put up before.

The late Jacques Barzun at The American Scholar-’The Cradle Of Modernism‘:

‘For yet another cause of unhappiness was the encroachment of machine industry and its attendant uglification of town and country. The Romanticists had sung in an agrarian civilization; towns were for handiwork and commerce. Industry brought in not factories only, and railroads, but also the city — slums, crowds, a new type of filth, and shoddy goods, commonly known as “cheap and nasty.” And when free public schools were forced on the nation by the needs of industry, a further curse was added: the daily paper, also cheap.’

*I’m aware that this type of cultural criticism and/or ‘sociological analysis’ is often done by those typically invested in abstract categories of ‘culture’ about which I remain skeptical.

**No, I’m not from Brooklyn, and can make no particularly persuasive claims upon it.

Related On This Site: Some Links On 5Pointz, Graffiti, & The Arts–Property Rights & The Rule-Of-Law

Well, art doesn’t need to be in service of a socialist vision, but it can: Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’

Hipster Romanticism?-From The Atlantic Photo: ‘Adventures Of A Serial Trespasser’

Cities should be magnets for creativity and culture? –From The Atlantic: Richard Florida On The Decline Of The Blue-Collar ManFrom Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’… some people don’t want you to have the economic freedom to live in the suburbs: From Foreign Policy: ‘Urban Legends, Why Suburbs, Not Cities, Are The Answer’

Hipster hope, artists, collectivists and small business types can’t save it either: A Short Culture Wars Essay-Two Links On Detroit & ‘Ruin Porn’

Repost-A Quotation From Emerson-Some Thoughts On Hipsterdom & ‘The Culture’

“I pack my trunk, embrace my friends, embark on the sea, and at last wake up in Naples, and there beside me is the Stern Fact, the Sad Self, unrelenting, identical, that I fled from.

Ralph Waldo Emerson.

Apologies for dragging Emerson into this, but have you ever wondered what the often lonely and philosophical search for truth, Self, and meaning have to do particularly with business?

Why have large numbers of people from the suburbs and small towns been migrating to Brooklyn, for example, seeking to make what they do what they love, engaging in the creative process and almost fetishizing the idea of ‘craft’?

Below are the Mast brothers, taking the hipster ethos into the business and branding of themselves as chocolate-makers, along with an entirely ‘old-timey’ aesthetic. Few chocolate-makers take pains to mention Mark Twain & Ralph Waldo Emerson in their promo videos:

———————-

I’ve been thinking that upon examination, hipsterdom (not necessarily the Mast Brothers) may reveal DNA strands of previous American counter-culture movements: Some hipsters have adopted milder forms of the bohemianism and cultural withdrawal of the Beats, others the collectivism, activism and ‘social conscience’ of the Hippies (along with many tenets of the feminist and environmentalist movements).  Some others still the disposable income and professional ambition of Yuppies (see: Park Slope).

Overall, in terms of political philosophy, I’m guessing such strands would most likely unite under a rather standard-issue secular-liberal humanism or post new Democrat alliance (how tolerant such a voting bloc would be of progressive activism, redistributionism, and true radicalism remains to be seen when the chips are down). Throw in some postmodernist art-theory and nihilist performance artists seeking human connection in the meaningless void, such as Matthew Silver, and we may be getting somewhere (apologies if I’ve unfairly reduced you to a bit part in a bad theory…such are the wages of cultural criticism in the blogosphere).

Another explanation I’ve heard floated is that hipsterdom is partially the product of the everyone-gets-a-trophy generation. Everyone’s a special snowflake. Every minute of every day can be planned and some parents are still hovering like crazy in the lives of their children. The Self-Esteem movement can then loom large in the rather rarefied atmospheres that some kids have grown-up in. How to live, what to do? Where to find meaning, purpose and connection?  Perhaps many people making American businesses run are more likely to respond to the language of psychology and pop-psychology, neuroscience and pop-neuroscience, literature, ethics gurus and even the kinds of self-help books to be found on Oprah, whatever wisdom and truths they may contain.

Or, at least this stuff is bigger business these days.

As for Emerson, and the transcendentalist, perhaps even somewhat pragmatist, search for the Stern Fact & Sad Self, I suspect it will still figure heavily in American life and culture for quite some time.

Let me know what I’m missing.

***In terms of starting some kind of business or appealing to popular sentiment, I would recommend the safe option of a time-lapse a video of the stars, adding some quotes about living in a globalized world, the importance of (S)cience, (A)rt, people and progress, then some background indie music and you may well have a Kickstarter campaign.

The Cresting Of A Hipster Wave?-From The New York Observer: ‘Brooklyn Is Now Officially Over: The Ascendance of Brooklyn, the Lifestyle, Above All Else’

Full piece here.

First the Beats, then the Hippies, now the Hipsters?

For many years now, Brooklyn seems to have become a beacon for people involved in a restless search for culture and authenticity, group-membership and belonging, identity and some sense of purpose.  This seems to be in addition to all the other job/career/immigration/mating reasons people have typically moved there.

It was a place where working-class people could afford a house.

Mind you, no one ever put-up a neon-sign over Brooklyn, flashing away into the night and visible from the suburbs (unless it was probably done ironically, mocking the ‘crass commercialism’ of a ‘bygone’ and fetishized era), but there have been some interesting demographic shifts going on.  The words ‘community’ and ‘craft,’ ‘artisanal’ and ‘fair trade’ get thrown around a lot.

Have hipsters become part of the fabric of the city?

Here’s an interesting piece from Christy Wampole At The Ny Times  ‘How To Live Without Irony:’

‘The hipster haunts every city street and university town. Manifesting a nostalgia for times he never lived himself, this contemporary urban harlequin appropriates outmoded fashions (the mustache, the tiny shorts), mechanisms (fixed-gear bicycles, portable record players) and hobbies (home brewing, playing trombone). He harvests awkwardness and self-consciousness. Before he makes any choice, he has proceeded through several stages of self-scrutiny. The hipster is a scholar of social forms, a student of cool.’

Christian Lorenzten has a less flattering take, in order to get at a more pure definition of ‘cool’:

Under the guise of “irony,” hipsterism fetishizes the authentic and regurgitates it with a winking inauthenticity. Those 18-to-34-year-olds called hipsters have defanged, skinned and consumed the fringe movements of the postwar era—Beat, hippie, punk, even grunge. Hungry for more, and sick with the anxiety of influence, they feed as well from the trough of the uncool, turning white trash chic, and gouging the husks of long-expired subcultures—vaudeville, burlesque, cowboys and pirates.

Of course, hipsterism being originally, and still mostly, the province of whites (the pastiest of whites), its acolytes raid the cultural stores of every unmelted ethnicity in the pot.

(Addition: Of course his version of ‘authentic’ seems to be that hipsters haven’t thankfully gone full Lefty).

Below are the Mast brothers, taking that hipster ethos into the business and branding of themselves as chocolate-makers, along with an entirely ‘old-timey’ aesthetic.  Few chocolate-makers take pains to mention Mark Twain & Ralph Waldo Emerson:

——————–

It seems the tide may already have receded a bit.

From the Observer:

‘Economic bifurcation has increasingly divided a borough known for its vibrant blend of cultures, classes and races into two different worlds, each with its own set of schools, stores restaurants and bars, with those at the bottom receding from the larger consciousness of Brooklyn identity to the degree that The Wall Street Journal recently labeled Bed-Stuy’s “underserved” those who could not, until now, find a craft beer for under $7. ‘

Has the hipster been good for Brooklyn?

That’s debatable, and it depends on just who we’re talking about. I’m guessing the local anti-hipster perspective found at DieHipster.com represents genuine sentiment and grievance:  Their Brooklyn has become a playground for extended childhood. Rents get raised.  Locals are pushed-out and overrun.  The area gentrifies and can actually become more divided.  For all the talk of ‘community’ and ‘authenticity,’ there’s a surprising (or unsurprising, really) naive idealism and post-Boomer narcissism, self-regard, and self-interest amongst the hipster crowd.

All politics is local, and it’s playing out in Brooklyn.

Is the hipster good for free markets?

Theses are some pretty vague terms I’m throwing around. Obviously, some folks are, and Whole Foods is a good example, but I wonder about the creep of collectivism and communalism into the culture more generally.

Here’s a quote I put up before.

The late Jacques Barzun at The American Scholar-’The Cradle Of Modernism‘:

‘For yet another cause of unhappiness was the encroachment of machine industry and its attendant uglification of town and country. The Romanticists had sung in an agrarian civilization; towns were for handiwork and commerce. Industry brought in not factories only, and railroads, but also the city — slums, crowds, a new type of filth, and shoddy goods, commonly known as “cheap and nasty.” And when free public schools were forced on the nation by the needs of industry, a further curse was added: the daily paper, also cheap.’

*I’m aware that this type of cultural criticism and/or ‘sociological analysis’ is often done by those typically invested in abstract categories of ‘culture’ about which I remain skeptical.

**No, I’m not from Brooklyn, and can make no particularly persuasive claims upon it.

Related On This Site:  Some Links On 5Pointz, Graffiti, & The Arts–Property Rights & The Rule-Of-Law

Well, art doesn’t need to be in service of a socialist vision, but it can:  Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’

Hipster Romanticism?-From The Atlantic Photo: ‘Adventures Of A Serial Trespasser’

Cities should be magnets for creativity and culture? –From The Atlantic: Richard Florida On The Decline Of The Blue-Collar ManFrom Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’… some people don’t want you to have the economic freedom to live in the suburbs: From Foreign Policy: ‘Urban Legends, Why Suburbs, Not Cities, Are The Answer’

Hipster hope, artists, collectivists and small business types can’t save it either:  A Short Culture Wars Essay-Two Links On Detroit & ‘Ruin Porn’

Kay Hymowitz At The City Journal: ‘How Brooklyn Got Its Groove Back’

Full piece here.

Hymowitz tracks her time in Brooklyn and offers an interesting background and look at its history.  She notes why she thinks it’s been surging lately:

‘The third reason for Brooklyn’s modern revival was the arrival of a new generation of gentrifiers, a large group of college-educated folks who, like the previous generation, found the urban, neighborly, and safer streets of the borough mightily attractive.’

And of them:

‘Unlike their predecessors, however, these grads are not only artsy; they’re tech-savvy and entrepreneurial. Don’t confuse them with the earlier artists and bohemians who daringly smoked pot at Brooklyn Heights parties. These are beneficiaries of a technology-fueled design economy, people who have been able to harness their creativity to digital media’ 

And of the post-industrial knowledge gap:

The problem is that these boutique businesses have a limited impact on the borough’s total economy. For all their energy and creativity, Brooklyn’s young entrepreneurs tend to have few employees, and they’re not likely to be hiring large numbers in the future.

And thus her conclusion:

‘Brooklyn’s story, then, doesn’t lend itself to a simple happy ending. Instead, the borough is a microcosm of the nation’s “hourglass economy.” At the top, the college-educated are doing interesting, motivating work during the day and bicycling home to enjoy gourmet beer and grass-fed beef after hours. At the bottom, matters are very different.’

There’s a bit of a swipe there at the hipsters, and certain underlying ideas she likely takes issue with (progressive, green, idealistic, creative class, meritocratic ideas).

Big cities like Chicago and New York (which unlike Detroit, Cleveland and Pittsburgh are still centers of trade and finance to balance out the lost industry) have been losing a lot of low and middle-income private sector jobs, so where are we headed?

Related On This Site: Trade and commerce aren’t just vehicles for nanny statism, equality delivery services and racial harmony…they are well…trade and commerce:  Via Youtube: Ric Burns—New York: A Documentary Film – Episode One: The Country and The City (1609-1825)Joel Kotkin Via Youtube: ‘Illinois Is In A Competition’

Cities should be magnets for creativity and culture? –From The Atlantic: Richard Florida On The Decline Of The Blue-Collar ManFrom Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’… some people don’t want you to have the economic freedom to live in the suburbs: From Foreign Policy: ‘Urban Legends, Why Suburbs, Not Cities, Are The Answer’

Is the same definition of ‘community’ connected with one that can stifle economic growth through political means?: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?

And how do big-city machines actually work (Boss Tweed and Blago come to mind): Two Sunday Quotations By Albert Jay Nock in ‘Anarchist’s Progress’…Walter Russell Mead takes a look at the blue model from the ground up in NYC.