Any regular Sectarian Review listener will by now know that I dedicated (to one degree or another) each of my two Wild Goose 2016 episodes to the abstract notion of Hipness. This was upon a listener suggestion and I'm grateful for that feedback.
Pretty much every time I've finished a show, I think of so many things that I should have said. In the episode I recorded with Carla Ewert and Michael Kimpan I kept talking about envisioning hipsterism as a kind of moral choice to stand apart from the machinery of society and its institutions. There is, of course, an existing model of this. Just look to the right and think of big R Romanticism. Byron, Keats, and the Emo Poets of the early Nineteenth Century embody a kind of detachment that I don't want to mistake for what I was talking about.
Don't get me wrong, I love the Romantics, but Keats' Grecian Urn is not what I have in mind for the cultural work of this show. That frozen piece of perfection exists to pleasure the detached poet in his poetic detachment. The conception of hipsterism I had hoped to argue for is more of a dialectic between hipster and society. Yes that dialectic implies a degree of separation, but also of connection.
The folks on the Grecian Urn are not just images, but evolving, expanding, contracting humans and my Keats wants to be part of that change. Looking to Friedrich's painting at the right, if we can imaging a village in that Sea of Fog, I would hope our Wanderer would care about making it a better place, and even pitch a tent there himself.
In short, the notion of hipsterism I hope this show advocates is one of involvement and engagement. Not of coolness and consumption.
Before I go, I want to remind you about our Facebook Page (which you can "like" and message right from the homepage here. I recently received a wonderful, thought-provoking correction of sorts and I really appreciated it. That's the kind of dialectic I'm looking forward to as the show moves forward.
Caspar David Friedrich, Wanderer above the Sea of Fog, 1818