Podcasts about parisian latin quarter

You’ve probably heard of hipsters. Heck, you may even be a hipster. If you don’t know what a hipster is, you might spend some time on this sometimes entertaining website. Where do hipsters come from? Let’s work backwards. Before hipsters (1990s), there were slackers (1980s): middle-class, college-going, white kids into Alternative rock. They were hipsters in all but name. Before slackers, there were punks and pseudo-mods (1970s): middle-class, college-going, white kids into Punk and New Wave rock respectively. Neither of them was really “hip” because they liked to take speed and be “intense.” Before punks and pseudo-mods, there were hippies (1960s): middle-class, college-going, white kids into rock and folk. They weren’t “hip” because they smoked a lot of dope and were embarrassingly earnest. Before hippies, there were beats (1950s): middle class, college-going, white kids into outre poetry and literature. They weren’t “hip” because they took narcotics and liked to be “cool.” Before beats, there were proto-hipsters (1940s): middle-class, college-going, white kids who liked hot jazz and black people. They were more like modern wiggers than hipsters. (If you don’t know what a wigger is, here you go.) And before proto-hipsters, there was the mother of all middle-class, college-going, white American subcultures–the bohemians. They were a lot like hipsters. These hipsters-before-hipsters are the subject of Joanna Levin‘s fascinating new book Bohemia in America, 1858-1920 (Stanford UP, 2010). In it, she deftly traces the mid-nineteenth-century migration of bohemianism from the Parisian Latin Quarter to American shores and its spread to middle class, white culture thereafter. Bohemianism offered Americans who, as Tocqueville noted, were all about equality (read: conformity) a chance to be different in a safe way. The bohemians practiced a kind of satire-of-the-deed: they used themselves–the way they dressed, talked, loved, worked–to poke fun at everything “bourgeois.” They were performance artists, and they wanted attention. Just like hipsters. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

You’ve probably heard of hipsters. Heck, you may even be a hipster. If you don’t know what a hipster is, you might spend some time on this sometimes entertaining website. Where do hipsters come from? Let’s work backwards. Before hipsters (1990s), there were slackers (1980s): middle-class, college-going, white kids into Alternative rock. They were hipsters in all but name. Before slackers, there were punks and pseudo-mods (1970s): middle-class, college-going, white kids into Punk and New Wave rock respectively. Neither of them was really “hip” because they liked to take speed and be “intense.” Before punks and pseudo-mods, there were hippies (1960s): middle-class, college-going, white kids into rock and folk. They weren’t “hip” because they smoked a lot of dope and were embarrassingly earnest. Before hippies, there were beats (1950s): middle class, college-going, white kids into outre poetry and literature. They weren’t “hip” because they took narcotics and liked to be “cool.” Before beats, there were proto-hipsters (1940s): middle-class, college-going, white kids who liked hot jazz and black people. They were more like modern wiggers than hipsters. (If you don’t know what a wigger is, here you go.) And before proto-hipsters, there was the mother of all middle-class, college-going, white American subcultures–the bohemians. They were a lot like hipsters. These hipsters-before-hipsters are the subject of Joanna Levin‘s fascinating new book Bohemia in America, 1858-1920 (Stanford UP, 2010). In it, she deftly traces the mid-nineteenth-century migration of bohemianism from the Parisian Latin Quarter to American shores and its spread to middle class, white culture thereafter. Bohemianism offered Americans who, as Tocqueville noted, were all about equality (read: conformity) a chance to be different in a safe way. The bohemians practiced a kind of satire-of-the-deed: they used themselves–the way they dressed, talked, loved, worked–to poke fun at everything “bourgeois.” They were performance artists, and they wanted attention. Just like hipsters. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

You’ve probably heard of hipsters. Heck, you may even be a hipster. If you don’t know what a hipster is, you might spend some time on this sometimes entertaining website. Where do hipsters come from? Let’s work backwards. Before hipsters (1990s), there were slackers (1980s): middle-class, college-going, white kids into Alternative rock. They were hipsters in all but name. Before slackers, there were punks and pseudo-mods (1970s): middle-class, college-going, white kids into Punk and New Wave rock respectively. Neither of them was really “hip” because they liked to take speed and be “intense.” Before punks and pseudo-mods, there were hippies (1960s): middle-class, college-going, white kids into rock and folk. They weren’t “hip” because they smoked a lot of dope and were embarrassingly earnest. Before hippies, there were beats (1950s): middle class, college-going, white kids into outre poetry and literature. They weren’t “hip” because they took narcotics and liked to be “cool.” Before beats, there were proto-hipsters (1940s): middle-class, college-going, white kids who liked hot jazz and black people. They were more like modern wiggers than hipsters. (If you don’t know what a wigger is, here you go.) And before proto-hipsters, there was the mother of all middle-class, college-going, white American subcultures–the bohemians. They were a lot like hipsters. These hipsters-before-hipsters are the subject of Joanna Levin‘s fascinating new book Bohemia in America, 1858-1920 (Stanford UP, 2010). In it, she deftly traces the mid-nineteenth-century migration of bohemianism from the Parisian Latin Quarter to American shores and its spread to middle class, white culture thereafter. Bohemianism offered Americans who, as Tocqueville noted, were all about equality (read: conformity) a chance to be different in a safe way. The bohemians practiced a kind of satire-of-the-deed: they used themselves–the way they dressed, talked, loved, worked–to poke fun at everything “bourgeois.” They were performance artists, and they wanted attention. Just like hipsters. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

You’ve probably heard of hipsters. Heck, you may even be a hipster. If you don’t know what a hipster is, you might spend some time on this sometimes entertaining website. Where do hipsters come from? Let’s work backwards. Before hipsters (1990s), there were slackers (1980s): middle-class, college-going, white kids into Alternative rock. They were hipsters in all but name. Before slackers, there were punks and pseudo-mods (1970s): middle-class, college-going, white kids into Punk and New Wave rock respectively. Neither of them was really “hip” because they liked to take speed and be “intense.” Before punks and pseudo-mods, there were hippies (1960s): middle-class, college-going, white kids into rock and folk. They weren’t “hip” because they smoked a lot of dope and were embarrassingly earnest. Before hippies, there were beats (1950s): middle class, college-going, white kids into outre poetry and literature. They weren’t “hip” because they took narcotics and liked to be “cool.” Before beats, there were proto-hipsters (1940s): middle-class, college-going, white kids who liked hot jazz and black people. They were more like modern wiggers than hipsters. (If you don’t know what a wigger is, here you go.) And before proto-hipsters, there was the mother of all middle-class, college-going, white American subcultures–the bohemians. They were a lot like hipsters. These hipsters-before-hipsters are the subject of Joanna Levin‘s fascinating new book Bohemia in America, 1858-1920 (Stanford UP, 2010). In it, she deftly traces the mid-nineteenth-century migration of bohemianism from the Parisian Latin Quarter to American shores and its spread to middle class, white culture thereafter. Bohemianism offered Americans who, as Tocqueville noted, were all about equality (read: conformity) a chance to be different in a safe way. The bohemians practiced a kind of satire-of-the-deed: they used themselves–the way they dressed, talked, loved, worked–to poke fun at everything “bourgeois.” They were performance artists, and they wanted attention. Just like hipsters. Please become a fan of “New Books in History” on Facebook if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices

Melvyn Bragg and guests discuss the 19th century Parisian philosophy of life lived for art. In 1848 the young Parisian Henri Murger wrote of his bohemian friends: Their daily existence is a work of genius…they know how to practise abstinence with all the virtue of an anchorite, but if a slice of fortune falls into their hands you will see them at once mounted on the most ruinous fancies, loving the youngest and prettiest, drinking the oldest and best, and never finding sufficient windows to throw their money out of. Then, when their last crown is dead and buried...they go poaching on all the callings that have any connection with art, hunting from morn till night that wild beast called a five franc piece. Bohemianism meant a life lived for art, it meant sexual liberation and freedom from social constraint, but it also meant dodging the landlord and burning your poems to stay warm. How did the garret-philosophy of the Parisian Latin Quarter take over the drawing rooms of Bloomsbury and Chelsea, and why did a French war with necessity emerge as a British life-style as art? With Hermione Lee, Goldsmiths' Professor of English Literature at the University of Oxford and biographer of Virginia Woolf; Virginia Nicholson, author of Among the Bohemians: Experiments in Living 1900-1939; Graham Robb, writer and biographer of Balzac, Victor Hugo and Rimbaud.

Melvyn Bragg and guests discuss the 19th century Parisian philosophy of life lived for art. In 1848 the young Parisian Henri Murger wrote of his bohemian friends: Their daily existence is a work of genius…they know how to practise abstinence with all the virtue of an anchorite, but if a slice of fortune falls into their hands you will see them at once mounted on the most ruinous fancies, loving the youngest and prettiest, drinking the oldest and best, and never finding sufficient windows to throw their money out of. Then, when their last crown is dead and buried...they go poaching on all the callings that have any connection with art, hunting from morn till night that wild beast called a five franc piece. Bohemianism meant a life lived for art, it meant sexual liberation and freedom from social constraint, but it also meant dodging the landlord and burning your poems to stay warm. How did the garret-philosophy of the Parisian Latin Quarter take over the drawing rooms of Bloomsbury and Chelsea, and why did a French war with necessity emerge as a British life-style as art? With Hermione Lee, Goldsmiths' Professor of English Literature at the University of Oxford and biographer of Virginia Woolf; Virginia Nicholson, author of Among the Bohemians: Experiments in Living 1900-1939; Graham Robb, writer and biographer of Balzac, Victor Hugo and Rimbaud.

Melvyn Bragg and guests discuss the 19th century Parisian philosophy of life lived for art. In 1848 the young Parisian Henri Murger wrote of his bohemian friends: Their daily existence is a work of genius…they know how to practise abstinence with all the virtue of an anchorite, but if a slice of fortune falls into their hands you will see them at once mounted on the most ruinous fancies, loving the youngest and prettiest, drinking the oldest and best, and never finding sufficient windows to throw their money out of. Then, when their last crown is dead and buried...they go poaching on all the callings that have any connection with art, hunting from morn till night that wild beast called a five franc piece. Bohemianism meant a life lived for art, it meant sexual liberation and freedom from social constraint, but it also meant dodging the landlord and burning your poems to stay warm. How did the garret-philosophy of the Parisian Latin Quarter take over the drawing rooms of Bloomsbury and Chelsea, and why did a French war with necessity emerge as a British life-style as art? With Hermione Lee, Goldsmiths' Professor of English Literature at the University of Oxford and biographer of Virginia Woolf; Virginia Nicholson, author of Among the Bohemians: Experiments in Living 1900-1939; Graham Robb, writer and biographer of Balzac, Victor Hugo and Rimbaud.