Pegging clothing on the line, Training jasmine how to vine up the arbour to your door
$LAYYYTER

RMH
he wasn't even looking at me and he found me
Monterey Bay Aquarium

Andulka
🪼

@theartofmadeline
art blog(derogatory)
One Nice Bug Per Day

祝日 / Permanent Vacation
styofa doing anything

#extradirty

Product Placement
Peter Solarz
Not today Justin
Game of Thrones Daily
d e v o n
todays bird
seen from United States
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@projecthipster
Pegging clothing on the line, Training jasmine how to vine up the arbour to your door

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Mason & Dixon
“To rule forever, it is necessary only to create, among the people one would rule, what we call...Bad History. Nothing will produce Bad History more directly nor brutally, than drawing a Line, in particular a Right Line, the very Shape of Contempt, through the midst of a People,-- to create thus a Distinction betwixt 'em,-- 'tis the first stroke.-- All else will follow as if predestin'd, unto War and Devastation.”
Listen, I know about the Baader-Meinhof frequency illusion. But sometimes I really do think I just have good timing by pure coincidence, because I knew nothing about Thomas Pynchon until after I took the personal dive in over the middle part of 2025, and then suddenly, it felt like everyone is talking about him. Suddenly I was seeing The Crying of Lot 49 on the front tables in every bookstore, everyone’s talking about Vineland because of One Battle After Another, I have since read Vineland and was a bit disappointed by it compared to the movie—but I chose, because of the feckless and inscrutable commands of The Lists, to start with the one about the old-timey surveyors.
Specifically, of course, it’s Robert Lanham again. Mason & Dixon (always with an ampersand– that’s important, because like a border, it’s a singular symbol that represents demarcation and connection both– that’s why it’s blown up to big print on the cover) came out the year I was born, and would have, like me, been six years old by the time Lanham’s Hipster Handbook codified the term for our new century. For context, a novel published six years ago today would be, er, Piranesi, for example, which does still feel like a “new” book, but then again, my perception of time is loosening at my geriatric 28. Here’s what Lanham said about Mason & Dixon, to ground us in the ever-important question (here specifically) of Why It’s Hip:
“Throw out your American History 101 textbooks; Pynchon’s reimagining is much more hip. Hipsters like the Caffeine Theory, which suggests that drinking coffee and smoking can create a more frank and honest world. Conspiracy theorists who try to decipher hidden meanings about masons and the number 23 are pretty fin.”
Recall that “fin” means “lame, uncool, unhip.” Allegedly. I think Lanham was fucking with us a bit on that one.
So, what do I now know about Pynchon? Well, as a member of the general public, I know what he’s seen fit to tell about himself to the general public, which is zippidy-doo-dah and a bit of shit-all. Pynchon is a mystery. He was born on the day of his birth, married on his wedding day, and lives in his place of residence. The only confirmed photos of his face date back to his high school days, the better part of a century past. His voice—and this is extremely funny—has only been heard from guest starring in The Simpsons, in which he played himself animated with a bag over his head, making terrible puns about his own books.
In summary, this guy makes Salinger look like John Green. Pynchon thereby, by his own design, becomes the poster child for Death of the Author, even as he keeps publishing books, as recently as two weeks ago as of writing (that won’t be true by the time this is published, but know then that I finished Mason & Dixon and wrote this whole bit just after Shadow Ticket hit shelves.)
All there is is text.
So below the break, let’s look at the text.
‘71 (2014)
“Posh cunts telling thick cunts to kill poor cunts. That's the Army for you.”
We remain, for now, in…
(Your Hipsterologist here recalled that this movie is set in Northern Ireland, and he was about to make a connection to having just reviewed Bronson, which is set in various bits of England. However, Your Hipsterologist would like to avoid any noministic geopolitical situations. The UK? Technically, at the moment, and at the more or less concurrent moments of each movies’ setting, yes, but… the British Isles? That’s also a loaded term…)
We remain for now in the islandy bits off the northwest part of Europe, with ‘71, a movie set in its titular year in the city of Belfast (which is also the name of a Kenneth Branagh movie that is, I think about some of the same stuff.)
Now here’s the caveat that will get me cancelled for daring to opine on a sensitive historical subject: I really don’t know much about Northern Ireland or the understatedly-called Troubles. I guess I know the basics. A nominally British-governed chunk of the island of Ireland, which many Irish think is weird because, well, yeah, to look at a map it kind of is, erupts into civil violence over that status. It’s something to do with the religious denominations of the Irish, Catholic or Anglican, which is such a weird concept to me coming from a country where for all living memory most churches have their denomination in fine print at most. But I suppose historically there was some stuff around Quebec being Catholic with a minority language within an English-ruled federation, so même chose.
‘71 isn’t expecting you to know the deep, nuanced cultural history though. That may even be one of its flaws, as I’ve seen angry Irish Letterboxd reviewers write that it’s too sympathetic to the English side of the conflict. Well, about twenty minutes in, we start to see British soldiers beating random civilians on the street and the cinematic language very much turns to that of occupation, oppression, and resistance. I suppose what “too sympathetic” means is any acknowledgment of the human stories within the ranks of the domineering nation. I can see how, if you had a personal connection to the conflict, you wouldn’t want to be following a British soldier for the main thrust of the plot. I don’t have a connection, so I have no problem with Gary Hook, our young naive army recruit protagonist played by Jack O’Connell, who was apparently also in This Is England, but I don’t recognize at all here. He’s a decent chap who kicks a football around with some kid (his son? A brother? An orphan he’s looking to adopt? It’s unclear) and looks remorseful when his squadmates start beating up Irish civilians. And that’s all we’ve really got; he’s a sympathetic enough audience surrogate to lead us through the action, more than a particularly distinct character. From Hook’s perspective, it’s clear what the movie assumes the default audience perspective to be: English lads who believe, generally, in the goodwill and peacekeeping purpose of the army. Make no mistake, that illusion is shattered, and Hook’s disillusionment makes for probably the best character throughline of the movie.
"It's indie sleaze!" "No it's Twee!"
Y'all back in the day we all just called it all "hipster"
Very silly that I could kinda go see Mike End Kicks (and do an off-the-lists long post on it?) whenever I wanted since the theatre is cheap and right by my house if I was only able to shake the anxiety of thinking about explaining to my parents where I’ve been and why I would want to see it. Which from what I’ve seen of the trailer is very in line with the movie itself.

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This train Somerset
Seattle, 2022
2012 was such a good music year
Forreal how was all of this just twelve months
If I know only one thing it's that everything that I see of the world outside is so inconceivable often I barely can speak
Vinyl Spins
You smelled like thrift stores and something expensive you'd never admit to buying
Said love should sound analog warm, imperfect a little warped at the edges
We met over coffee that tasted like dirt and intention arguing about bands neither one of us actually liked just to feel like we belonged there
You laughed in lowercase soft and sideways like you didn't want to interrupt the aesthetic of the moment
I watched you flip records with reverence needle poised like a question you already knew the answer to
And me? I was just noise too loud, too sudden skipping across your carefully curated life like a scratch you couldn't ignore
We burned quick all static and spark late nights wrapped in playlists we pretended were ours
You said I felt "real" like that was a compliment and a warning
Then one day you packed it up as casually as changing the side no fight, no scene just a quiet click and a different song
Now every love song sounds a little ironic every silence a little staged
And I can't hear a record spin without thinking of you the way we almost meant something the way we never quite did
just a brief rotation a moment caught in groove
before the needle lifted and moved on

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Bronson (2008)
“You don't want to be trapped inside with me sunshine. Inside, I'm somebody nobody wants to fuck with do you understand? I am Charlie Bronson. I am Britain's most violent prisoner.”
Well, here I am back on the same list that taught me about This is England, the alleged “Films Your Hipster Friend Has Made You Watch,” a title which doesn’t hold true for me but does paint a picture of the hipster friend of the list-maker, who keeps watching these moody, painfully English movies I’ve never heard of. But this one has a pre-Dark Knight Rises Tom Hardy and it’s free on something called Plex, so let’s check it out.
You may in fact think that the Tom Hardy stereotype of his face being covered and his voice being indecipherable in every role began with Bane, in 2012, but I’m here to report that by 2008, in Bronson, he already had a big mustache and a heavy Cockney accent.
This I suppose is a hipster movie of the more gritty, punk-leaning, dirty-mouthed, crime-ridden, cigarette-stained Tarantinoesque vision of the word. It’s a stark contrast after Napoleon Dynamite, but this shows just how nebulous the alleged descriptor "hipster movie" is. Bronson has some of the offbeat style of Tarantino, though hardly his sprawling epic scope. Rather, the 90-minute blood-spattered biopic hits fast and hard like its titular protagonist.
Napoleon Dynamite (2004)
“What are you gonna do today, Napoleon?” “Whatever I feel like I wanna do. Gosh!”
Maybe you had to be there. I was young, sure, but I was there. I was there in 2005 when the DVD came into my house, probably by will of my older siblings– this is the kind of movie that could only reach great spread in the heyday of the DVD, watched and rewatched at Fruitopia-fueled slumber parties and quoted line by line. I remember the dance craze that didn’t need tiktok to spread, just Jon Heder’s energy released after 90 minutes of simmering. I remember the omnipresent VOTE FOR PEDRO shirts and liger doodles, the listings of skills. You couldn’t be safely seen drinking 1% milk until, like, 2013.
From the opening credits, written in condiments on plates of food slid into frame over the White Stripes’ “We’re Going to Be Friends,” you can tell that this is a movie made for a shoestring and a good time, with half the budget spent on the music. Then again, maybe “We’re Going to Be Friends” and “Forever Young” and “Canned Heat” weren’t iconic until afterwards– they wouldn’t be the only things that Napoleon Dynamite made iconic based on its low budget affinity for the charmingly non-Hollywood. In the DVD commentary (yes, of course I still have that same DVD) director Jared Hess talks about writing a letter to Jack White to ask permission to use the song, apparently the first White Stripes song to ever appear in a movie. Even before the iconic final cut, then, people were falling in love with this movie.
that post that goes Actually we need those hipsters who listen to bands nobody has ever heard of
waiting for the train (2026)
acrylic on wood panel
32 cm x 25 cm

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