According to Greif, what people might classify as "hipsters" are three different groups: upper-middle-class, university-educated "culture workers" (i.e., Richard Florida's "Creative Class"), upper-class "trust fund hipsters", the scions of the aristocracy seeking to convert financial capital into cultural capital, and the old-guard, lower-middle-class hipsters, wearing thrift-shop clothes they acquired before they became expensively trendy, serving the aforementioned two categories in dive bars and boutiques and then repairing to crappy bedsits or borrowed couches. These may be the most authentic, but are looked down upon by the others for their lower standing, with only their unpurchased cultural authenticity giving them a form of superiority which doesn't afford them economic mobility. These three categories use the H-word as a weapon in an ongoing cultural jousting match, to knock each other down, belittling each other's cultural standing by denying its authenticity:
All hipsters play at being the inventors or first adopters of novelties: pride comes from knowing, and deciding, what’s cool in advance of the rest of the world. Yet the habits of hatred and accusation are endemic to hipsters because they feel the weakness of everyone’s position — including their own. Proving that someone is trying desperately to boost himself instantly undoes him as an opponent. He’s a fake, while you are a natural aristocrat of taste. That’s why “He’s not for real, he’s just a hipster” is a potent insult among all the people identifiable as hipsters themselves.
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