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Marc Spitz - Twee: The Gentle Revolution in Music, Books, Television, Fashion, and Film

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Twee: The Gentle Revolution in Music, Books, Television, Fashion, and Film: summary, description and annotation

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New York Times, Spin, and Vanity Fair contributor Marc Spitz explores the first great cultural movement since Hip Hop: an old-fashioned and yet highly modern aesthetic thats embraced internationally by teens, twenty and thirty-somethings and even some Baby Boomers; creating hybrid generation known as Twee. Via exclusive interviews and years of research, Spitz traces Generation Twees roots from the Post War 50s to its dominance in popular culture today.

Vampire Weekend, Garden State, Miranda July, Belle and Sebastian, Wes Anderson, Mumblecore, McSweeneys, Morrissey, beards, artisanal pickles, food trucks, crocheted owls on Etsy, ukuleles, kittens and Zooey Deschanelall are examples of a cultural aesthetic of calculated precocity known as Twee.

In Twee, journalist and cultural observer Marc Spitz surveys the rising Twee movement in music, art, film, fashion, food and politics and examines the cross-pollinated generation that embodies itfrom aging hipsters to nerd girls, indie snobs to idealistic industrialists. Spitz outlines the history of tweethe first strong, diverse, and wildly influential youth movement since Punk in the 70s and Hip Hop in the 80sshowing how awkward glamour and fierce independence has become part of the zeitgeist.

Focusing on its origins and hallmarks, he charts the rise of this trend from its forefathers like Disney, Salinger, Plath, Seuss, Sendak, Blume and Jonathan Richman to its underground roots in the post-punk United Kingdom, through the late80s and early 90s of K Records, Whit Stillman, Nirvana, Wes Anderson, Pitchfork, This American Life, and Belle and Sebastian, to the current (and sometimes polarizing) appeal of Girls, Arcade Fire, Rookie magazine, and hellogiggles.com.

Revealing a movement defined by passionate fandom, bespoke tastes, a rebellious lack of irony or swagger, the championing of the underdog, and the vanquishing of bullies, Spitz uncovers the secrets of modern youth culture: how Twee became pervasive, why it has so many haters and where, in a post-Portlandia world, can it go from here?

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For Tracey Pepper Please try to avoid skimming over the parts that do not - photo 1
For Tracey Pepper Please try to avoid skimming over the parts that do not - photo 2
For Tracey Pepper. Please try to avoid skimming over the parts that do not involve Glasgow in the early 80s.
If it werent for the nervous people in the world, wed all still be eating each other.
Guido (Eli Wallach),
in Arthur Millers screenplay for John Hustons The Misfits, 1961
Contents
Summer 2013
In which I, a fourth-generation Brooklynite, marvel at the transformation of my former home from working-class immigrant stronghold and rent haven for a few dozen pioneering artists to open-air supermarket for the privileged and precious. I then quickly dispense with shock, subjectivity, and (most) personal anecdotes in order to scientifically explore how the inhabitants of the new Brooklyn, epicenter of Twee, as well as a sort of global Brooklyn are possibly helping the world become a kinder, closer, and cooler place. Brooklyn is accomplishing this, in part by embracing artists and objects once-arcane and niche, all of which can be grouped under the vintage, transparent plastic umbrella of the often pejorative term Twee. Twee, in short, may not be all bad. For one, its now the most powerful youth movement since Punk and Hip-Hop. It may not be all new, either. For decades Twee has been a school of the larger catchall Indie and a home to the Indie kids who held a close bond with Hello Kitty and the Lovin Spoonful as well as if not in place of being versed in J. G. Ballard, the harsher end of Neil Young, and Slint. Slowly, however, Twee is growing and absorbing its Indie host. All things Twee are very Indie. All things Indie are not necessarily Twee... yet.
NOTE: When Indie is referred to in this book, its on the gentler rim of the spectrum of tone and mood ranging from sunny to pitch-black: from the upbeat Free to Be You and Me soundtrack to the dour Needle in the Hay sequence in The Royal Tenenbaums.
At times, the story of the rise of Twee will be anecdotal; the making of a Twee-seminal album (the Smiths self-titled debut, Belle and Sebastians Tigermilk) or a film (Whit Stillmans Metropolitan, Noah Baumbachs Kicking and Screaming) or key literary works (The Catcher in the Rye, The Diary of a Young Girl, The Bell Jar, the McSweeneys titles) that changed minds and, eventually, common behavior on a grander and grander scale. Other times, the chronicles of Twee-nia will simply consist of the charting of struggle and progress; the slow transporting of the Twee ethos (bullying is bad, perennials are good, so are Christmas and owls) out of the bedroom and into the streets. Technological advances and new ideas (YouTube as the modern diary) or even the rise of an Epicurean notion (theres more to pickles than green food coloring and a pinch of dill) will be considered as well.
I will chart a half century of pop cultural revolution from the postwar 50s to the present; gentle at first, but now seemingly unstoppable. I will also, hopefully, provide you with a satisfying, funny, and educational read that may even inspire some questions along the lines of, Wait a minute? Am I Twee? And if so, do I need help? (If you do, there are some useful lists at the end of the text.)
T hey line up by the cash machines outside the asphalt yard of the Bishop Loughlin Memorial High School on Clermont Avenue. A Gothic structure, it stands across from the 108-year-old Masonic Temple, which now occasionally hosts Indie-rock shows organized by the Masonic Boom collective. The young men here mostly have mustaches, some waxed and twisted into spiny points. Others have thick lumberjack beards that are also carefully groomed. Theyre all skinny but seem somehow out of shape and slow, like koala bears. The women wear little makeup. Many have cut their hair in the pixie style that suggests Jean Seberg or have grown out bangs to evoke Anna Karina, Julie Christie, and other 60s film stars. They wear vintage granny dresses with Doc Martens and a discreet amount of black eyeliner, or loose, carefully worn-in tees, some silk-screened with the faces of other vintage legends: Hanoi Janeera Fonda or the young, snappish Bob Dylan circa Dont Look Back .
Outside the fences, draped with tattered flags, faded school banners, or burgundy-and-gold faux Moroccan tapestries, there are opportunists on these grounds too. Theyre simply selling ice-cold water. These Brooklynites make no fashion statements and thus seem decades older than their customers even when they are contemporaries.
A scattering of eco-Punks distributes flyers from their worn canvas satchels. This literature contains tips and scoldings and general instructions for saving Brooklyn, which increasingly means saving the world. The tourists bear this out. Theyve journeyed, thousands of them every season, from Japan, Germany, France, Brazil, and Iceland, all drawn to this lot and others like it. Since 2001, the number of visits to New York City has increased from around 35 million annually to nearly 53 million, with a large percentage who might not have even considered a trip to Brooklyn a decade ago now making Manhattan their second destination; hence luxury hotels like the chic but bohemian Wythe, a converted waterfront factory, opening in Williamsburg. Brooklyn has become not just a borough of New York City but rather an idea, an aesthetic, a selling device, an industry, and a dream of some kind of global Narnia where everyone has the right books, clothes, shoes, records, cookies, and pickles. Everyone is young and most of the young are Twee.
There are similar marketplaces like the Greenpoint, Brooklyn, Flea all over the world. In 2013, one no longer has to be in Brooklynthe borough, the county, the former hoodto be in Brooklyn. Austin is Brooklyn. In fact, some argue that Austin was Brooklyn before Brooklyn was Brooklyn, but lackadaisical or just plain mellow, the weird Texas hamlet never really had the right fuck-you attitude and Eastern drive to lead a culture-penetrating charge (most of us have seen Slacker ). Parts of Chicago and L.A. (Silver Lake, Echo Park, Highland Park) are now Brooklyn. Paris is Brooklyn. Among young Parisians, there is currently no greater praise for cuisine than trs Brooklyn, a term that signifies a particularly cool combination of informality, creativity, and quality, wrote the New York Times s Julia Moskin in 2012 in a feature about the kind of food trucks that line the back of this yard like a smoky, meaty, or vegan convoy, smelling of curry and mint and brisket and steaming rice. In Egypt and Syria and elsewhere in the Middle East, the young want their Brooklyn too. And both Brooklyn and Brooklyn keep Twee and its designs, chief among them the freedom (and often the daring) to be soft in an increasingly hard world, alive and thriving.
When the late Apple visionary Steve Jobs envisioned a sort of global, utopian, design-driven planet where all are connected no matter what religion, creed, gender, province, or class one belongs to, he was tapping into a sort of scale model of the current Brooklyn in which Mose Allison, Animal Collective, and Drake live in harmony in the cloud, and gluten-free vanilla whiskey biscotti or a cavalry hat made from repurposed felt are status symbols because of their purity, are in because of their outr status, desirable and marketable because they deserve to be; because they are good. We arent quite there yet, not completely. There are imposters, knockoffs, and faux Brooklyn crafts. The old divides remain as well. All one needs to do is jog up out of the subway exit and onto the street, under the giant mural of slain rapper and old Brooklyn saint Biggie Smalls, to instantly detect these schisms in the new, hyper-gentrified Brooklyn.
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