From Michael Herr‘s “Evolution of the Term ‘Hipster’, Pt. III” (excerpt posted eight years ago by Brecht Anderson):
“He haunted the Museum of Modern Art and the few foreign-film revival houses, the very underground Cinema 16 and the triple-feature houses along 42nd Street…he was already careless, even reckless in his appearance, mixing his plaids in wild shirt, jacket, and necktie combinations never seen on the street before, disreputable trousers, way-out accidental hairdos… (Even…in the late 50s, when he was working in Hollywood, the insouciance of his attire was remarked upon by many producers and actors, who thought that he dressed like a beatnik.) He was jazz-mad and went to the clubs, and a Yankees fan so he went to the ball games, all of this in New York in the late ’40s and early ’50s — a smart, spacey, wide-awake kid like that, it’s no wonder he was such a hipster — a ’40s-bred, ’50s-minted, tough-minded, existential, highly evolved classic hipster. His view and his temperament were much closer to Lenny Bruce‘s than to any other director’s, and this was not merely an aspect of his. He had lots of modes and aspects, but Stanley was a hipster all the time.”
