Tuesday, September 30, 2008
NYC = 19th c. Paris. (version 2.0)
Well if this Radar article about 'Hipster Hookers' doesn't confirm that 21st century New York is actually 18th century Paris, in disguise, then I don't know what will. Sure, the article is under charges of fraud (which frankly seems absurd when put in context next to magazines such as The National Enquirer, or even The Guardian Weekend at its low points). I don't think that questions of authenticity detracts from the general tone, perhaps it even adds to it. If I get it together, I should whip out some Cousin Bette quotes or a touch of Zola to reiterate what I'm talking about. Even Joe Friedman talkes about it in terms of architecture. Most notably on the Upper West Side, but also in the Rockerfeller interiors now spread around the state, although 'The Moorish Room' is now in the Brooklyn Museum.
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2 comments:
I think the article was written with great intent to report on the authors experience, and her subjects. The editors at Radar are all male for the most part, and the magazine is for people whose favorite words are "scandal" and "pop culture"...
Consider that, and I read an interesting piece @ Salon where she kinda hints at being pushed to sell her sexual persona for Radar to buy it
Thanks for the suggestion. I agree that the most revealing aspect of the article is how it’s author unwittingly reveals her old-fashioned sexual moores in a tone that appears to make them cutting edge. She sees hooking as a form of sexual empowerment, but her failure to actually ‘do it’ denotes an implicit criticism, or self-distancing the sexual behaviour she ostensibly celebrates. At the end of the day she doesn’t ask why she’s attracted to talking about modern day sex-workers but just exclaims ‘Sex! Money! …Yuk: not for ladies!’ It reminded me of the more naive women in Balzac’s Paris in their attitude towards sex and money. Although even these characters are permitted a more complex, even powerful response to the world’s oldest profession and it’s trendy re-packaging.
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