I’m sure by now that many of you are familiar with that recent op-ed that appeared in the New York Times about how New York City is dead, that all the scenes and places that used to be so vibrant are now empty, and people can’t go to their favorite brunch places. All the clubs are closed, nobody is out anymore, it is a ghost town.
In the Year of Our Lord 2020, a diffuse understanding of what constitutes “media” has increasingly flooded the world with easily consumable content—Netflix, Hulu, Amazon Video, Disney+, and others create and distribute online television and movies, while the traditional Hollywood studio system works frantically to keep pace with its nimble digital competitors. Alongside cable television, this triumvirate of mainstream content-makers contends with the proliferation of media that has arisen in recent years—podcasts, fringe websites, talk radio, YouTube, social media. With a camera and microphone nestled neatly in your pocket, one can create, edit, and distribute content of any kind with ease—and the cultural impact, like the technology that enables it, is rapidly evolving.
When my friend and I went to the Louvre we knew we had to plan accordingly. It’s the largest art museum in the world, with 38,000 pieces of art spread across over 700,000 square feet, not to mention that the Louvre Palace was established as a museum over 200 years ago. Before that it was a royal fortress then palace! Much to my friend’s dismay I was just as interested in the building as I was in the art objects, oops.
f you’ve walked around New York City for longer than 15 minutes, you’ve seen one. If you’ve ever gotten a latte from a coffee shop in Brooklyn, you’ve interacted with one. If you’ve ever been happy to wear a shitty thrift store sweater, drink organic $6 coffee, and rage endlessly against the patriarchy, you are one. That’s right: a hipster.
Addressing our national culture of violence