From Publishers Weekly
What is hip? Leland has researched contemporary answers to that question for Spin, Details and the New York Times, and now probes deeper for a rigorous historical analysis that goes beyond the usual hot spots of the Lost Generation and the Harlem Renaissance, encompassing colonial plantations, animation studios, pulp magazine racks and the latest hipster hangouts. The story of hip is largely the story of American race relations, and Leland addresses the ways whites and blacks have interpreted and imitated one another from many angles, as assuredly perceptive when he analyzes Al Jolson's blackface persona as he is exploring the dynamic between bop jazz and Beat Generation writers. Refusing to either champion or condemn "the white boy who stole the blues," Leland presents readers with an accessible model of complex social forces. The breadth and sophistication of his argument is admirable, but it wouldn't be as convincing without his engaging tone, which shuns condescension to invite readers into a genial conversation—Leland even jokes about how the nature of hipness might date his book. Leland needn't worry: though hip will always be a matter of perception, few will be able to read this eclectic history without agreeing it's on to something. 49 b&w photos. Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From School Library Journal
Adult/High School–Forget diversity training and sociology lectures: here's a surefire way to excite teens about the forces at work in American history. Industrialization, Prohibition, immigration, civil rights, and class consciousness come alive when viewed through hip's lens, making it seem like one long, wild story whose new chapters build, riff, and expand on the old. This fast-paced volume is also a jumping-off point: whether explaining that "hip" comes from the Wolof word "hipi" ("to open one's eyes"), brought to America by West African slaves, or pointing out the resemblance between Bugs Bunny and the hard-boiled detectives of pulp fiction, Leland will lead YAs beyond Kerouac to "Original Gangstas" Thoreau and Whitman, the "thug vitality" of the 19th-century Bowery boys, and the over-the-top "bling" worn by Ma Rainey half a century before Lil' Kim showed up. Running throughout is a solid awareness that "hip" involves cultures borrowing, and often stealing, from one another. Unlike other observers of this phenomenon, however, Leland sees this less as a form of oppression and more as a form of play. While not always convincing, the argument is appealing, full of good will and good sense. Both a practical and a fun purchase, Hipmay quickly become the most well-read book in your nonfiction collection.–Emily Lloyd, formerly at Rehoboth Beach Public Library, DE
From The Washington Post's Book World/washingtonpost.com
A cool friend of mine likes to say, "Hip is to fashion as cool is to style." To him, hipness and fashion are superficial, ephemeral and easily merchandized; cool is innate, and style is timeless. You can buy what's hip, but you can't buy cool. Some of the coolest people you meet are hopelessly out of fashion, have no idea what's considered hip at the moment and couldn't care less. Hipness is public; it does you no good to be hip if nobody's around to appreciate it. There are legions of hipsters, wearing their identical fashions, listening to the same music, reading the same blogs, crowding together in the hippest neighborhoods in their towns. But there are no coolsters, just cool individuals. Cool needs no outward validation.John Leland would probably say that's all precious and elitist. To him, cool and style are mere contributory aspects of hip, a much broader cultural phenomenon.Leland's Hip: The History is an impressive achievement -- thorough, exhaustively researched and eventually a bit exhausting. He seems to know everything there is to know about hip. He's read all the books, listened to all the music, seen all the movies. He manages to lay it all out with a detached authority that's just a hair shy of the know-it-all smugness implied by the book's title.So what is hip? Leland, a former writer at Spin and Details now working at the New York Times, isn't foolish enough to offer a sound-bite definition for smart-aleck hipsters to refute. Instead, he tracks hip through many manifestations and media, from Harlem to the Haight, from Betty Boop to bebop, from Walt Whitman to the Yeah Yeah Yeahs (the hipster's current rock band of choice).The foundation of hip, he argues persuasively, is uniquely American, a mongrelization of African and European influences evident in everything from blackface minstrel shows and the blues to American vernacular English (the word "hip" and the concept of "cool" both have African roots) and hip-hop's young white fans. Hip is also a convergence of the intellectual and the sensual, first seen in the American literary renaissance of the 1850s, when Whitman, Thoreau, Melville and Emerson "set down the intellectual framework for hip. Celebrating the individual and the nonconformist, advocating civil disobedience, savoring the homoerotic, and above all claiming the sensual power of the new, the writers articulated a vision of hip that we now carry everywhere like an internal compass." Then too, hip is "a form of enlightenment" that "flourishes during periods of technological or economic change," which "produce new freedoms and anxieties, and are divisive. Some people reinvent themselves through the new, others cling to the old -- they get hip, in other words, or they get corny." Thus the early 20th-century rush of immigration and urbanization, abetted by new electronic media, fostered jazz, the Harlem Renaissance and Greenwich Village bohemia; the apocalyptic dread of the new atomic age prompted the Beats to drop out of mainstream society and embrace Eastern mysticism; the economic collapse of inner cities in the 1970s hollowed out cultural wastelands in which flourished do-it-yourself youth cultures like punk, graffiti art, breakdancing and hip-hop; and the computer and the Internet gave rise to a culture of hipster geeks clicking through a virtual bohemia.Hip operates on the margins of society and among its outcasts and outlaws -- poets and painters, gays and lesbians, blacks and Jews, gangsters and gangstas, dope fiends and dropouts. They come together to form inner circles of ultimate hipness, but Leland argues that hip would die if stuck in those hermetic, elitist confines. Luckily, he says, the hip always attract the hipsters, the idlers and the slumming media who broadcast the gospel of the new to the rest of society. Thus what's hip today is absorbed and becomes tomorrow's fashion -- not just in the sense of punk's ripped jeans or hip-hop's XXL t-shirts, but in cultural and intellectual trends as well. Consider, for instance, the way hippie ideas percolated throughout mainstream Baby Boom culture, or the recent transit of gays and lesbians from pariahs to prime time. Leland argues that hipness couldn't thrive without the interest of the mainstream and sees the long and edgy relationship of hip to advertising, fashion and the media as a symbiotic one, cyclically feeding newness to the larger society while goading the hip to move on to further frontiers.This leads Leland to the perhaps inevitable conclusion that the mainstream's avid pursuit of the hip has now pushed us into a "post-hip" age when "nearly everybody is hip . . . . The squarest of American institutions, from gardening annuals to Army recruitment ads, now market themselves in two strengths: hip and hipper." And when hip became square, and vice versa, hip "passed from hip to 'hip.' The inverted commas say, 'We're both too hip to care about this hip stuff, but, you know, isn't that pretty hip?' " Uber-hipster that he is, Leland has read too many premature death-of-rock books to get caught carving hip's tombstone, so he hedges his bets, predicting that we're merely at the terminus of one long cycle of hip. The hip will rise again, he assumes, on some new margin of society.My cool friend often asks me if a book, record or movie "swings." In this case I'd have to say no. Hip is more lecture hall than dance hall, and Leland buys his Olympian overview at the price of passion. By the end I found myself wishing he knew a little less and felt a little more about his subject. It might help answer a nagging question that this book, for all its splendid depth and breadth, never quite settled for me: Why indeed should we care about hipness? But I suppose answering that would be uncool. Reviewed by John Strausbaugh Copyright 2004, The Washington Post Co. All Rights Reserved.
From Bookmarks Magazine
In Hip: A History, Leland goes far beyond our standard definitions of "hip," defined by various American writers, artists, and musicians. Critics agree that Leland’s done his homework—what’s more fun than listening to jazz, reading Beat generation literature, or watching old movies? But in his exploration of hipness, Leland leaves a little something to be desired. The book is eclectic, but not always choosy in its examples or satisfying in its analysis. While fun, Hip contains glib, overly detailed, and even offensively smug passages that can kill the life of his subject. You may not need this book to tell you what hip is—we’re sure you know it when you see it. Copyright © 2004 Phillips & Nelson Media, Inc.
From Booklist
Leland answers Tower of Power's musical question "What Is Hip?" with an arch, ironically detached attitude toward the point of and motivation for defining hipness. He undercuts astute observations and piercing social analysis by reminding himself that, if one were truly hip, one wouldn't be interested in pursuing definitions and taxonomies of hipness in the first place. That is, he expresses the essence and the superficiality of hipness perfectly. He traces hipness from African American contributions to pop culture but also unexpectedly cites such figures as Emerson, Thoreau, Melville, and Whitman, whom he calls the O.G.s, or original gangsters. He tracks ideas that bubble up from a subculture, get accepted and even pursued by the mainstream, and then are reshaped and reinvented by other subcultures before re-arising in the mainstream in altered forms. Throughout, his crisp assessments and nicely referenced observations keep the theoretical aspects of his chronicle from detracting from the fun of the subject matter. A highly readable, provocative resource on what it has meant and means to be hip. Mike Tribby
Copyright © American Library Association. All rights reserved
Newsweek
"John Leland covers it all in his essential book, Hip: The History."
Esquire
"An insightful chronicle of cool."
Time Out New York
"[Leland] takes a sweeping, analytical look at...what it means to be keenly aware of the next big thing."
Elle
"The New York Times’ John Leland offers an incisive, entertaining look at this peculiarly American cultural notion..."
Joe Levy, Rolling Stone
"What is hip? If you have to ask, ask John Leland."
Paul Krassner, author of Murder at the Conspiracy Convention and Other Absurdities and editor of Magic Mushrooms and Other Highs: From Toad Slime to Ecstasy
"John Leland combines diligent research with insight and wit."
Fab 5 Freddy
"Hip: The History is the seminal work on the topic and a must read for all you hipsters!"
Paper Magazine
"Hip: The History is the definitive work on the subject."
Time Out New York
"[Leland] takes a sweeping, analytical look at . . . what it means to be keenly aware of the next big thing."
Book Description
How an underground idea shaped American culture, from sex and music to race, fashion, drugs, commerce and the national rites of rebellion.
Hip: The History is the story of an American obsession. Derived from the Wolof word hepi or hipi ("to see," or "to open one's eyes"), which came to America with West African Slaves, hip is the dance between black and white -- or insider and outsider -- that gives America its unique flavor and rhythm. It has created fortunes, destroyed lives and shaped the way millions of us talk, dress, dance, make love or see ourselves in the mirror. Everyone knows what hip is.
This is the story of how we got here. Hip: The History draws the connections between Walt Whitman and Richard Hell, or Raymond Chandler and Snoop Dogg. It slinks among the pimps, hustlers, outlaws, junkies, scoundrels, white negroes, Beats, geeks, beboppers and other hipsters who crash the American experiment, and without whom we might all be listening to show tunes.
Along the way, Hip: The History looks at hip's quest for authenticity, which binds millions of us together in a paradoxical desire to be different. Because, as George Clinton said, "You can't fake the funk."
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