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He wanted his own world, one in
which the problem of mixing with the squares would be non-existent. 'To be called
a square in those days was to be square in music only; which, in a strange
sense, was much worse than being generally square.' Of course it was. Often he
didn't even bother to use the word 'square'; a shrug of the shoulders, and a
weary 'oh, man ', would be sufficient to dismiss the opposition. The hipster language
was laconic at best, and one step removed from inarticulacy at worst: 'There
were no neutral words in this vocabulary; it was put up or shut up, a purely
polemical language in which every word had a job of evaluation as well as
designation. These evaluations were absolute; the hipster banished all comparatives,
qualifiers, and other syntactical uncertainties. Everything was dichotomously solid,
gone, out of this world, or nowhere, sad, beat, a drag'.
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