Bobos In Paradise: The New Upper Class and How They Got by David Brooks

By David Brooks

Do you think that spending $15,000 on a media heart is vulgar, yet that spending $15,000 on a slate bathe stall is an indication that you're at one with the Zenlike rhythms of nature? Do you're employed for a type of visionary software program businesses the place humans come to paintings donning mountaineering boots and glacier glasses, as though a wall of ice have been approximately to return sliding throughout the car parking zone? if this is the case, you are a Bobo.

In his bestselling paintings of ''comic sociology,'' David Brooks cash a brand new be aware, Bobo, to explain trendy higher type -- those that have wed the bourgeois global of capitalist firm to the hippie values of the bohemian counterculture. Their hybrid way of life is the ambience we breathe, and during this witty and severe examine the cultural effects of the data age, Brooks has outlined a brand new iteration.

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Extra resources for Bobos In Paradise: The New Upper Class and How They Got There

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Rather, the kind of transformation we've seen in Wayne and in the rest of America's upscale neighborhoods is a symptom of a profound cultural shift. The demographic changes described in the last chapter have come to Wayne. The educated-class meritocrats have taken over the old Main Line suburb, j ust as they took over the elite colleges and the New York Times weddings page. The manor grounds have been broken up, and developers have put up $ 600,000 homes for the multidegreed profes- CONSUMPTION 61 sionals.

Upper . m1ddle class women, of necessity, do go into the kitchen from time to time but wish to leave the impression they do not. " At the same time, but at the oppo­ slte end of the cultural continuum, Betty Friedan and her fellow feminists were also urging their sisters to get out of the kitchen. But today in the age of Bobo reconciliation , a . ' ( ;ON SUMPTION 87 or her own everybody is back in the kitchen, alb eitd-clonasshishom es, the terms. Indeed, in today's educate estic blis s, the way kitchen has become the symbol of dom e.

They would encourage a simple and natu­ ralist style of life. They would offer "an escape" from the " machine of commercial tyranny" where people could get their spiritual lives in balance. Stickley meant his Arts and Crafts and Mission styles to be a craftsmanlike alternative to the grandiose styles of the merchant princes, though, the bourgeoisie being the bourgeoisie, the merchants quickly co-opted his products. The Astors and the Rocke­ fellers hired Stickley to furnish their country retreats.

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