Don’t Crush Our Heart: Poking Fun At The Super Hip.

Ashley Goetz

“Don’t Crush Our Heart” cast looking their finest. Not Pictured: Andy Sturdevant and Tony Mogelson Photo Courtesy of Electric Arc Radio

In a recent Adbusters article, journalist Douglas Haddow labeled hipsters as âÄúthe dead end of western civilization.âÄù It may be terrifying to face the reality associated with the style-obsessed and passively aggressive nihilistic aspects of the âÄúhipster movement,âÄù but at least it remains ripe with possibility for satire. Delving into this sticky world of low cut V-neck T-shirts and fixed gear bikes is the new collaborative production between Andy Sturdevant and The Lit Six Group, called âÄúDonâÄôt Crush Our Heart: A Musical Legal Thriller About A Twee Band.âÄù The creators describe the comedy as âÄúa harrowing tale of ambition, money, skinny jeans, urban gentrification, 19th Century agricultural subsidies, Ukrainian electro DJs, converted lofts, tandem bicycles, the Staten Island ferry, trade tariffs, the American legal system and 9.5 Pitchfork ratings .âÄù The exodus story of indie rock outfits leaving their Midwestern origins once they get good is a subject all too familiar for most Minneapolitans. Bands like The Hold Steady have enjoyed an enormous amount of celebrity since their departure from the Twin Cities for the argyle shores of hipster Brooklyn. However, in âÄúDonâÄôt Crush Our Heart,âÄù the town decides not to let their band leave. The musical is based on Minneapolis writer Andy SturdevantâÄôs popular faux-blog âÄúThe Armitage Heights Clarion .âÄù It follows a Midwestern townâÄôs legal action to prevent their beloved twee indie band Moon Island from being able to move to Williamsburg, Brooklyn . This inherently ironic and comical premise, mixed with a talented cast of actors and musicians from Electric Arc Radio , as well as a cameo by Maria May of The Owls show that âÄúDonâÄôt Crush Our Heart,âÄù could be at worst funny and at best brilliant. The fact that thereâÄôs nothing hipsters love more than irony might make the musical somewhat of a double-edged sword. In this ultra-trendy sect of culture, thereâÄôs no better way for media to get popular than by making fun of itself, and âÄúDonâÄôt Break Our HeartsâÄù could get caught in the crossfire of the reflexive self-awareness and aptness for self-reference that indie kids perpetuate, thereby becoming ultra-hip itself. But the musical doesnâÄôt appear to be a pointless commodity; with such an apt plotline, âÄúDonâÄôt Break Our HeartsâÄù should transcend pop kitsch into the realm of true art. Perhaps this homegrown Minnesota musical will eventually move out east âÄî in a jalopy tour bus with a hilarious wardrobe of skin tight knee-length cut-offs and Daft Punk robot jackets. Oh, the irony.