Macklemore’s 2013 tribute to thrift shops articulates the enduring association of creative output with secondhand commerce. Voluntary secondhand dress persists precisely because it suggests both cultural and economic distinction. It satisfies a desire to be seen as different than the average consumer dupe, as willing to invest time in the cultivation of originality without utilizing class and wealth privilege. In reality, however, secondhand economies and styles throughout the twentieth century are much more complicated; studying them reveals the futility of pursuing an effective anti-consumer consumption. But whatever the continuing or resurgent stigmas and social critiques...