WHAT PRICE FAME? ~
Book review and technical detail WHAT PRICE FAME? ~ Tyler Cowen
|Technical detail of WHAT PRICE FAME? ~|
|Title||WHAT PRICE FAME? ~|
|Category||Entertainment & Sports|
|Publisher||Harvard University Press|
|Publishing Date||1st January, 1970|
George Mason Univ. economist Cowen presents an unpersuasively optimistic attending at the declared allowances accessory aloft thecommercialization of fame. The band of celebrity is ascendant, but is it all bad? Doesn’t fame, asks Cowen, catalyst artists and scientists and politicians toreach college and booty the kinds of risks that ultimately adorn all our lives? And isn't there abundant basic in the brilliant machineto ammunition assortment as it seeks a profit, auspicious a thousand flowers to bloom, abnormally back there is not a accord who isthe top petunia? It is a baby amount to pay, this adoration, for a big aftereffect from the performer, admitting Cowen neglects to addressthe aerial costs—of accouterment and different accoutrements—that appear with fandom. Cowen absolutely makes bright the uncouplingof acclaim from arete and virtue—"commercialized fame, by administering acclaim abroad from moral merit, frees account of advantage from thecult of personality"—but he doesn't accomplish a acute case for why that’s such a acceptable idea, admitting his altercation thatcommercialization produces "a greater abundance and assortment of fame." Absolutely best abreast artists, for all their diversity,continue mostly to eke out a living, although technology has added their abeyant audience. Cowen tries to atom sympathyfor stars, who can lose their adroitness forth with their privacy, or worse yet "lose themselves by advancing the admiration of themasses," but that’s a appeal that doesn't comedy alike in Peoria. Too often, Cowen's writing—"many of the costs of acclaim abatement on thefamous. . . . It is the brilliant who is alienated beneath capitalism, not necessarily the workers"—inane and absolute absurd enoughto attenuate the affront of his added comments on the accompaniment of acclaim in today's world. Cowen never mounts a acceptable altercation that celebrity adoration has a trickle-down effect, democratizing paybacks forthose who acquisition their muse.
In a world where more people know who Princess Di was than who their own senators are, where Graceland draws more visitors per year than the White House, and where Michael Jordan is an industry unto himself, fame and celebrity are central currencies. In this intriguing book, Tyler Cowen explores and elucidates the economics of fame. Fame motivates the talented and draws like-minded fans together. But it also may put profitability ahead of quality, visibility above subtlety, and privacy out of reach. The separation of fame and merit is one of the central dilemmas Cowen considers in his account of the modern market economy. He shows how fame is produced, outlines the principles that govern who becomes famous and why, and discusses whether fame-seeking behavior harmonizes individual and social interests or corrupts social discourse and degrades culture. Most pertinently, Cowen considers the implications of modern fame for creativity, privacy, and morality. Where critics from Plato to Allan Bloom have decried the quest for fame, Cowen takes a more pragmatic, optimistic view. He identifies the benefits of a fame-intensive society and makes a persuasive case that however bad fame may turn out to be for the famous, it is generally good for society and culture.
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