Selling Out - You are Not So Smart by David McRaney

Selling OutRead more at location 1943

Note: Teoria standard: il capitalismo è sostenuto dala creazione di bisogni indotti da parte delle multinazionali... Comportamento classico: prendiamo le misure al mondo dove siamo capitati e ci "ribelliamo" ad esso x costruire la ns idetità... Il ribelle è la linfa del consumismo: senza stili altrrnativi il magazzino non si rinnova Edit

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THE MISCONCEPTION: Both consumerism and capitalism are sustained by corporations and advertising.Read more at location 1945

Note: x ILLUSIONE Edit

THE TRUTH: Both consumerism and capitalism are driven by competition among consumers for status.Read more at location 1946

Note: x VERITÀ Edit

Beatniks, hippies, punk rockers, grunge rats, metal heads, goth kids, hipsters—Read more at location 1947

Note: x I RIBELLI. METTIVI ANCHE PASOLINI Edit

Whether you lived through the Summer of Love or South Park, somewhere in your youth you started to realize who was in control, and you rebelled.Read more at location 1948

Note: x GOOVENTÙ. PER MOLTI DURA UNA VITA. Edit

you sought out something real, something with meaning.Read more at location 1949

Note: c Edit

Think about an archetypal punk rocker with chains and spikes, gaudy pants and a leather jacket. Yeah, he bought all of those clothes. Someone is making money off of his revolt. That’s the paradox of consumer rebellion—everything is part of the system.Read more at location 1954

Note: x PUNKETTONI CHE SPENDONO Edit

Every niche opened by rebellion against the mainstream is immediately filled by entrepreneurs who figure out how to make a buck off those who are trying to avoid what the majority of people are buying.Read more at location 1956

Note: x NN SI ASPETTA ALTRO Edit

Fight Club, American Beauty, Fast Food Nation, The Corporation, etc. The creators of these works may have had the best intentions, but their work still became a product designed for profit.Read more at location 1958

Note: La denuncia Edit

Note: x FILM. RIBELLIONI AL BOTTEGHONO Edit

Michael Moore, Noam Chomsky, Kurt Cobain, Christopher Hitchens—they may have been solely concerned with creating art or illustrating academic principles, but once their output fell into the marketplace, it found its audience, and that audience made them wealthy.Read more at location 1960

Note: x ARTISTI E SCRITTORI Edit

Joseph Heath and Andrew Potter,Read more at location 1962

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The Rebel Sell.Read more at location 1963

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you can’t rage against the machine through rebellious consumption.Read more at location 1963

Note: TESI DEL LIBRO Edit

All the interconnected institutions in the marketplace need everyone to conform in order to sell the most products to the most people.Read more at location 1964

Note: L'assunto convenzionale. Edit

Note: x ORTODOSSIA: SI DEVE OMOLOGARE X VENDERE Edit

To escape consumerism and conformity, you must turn your back and ignore the mainstream culture.Read more at location 1966

Note: x COROLLARIO: SALVATI USCENDO DA MAIN Edit

The problem, say Heath and Potter, is the system doesn’t give a shit about conformity. In fact, it loves diversity and needs people like hipsters and music snobs so it can thrive.Read more at location 1969

Note: x IL MERCATO PROSPERA SULLA DIVERSITÀ E L ALTRNATIVO Edit

For example, say there is this awesome band no one knows about except you and a few others. They don’t have a record contract or an album. They just go out there and play, and they are great. You tell everyone about them as they build a decent fan base. They make an album that sells enough copies to allow them to quit their day jobs. That album gets them more gigs and more fans. Soon they have a huge fan base and get a record contract and get on the radio and play on prime time. Now they’ve sold out.Read more at location 1970

Note: x PARABOLA Edit

In the 1960s, it took months before someone figured out they could sell tie-dyed shirts and bell bottoms to anyone who wanted to rebel. In the 1990s, it took weeks to start selling flannel shirts and Doc Martens to anyone anywhere.Read more at location 1977

Note: x ALTRI ESEMPI Edit

Now people are hired by corporations to go to bars and clubs and observe what the counterculture is intoRead more at location 1979

Note: x OSSERVATORI DELLA CONTROCULTURA ASSOLDATI Edit

The counterculture, the indie fans, and the underground stars—they are the driving force behind capitalism.Read more at location 1980

Note: c Edit

This brings us to the point: Competition among consumers is the turbine of capitalism.Read more at location 1981

Note: x L ESSENZA DEL CAPITALISMO Edit

As Christian Lander, author of Stuff White People Like, pointed out in a radio interview, you compete with your peers by one-upping them. You attain status by having better taste in movies and music, by owning more authentic furniture and clothing.Read more at location 1989

Note: x FIGO Edit

so you reveal your unique character through your consumption habits.Read more at location 1991

Note: c Edit

your desire for authenticity is what moves these items and artists and services and goods up from the bottom to the top—where they can be mass-consumed.Read more at location 1995

Note: x AUTENTICITÀ Edit

It is ironic in the sense the very act of trying to run counter to the culture is what creates the next wave of culture people will in turn attempt to counter.Read more at location 1997

Note: x ONDA SU ONDA Edit

The value, then, is not intrinsic. The thing itself doesn’t have as much value as the perception of how it was obtained or why it is possessed.Read more at location 2002

Note: x UN VALORE NN INTRINSECO Edit

Competition for status is built into the human experience at the biological level. Poor people compete with resources. The middle class competes with selection. The wealthy compete with possessions.Read more at location 2005

Note: x VARI LIVELLI DI VOMPETIZIONE Edit