Vauhini Vara

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The Kardashians are the human detritus of capitalism, but they have a market.

It’s obviously no secret that fame has never been more lucrative and the Warholian fifteen minutes now stretches on seemingly forever. It’s the dark side of democracy, the gates, stormed, are gone for good. It’s one of those times when a victory seems like a loss. The opening of an interesting New Yorker blog post by Vauhini Vara about a service that aims to further capitalize on the shallow end of the talent pool:

If you’ve been dying to lunch with Mike Tyson before watching his one-man performance from the front row, you may be in luck. If Only, a Web site run by the San Francisco entrepreneur Trevor Traina, will set it up for fifty thousand dollars. You can also meet the singer Shakira for fifteen thousand dollars, or dine at the estate of the celebrity chef Michael Chiarello, with him, his wife, and eleven of your guests, for twelve thousand dollars. Madonna, Joe Montana, and Alice Waters have also offered ‘experiences’ through the site.

‘We’re recognizing that anyone who’s a top talent or a luminary has a natural market for their expertise, but no one has really created that marketplace for them,’ Traina told me over the phone last week. ‘Their time and attention has value, just like an empty guest room has value.’ IfOnly, in other words, aims to do for celebrities what Airbnb did for guest bedrooms: help people squeeze revenue from the unmonetized spaces in their own lives.•

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At the New Yorker‘s “Currency” blog, Vauhini Vara and Vijith Assar have published “What the Dow Tells Us About Ourselves,” a fun, interactive timeline that explains how companies were viewed in America in the year they were added or subtracted from the Dow. From “1991 through 2004”:

“It’s easy to forget that the late eighties and early nineties saw as strong a backlash against consumer culture as we’ve seen in the post-Vietnam era: it was in those years, remember, that Nirvana and Clerks happened. It also happened to be the period in which the Dow added both McDonalds and Walt Disney, two of the era’s most memorable symbols of capitalism’s effect on our culture. By the time Walt Disney joined, in 1991—the year it released Beauty and the Beast—the company had long been seen in some quarters as an evil empire. In a 2006 article for the magazine, Anthony Lane, quoting a 1971 broadside by the writer and activist Ariel Dorfman, wrote, ‘Disney has somehow become shorthand for the cushioning with which, knowingly or otherwise, we protect and console ourselves against experience: ‘All the conflicts of the real world, the nerve centers of bourgeois society, are purified in the imagination in order to be absorbed and co-opted into the world of entertainment.’’ (The broadside’s title: How to Read Donald Duck: Imperialist Ideology in the Disney Comic.) By the end of the nineties, of course, people were distracted by a new trend in consumer culture: the rise of the technology industry, which brought Hewlett-Packard to the average in 1997, followed by Microsoft and Intel in 1999.”

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