Download Adbusters, Issue 95: The Philosophy Issue PDF

AB95: The Philosophy Issue
(May/June 2011)

Featured during this issue:

inventive Director: Pedro Inoue
Tzvetan Todorov on American torture
Darren Fleet discusses this generation’s “apocalypse”
We discover America’s function in Egypt’s darkish past
Pentti Linkola’s view on inhabitants control
Micah White demands revolution opposed to American decadence
Michael Löwy explores advertising’s have an effect on on our health
We ask: What concerns in existence? What concerns in dying?

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Hit Broadway shows like Angels in America, Oleanna, and The Vagina Monologues took America’s cultural pulse, while musicals like Rent and The INTRODUCTION 15 Lion King garnered huge audiences. ) The Cirque du Soleil’s inventive act moved to Las Vegas. Radio increasingly targeted niche audiences. Country music garnered new fans thanks to singers like Garth Brooks, Dwight Yoakum, and the Dixie Chicks. Hip-hop and rap spoke to global audiences and influenced fashion, too. By the end of the 1990s, few could ignore Latin pop: Ricky Martin and Selena rocked.

Three of the four top-grossing films featured beleaguered white males in need of redemption. 2 In the latter film, the casting of a dark-skinned Puerto Rican hit man (Rick Avila) played to the same racist imagination that pictured Stuart’s phantom hijacker as black. As the African American psychic who communicates with and eventually embodies the murdered white hero, Whoopi Goldberg plays a controversial role described variously as a “mammy” and a white fantasy of African American spirituality (Jones, “Defiant Ones” 69; Mayne 142–56; Merck 21–37).

Michael Corleone’s decision to move his investments to Vatican businesses is ironic because the latter turn out to be as corrupt as anything Corleone had run in Atlantic City. However, the financial legitimacy that Corleone craves in the plot is eerily mimicked in the film’s aspirations to cultural legitimacy. The move to Italy culminates in 1990 — MOVIES AND THE OFF-WHITE GANGSTER 31 the opera sequence, in which the theater performance is intercut with shots of political assassinations and mob traps, leading to the accidental death of the daughter that echoes the ending of King Lear.

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