This posture stems from the so-called free-rider problem, a cornerstone of rational-choice theory. The problem, as described by Mancur Olson in his classic book, “The Logic of Collective Action,” is that even those who share a presidential candidate’s policy goals will reap no significant material advantage by donating their time or money. After all, with cash donations legally capped at $2,300, even donors who give the maximum have no realistic hope of influencing an election’s outcome. Nor can any individual volunteer — even one whose efforts resulted in hundreds of additional votes for his candidate — realistically hope to tip an election.

Although the logic of the free-rider problem may seem compelling, people’s behavior strikingly contradicts many of its predictions. Die-hard proponents of self-interest models sometimes counter that by becoming involved in campaigns, volunteers reap a variety of personal advantages. They often meet interesting people, for example, or they may learn about attractive employment opportunities. Major donors, for their part, are often rewarded with ambassadorships or other prominent positions when their candidate wins.

Researchers at the intersection of economics, psychology, sociology and other disciplines have had interesting things to say about the anomaly inherent in collective action. Albert O. Hirschman, an economist at the Institute for Advanced Study at Princeton, was one of the first to grapple seriously with it. In his 1982 book “Shifting Involvements,” he acknowledges that self-interest indeed appears to be the dominant human motive in some eras. But over time, he argues, many people begin to experience disappointment as they continue to accumulate material goods. When consumption standards escalate, people must work harder just to hold their place. Stress levels rise. People become less willing to devote resources to the public sphere, which begins to deteriorate. Against this backdrop, disenchanted consumers become increasingly receptive to appeals from the organizers of social movements.

Eventually, Mr. Hirschman argues, a tipping point is reached. In growing numbers, people peel away from their private rat race to devote energy to collective goals. The free-rider problem ceases to inhibit them, not only because they now assign less value to private consumption, but also because they find satisfaction in the very act of contributing to the common good. Activities viewed as costs by self-interest models are thus seen as benefits instead.

From an informal survey of 20th-century American social movements, Mr. Hirschman concluded that these cycles have an average duration of about 20 years. But sometimes patterns take much longer to recur.

Self-interest is surely an important human motive, perhaps even the most important motive much of the time. But it is never the only important motive. And during at least some moments in history, narrow self-interest models miss the essential story line completely. This may be one of those moments.

Read the full article at The New York Times.
Robert H. Frank is an economist at the Johnson School of Management at Cornell University. E-mail: rhfrank@nytimes.com.

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The Guardian has described Fentazis’ compositions as having “breadth and atmosphere, and his oud soloing, which recalls the drive and dynamism of world oud star Anouar Brahem, is often stunning,”.

Having played music almost all his adult life, Fentazi recalls how as a young boy he didn’t have the means to buy any musical instruments’, he resorted instead to “buy music and listen, which was good because I started to develop my musical ear. Then slowly, slowly I bought my first guitar in 1980.”

Entrepreneurial from the start Fentazi tried to find a teacher to teach him, unsuccessful because he was ‘too old’ at 16 to learn the guitar, Fentazi taught himself. Now when he composes, Fentazi starts with the bass line, playing it on his guitar and later adding the melody. These days Fentazi prefers to play the oud, an ancient Arabic lute, “it is something different and people respond to the sound.” Other instruments Fentazi plays are flutes, percussion and the zorna. All these instruments, Fentazi has taught himself, “I don’t know how,” he says laughing. Renown for the compelling atmosphere Fentazi’s live performances evoke, he is acutely coy, “The best audiences? You can find them anywhere, but it depends how you perform. If you are happy and perform well then you create a good vibe and audience.”

Performances with other prominent musicians most notably include Robert Plant, Ali Slimani, Cheb Mami, Orchestra National de Barbes, and Natacha Atlas. Fentazi is laid back about the number of requests made for collaborations; always he insists “they contact me.” On working with Natacha Atlas, Fentazi is unfazed, “I have been propositioned by Natacha Atlas, who is a very, very nice person and extremely helpful, she said if I want to work together anytime, but I told her it is too late for this album, maybe next time.”

Mul Sheshe (The Turbaned One), Fantazias’ much anticipated second album is to be released this month by Harmonium Monday Records. The title song is “quite funny,” explains Fentazi, “it is about a guy who is confused. He comes from a traditional small village; from there he goes to a big very modern city. And he gets confused.

“Does he go left? Does he go right? Which way to go?”

Mul Sheshe is available from Harmonium Monday Records from July.
See Fantazia at Queen Elizabeth Hall on 9th July 2005

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Queen Elizabeth Hall
16 July 2005 7.45pm
All tickets £17.50

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The world of tattooing in the western world stems from gangs and outsiders – bikers and sailors – and originally criminals and slaves. From this extreme deviancy, body art has blossomed into the mainstream through a kaleidoscope of fashion, celebrity endorsement, popular cultural movements such as the hippy era, punk and the increasing liberty from conservatism the middle classes have experienced over the last decade.

It is the exciting branding of identity and social communication through physical expression, as well as the association in the west with rebellion, which has captured the fashion designers’ imaginations. In his 1993 fall collection, Jean-Paul Gaultier put his sheer bodysuit coated in tattoo enthused twists and spins on the catwalk, creating a new step in acceptability for the look. Inspiration for this show came from the contrasting sources of banknotes and his eternal interest in Hells Angels and mariners. Galliano combined underground, sexy Film Noir imagery with ‘old-school ink’ full body tattoo suits at Glow, Vancouver, 2004, creating a huge spin off in tights and sleeves on the high street.

Galliano founded his body art creations largely from western ideas of tattooing, but interestingly, on the far side of the world tattoos have converse connotations. Rather than a mark of rebellion and therefore often exclusion, they offer inclusion and are a mark of respect and recognition, of status and tell narratives of ancestral history. The word tattoo is actually derived from the Tahitian, ‘ta tau,’ to mark. Gaultier has used this body art culture for ideas as has Paco Rabanne, both leading to huge debate. Many Polynesians and Maori felt offended by this use of their iconography, disregard shown for the symbolism of the markings. It is not usually felt that Polynesian tattoo is impossible to incorporate into western culture however. Robbie Williams’s piece on his shoulder and Ben Harper’s full back Moko have been executed by traditional artists from the original countries and most feel this is completely acceptable.

Following their hero’s lead or the latest fashions are fine, but interestingly many don’t consider that you can’t take off a tattoo like a T-shirt. Decorating one’s body ultimately leads to judgments, not always positive and once there, the marked and their viewers are left with the impression. Tattooing is an exciting and constantly evolving art form, all the more fascinating now that it’s coming out of the land of deviancy to become a familiar expression of freedom.

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London Fashion Week 2005, awaits. In the hubbub of Fashion Week’s trendy events, East London’s mirrorstudios presents the London Fashion Week 2005 off-schedule fashion show.

Offering a platform, or rather a catwalk for new fashion talent to showcase their creative flair. To be held at mirrorstudios, there will be four fashion shows per day and showcases will run with each designer having their individual fashion shows throughout the day. Among those putting on shows are Jatin Patel, Raishma Islam, Ema Womersley and the labels Son of a Stag and Leathertex.

Designers with Asian influences add to the eclecticism of the show. Bringing flavour to the catwalk is Jatin Patel an exciting Anglo- Indian designer who will be showcasing his debut collection of women’s wear, personify which, according to Jatin competes at “fusing the boundaries between decadent eveningwear with work wear.” Jatin is looking forward to launching his womens wear fashion label, believing in the “individuality and dualities of women” and hopes to emphasise this with his label. Raishma Islam is a couture-trained designer fast making her presence known with a growing celebrity clientele. Already with creations adorning the pages of Vogue Brides and Hello magazine, Raishma boasts an amazing eye for detail producing amongst her creations hand embroidered wedding gowns and catsuits. With that in mind, Raishma operates by, “fusing her East-West roots to produce sexy, elegant clothes with the most beautiful detail, colour and cut.”

The label Son of a Stag comprises of a creative team of four, Emma Gibson, Ricci Williams, Fred Fan and Tai Li, who all operate in and around East London. The team agree that “participating in many other fashion, music and arts events held locally provides excellent brain food for this diverse collective, and allows them to really be one step ahead with trend prediction from hidden side streets.” The label intends to re-launch its new face with their new Spring/Summer ’06 menswear collection.

Ema Womersley, will be bringing her accessories collection, which includes hand-made feather earrings, fabric purses, scarves and belts. Her designs can be found at stalls in both Spitalfields and Portobello markets.
London Fashion Week Off-Schedule Fashion Show
18-26 September 2005
Mirrorstudios
55 Fashion Street, E1 6PX
020 7247 6556

Jatin Patel presents his debut collection ‘Personify’ for Spring / Summer 2006 launching, his Womenswear Fashion label. The contemporary brand blends the boundaries between work wear and decadent eveningwear. The innovative collection is an exploration into the Contemporary representations of feminine displays of power and protection, through the implementation of traditional masculine attire with symbolic armour.

Contact Details
jatinpatel1@london.com
Tel: 07787572700

Raishma
Raishma Islam has long been one of London‘s fashion scene’s biggest secrets. The hugely talented designer has created stunning wardrobes for some of UK‘s wealthiest and most high profile fashionistas – including leading actors, politicians, pop stars and royalty.

Contact Details
Tel: 020 8795 4110
designs@raishma.co.uk
www.raishma.co.uk

Leathertex Direct
stock and sell quality leather jackets made from sheepskin or cow hide

Contact Details
Tel: 015394 88100
Fax: 015394 88300
www.leathertexdirect.com

 Designer Handbag Shop | Angelina Jolie Style

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Ismail Kadare, Albanian writer of broad international reputation who has been living in France, has won the first ever Man Booker International Prize recently. He has received the prize of £60,000 and a trophy at the Award Ceremony on 27 June 2005 in Edinburgh.

Kadare was born in 1936 in Gjirokaster near the Greek border in the south of Albania. He studied first at the University of Tirana, and then in Moscow, at the Gorky Institute for World Literature, a training school for writers and critics. Returning home in 1960 after his country broke off relations with the Soviet Union, he worked first as a journalist and also published his first poems. He then wrote a short story, which he redrafted several times before it was published as his first novel, The General of the Dead Army, which made his name in Albania. He was then able to become a full-time writer. He also served as editor of a literary review, Les Lettres Albanaises, published simultaneously in Albanian and in French.

He had begun his literary career in the 1950s as a poet with verse collections such as the modest Frymezimet djaloshare (Youthful inspiration, 1954) and Enderrimet (Dreams,1957) which gave proof not only of his ‘youthful inspiration’ but also of talent and poetic originality. His influential Shekulli im (My century, 1961) helped set the pace for renewal in Albanian verse. Perse mendohen keto male (What are these mountains thinking about, 1964) is one of the clearest expressions of Albanian self-image under the gruesome years of the Hoxha dictatorship. Kadare’s poetry was less bombastic than previous verse and gained direct access to the hearts of the readers who saw in him the spirit of the times and who appreciated the diversity of his themes. He soon became widely admired among the youth of Albania for his verse. With candidness and sincerity, he contributed in particular to the evolution of love lyrics, a genre traditionally neglected in Albanian literature.

In the sixties, Kadare turned his creative energies increasingly to prose, of which he soon became the undisputed master and by far the most popular writer of the whole of Albanian literature. He was thus the most prominent representative of Albanian literature under the dictatorship of Enver Hoxha and, at the same time, its most talented adversary. His works were extremely influential throughout the seventies and eighties and, for many readers, he was the only ray of hope in the prison that was communist Albania.

Kadare was granted political asylum in France in October 1990. In support of him asylum, he said, “Dictatorship and authentic literature are incompatible… The writer is the natural enemy of dictatorship.”

His years of Parisian exile have been productive and have accorded him further success and recognition, both as a writer in Albanian and in French. He has published his collected works in ten thick volumes, each in an Albanian-language and a French-language edition, and has been honoured with membership in the prestigious Académie Française.

Kadare’s works are published in France by Editions Fayard. The first eleven volumes of his Complete Works are now in print in Albanian and in French. Translations of Kadare’s novels have been published in more than forty countries and for some years Ismail Kadare has been considered as one of the greatest writers of his epoch.

He is a writer who “maps a whole culture – its history, its passion, its folklore, its politics, its disasters. He is a universal writer in a tradition of storytelling that goes back to Homer,” said Professor John Carey, Chair of the judges. In response to winning the prize, Kadaré comments: “I am a writer from the Balkan Fringe, a part of Europe which has long been notorious exclusively for news of human wickedness – armed conflicts, civil wars, ethnic cleansing, and so on. My firm hope is that European and world opinion may henceforth realise that this region, to which my country, Albania, belongs, can also give rise to other kinds of news and be the home of other kinds of achievement, in the field of the arts, literature and civilisation.”

Other writers who were nominated for the International Booker Prize this year were Margaret Atwood (Canada), Saul Bellow (USA: passed away on 5 April 2005), Gabriel Garcia Marquez (Colombia), Gunter Grass (Germany), Milan Kundera (Czech), Stanislaw Lem (Poland), Doris Lessing (UK), Ian McEwan (UK), Naguib Mahfouz (Egypt), Tomas Eloy Martinez (Argentina), Kenzaburo Oe (Japan), Cynthia Ozick (USA), Philip Roth (USA), Muriel Spark (Scotland), Antonio Tabucchi (Italy), John Updike (USA), A.B. Yehoshua (Israel).

The following of Kadare’s titles have been translated into English: The General of the Dead Army, The Three Arched Bridge, Broken April, Chronicle in Stone, Durontine, The File on H, The Concert, The Palace of Dreams, Albanian Spring, The Pyramid, Elegy for Kosovo, Spring Flowers, Spring Frost, The Successor (forthcoming, January 2006), Agamemnon’s Daughter (forthcoming, date TBC)

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