Editor's Choice

Private life drama, baby, leave me out

Social-network researcher Danah Boyd responds to Mark Zuckerburg's declaration that "age of privacy is over" and makes a good point about the relative value of privacy (link from P2P Foundation).

Sure, many teens repeatedly tell me "public by default, private when necessary" but this doesn't suggest that privacy is declining; it suggests that publicity has value and, more importantly, that folks are very conscious about when something is private and want it to remain so. When the default is private, you have to think about making something public. When the default is public, you become very aware of privacy. And thus, I would suspect, people are more conscious of privacy now than ever. Because not everyone wants to share everything to everyone else all the time.

It may be too late to worry about "public" becoming the default; the soft-surveillance society may already have become a fait accompli. As Boyd points out, "It's in Facebook's economic interest to force people into being public, even if a few people break up with Facebook in the process." But because "public-ness has always been a privilege" many don't experience this as coercive and volunteer to participate, and continue to participate even after they discover they might be more expose than they thought because of confusing privacy settings and terms of service agreements. Also, once a person's network is built within a particular site's architecture, it becomes very hard to check out, when the reciprocal expectation is that you'll be there, ready to respond and to update in order to maintain the (now mediated) friendship with others.

Boyd writes that "The best way to maintain privacy as a public figure is to give folks the impression that everything about you is in public." This is something that has always escaped me about the use of status updates and the like. If you add enough of them, what you don't share gets more protected, more private, hidden behind the smokescreen of the ephemera we do share. The problem is that the shared self we create online then becomes something trivial itself. We find ourselves forced into a position of inventing a shallow, superficial self to guarantee the intimate self can escape exposure.

Cover down, pray through: Bob Dylan's underrated, misunderstood "gospel years" are meticulously examined in this welcome new installment of his Bootleg series.

"How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?"
-- Bob Dylan, "When He Returns," 1979

Bob Dylan's career has been full of unpredictable left turns that have left fans confused, enthralled, enraged – sometimes all at once. At the 1965 Newport Folk Festival – accompanied by a pickup band featuring Mike Bloomfield and Al Kooper – he performed his first electric set, upsetting his folk base. His 1970 album Self Portrait is full of jazzy crooning and head-scratching covers. In 1978, his self-directed, four-hour film Renaldo and Clara was released, combining concert footage with surreal, often tedious dramatic scenes. Dylan seemed to thrive on testing the patience of his fans.

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TV

Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

That the political class now finds itself relegated to accidental Alan Partridge territory along the with rest of the twits and twats that comprise English popular culture is meaningful, to say the least.

"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

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The show is called Crazy Ex-Girlfriend largely because it spends time dismantling the structure that finds it easier to write women off as "crazy" than to offer them help or understanding.

In the latest episode of Crazy Ex-Girlfriend, the CW networks' highly acclaimed musical drama, the shows protagonist, Rebecca Bunch (Rachel Bloom), is at an all time low. Within the course of five episodes she has been left at the altar, cruelly lashed out at her friends, abandoned a promising new relationship, walked out of her job, had her murky mental health history exposed, slept with her ex boyfriend's ill father, and been forced to retreat to her notoriously prickly mother's (Tovah Feldshuh) uncaring guardianship. It's to the show's credit that none of this feels remotely ridiculous or emotionally manipulative.

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If space is time—and space is literally time in the comics form—the world of the novel is a temporal cage. Manuele Fior pushes at the formal qualities of that cage to tell his story.

Manuele Fior's 5,000 Km Per Second was originally published in 2009 and, after winning the Angouléme and Lucca comics festivals awards in 2010 and 2011, was translated and published in English for the first time in 2016. As suggested by its title, the graphic novel explores the effects of distance across continents and decades. Its love triangle begins when the teenaged Piero and his best friend Nicola ogle Lucia as she moves into an apartment across the street and concludes 20 estranged years later on that same street. The intervening years include multiple heartbreaks and the one second phone delay Lucia in Norway and Piero in Egypt experience as they speak while 5,000 kilometers apart.

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Featuring a shining collaboration with Terry Riley, the Del Sol String Quartet have produced an excellent new music recording during their 25 years as an ensemble.

Dark Queen Mantra, both the composition and the album itself, represent a collaboration between the Del Sol String Quartet and legendary composer Terry Riley. Now in their 25th year, Del Sol have consistently championed modern music through their extensive recordings (11 to date), community and educational outreach efforts, and performances stretching from concert halls and the Library of Congress to San Francisco dance clubs. Riley, a defining figure of minimalist music, has continually infused his compositions with elements of jazz and traditional Indian elements such as raga melodies and rhythms. Featuring two contributions from Riley, as well as one from former Riley collaborator Stefano Scodanibbio, Dark Queen Mantra continues Del Sol's objective of exploring new avenues for the string quartet format.

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