Editor's Choice

Overfollowing on Twitter

Just a few days after having my first experience with Twitter and "real-time search" that could be remotely characterized as useful, I'm reading in this Mark Gimein essay at the Big Money that Twitter is doomed.

The irony of Twitter is that even as it becomes more pervasive, it is in danger of very quickly becoming markedly less useful. Twitter is in danger of collapsing under its own weight. Not because of its problems keeping up with traffic—those are solvable—but because the volume of material that Twitter unleashes now puts impossible demands on its users' time and attention. The problem, in a nutshell, is information overload. The more Twitter grows and the more feeds Twitterers follow, the harder it gets to mine it for what is truly useful and engaging. Even as Twitter reaches a peak in the cultural cred cycle, it's time to start asking how it can be saved from itself.

The problem, in Gimein's view, is that users are too profligate in who they follow, making the concept meaningless -- the number of followers one has is no indication of the amount of people who are actually reading what you have to say, even when it comes in telegraphic blasts. This line of reasoning suggests how Twitter works to quantize communication, making the numbers in the audience more important than what's said. Of course, that has always been true of ratings-driven media, but it hasn't been true for our conversations.

But the genius of Twitter as a potential business is that it turns ordinary people into media companies. It lets us subject our conversations to Nielsen-like ratings, to regard our communications as a product conveying our personal brand. Then we can crunch the numerical data Twitter supplies to tweak our brand, and see what works to improve the numbers, which serve as proxy for our relevance and reach and, by extension, our right to feel important. Then these numbers can be used to sell ads as well -- we can indicate to advertisers what sort of demographic we have in our followers, making it a new way to monetize our friendships, following the inroads Facebook has made in that department. In the process, we become a product, a package of manipulatable content.

Gimein's critique has nothing to do with decrying that process of reification. He's more concerned with effective filtering. I think real-time search makes the following/followed concept meaningless to practical information gathering -- the followers number is all about status and ersatz influence measurement, not communication in any conventional sense. Twitter is less about disseminating information than it is about subjects trying to make themselves feel more real, ontologically speaking, in a increasingly mediated world.

Gimein's argument almost incidentally indicates how fragile the illusion of self-branding is -- we can fixate all we want on the numbers and the illusion of control that gives us over how popular and influential we can become, but that number is ultimately misleading. Gimein relates an anecdote of having one of his posts pushed on Google's corporate Twitter feed, which has a million followers -- it brought his own post a few hundred hits. That's telling -- the click-through percentage probably diminishes the larger the recommending pool is (niche aggregators are going to be more inherently trustworthy to its followers). But also telling is the way Gimein is willing to subject himself with no apparent hesitation to the sort of analysis usually reserved for online advertising.

Anyway, Twitter foments the fantasy of our vast influence, our endless relevance to everyone, and enlists more or less meaningless numbers to sustain it. Following people and being followed doesn't signify any kind of commitment, any reciprocal responsibility -- it's just an effortless way to give and receive empty recognition. It's a devalued currency, hyperinflated. But we can use that number nonetheless as a focal point, a kind of mandala for our self-worship.

The quantification disguises the emptiness of the social relations it is supposedly counting, an operation that reiterates the kind of instrumental rationality that characterizes the neoliberalism colonizing more and more of everyday life. Despite its early promise as a social-planning tool, Twittering is becoming a self-referential operation; we project things that make us feel important and pretend that it is for the benefit of unseen (and, in fact, often indifferent) others. We get a simulacrum of civic participation minus the trouble of other people and reciprocity and responsibility. We can buy followers for our Twitter feed and then forget in the midst of our fantasy how self-defeating that is.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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