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The ease-of-influence factor

Science News reports about a study testing the influence of opinion leaders, busybody extroverts eager to share recommendations with a wide network of people. Somewhat surprisingly, the researchers Duncan Watts and Peter Dodds found with computer simulations that a critical mass of easily influenced people is more important for the spread of an idea rather than super proselytizers.

More important than the influencers, the researchers found, were the influenced. Once an idea spread to a critical mass of easily influenced individuals, it took hold and continued to spread to other easily influenced individuals. In some networks, it was far easier to get an idea established this way than in others. The entire structure of the network mattered, not just the few influential people.

Dodds compares the spread of ideas to the spread of a forest fire. When a fire turns into a conflagration, no one says that it was because the spark that began it was so potent. "If it had been raining," Dodds says, "that same match wouldn't have had an effect." Instead, a fire takes off because of the properties of the larger forest environment: the dryness, the density, the wind, the temperature.

The upshot of the study, Dodds says, is that "in the end, you don't have control over how people spread your message." The best way to increase the odds of person-to-person transmission of an idea is to make it a good idea and to give it "social worth," he says. "Some things are just fun to talk about."

Ideas, then, are subject to network effects -- the notion that the size of a phenomenon creates its own exponential positive feedback -- and their spread has even less to do with their intrinsic quality. What helps spread an idea is not some Tipping Point style special influencer but the ability to bring a large group of naive and easily persuaded people with a propensity for novelty for its own sake into contact with one other -- say, some site that would get a bunch of teenagers together to do little other than share and reaffirm one another's preferences. I wonder if some clever college dropout will come up with such a thing.

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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