nordertodepictautomatedTwitterentities(whetherasbotsorcyborgs),Chuetal(2010)proposedafourwaytesttodistinguishfakesfromhumans.Measuringtheintervalsbetweenretweetsprovedaveryreliablemethodofsensingautomatedmessaging.Lookingforspamwasalsoreliablebecausehumansveryrarelymessagespam,andexaminingtheaccountpropertiesofeachsubscriberalsoprovedreliable,sincethosesubscriberswithnorealaccountdetails,pictures,ordescriptors,wereveryrarelyindicativeofindividualhumans.Additionally,botsarefarmorelikelytopostURLsthanhumans.Bylookingatallofthesevariablesinconcert,thecredibilityofretweetingfollowerscanbeestablished(Chu,etal.,2010)

Twitterhasthepotentialforincreasingpoliticalparticipation(Hamdy,2010;Wilson,2011;Parmelee&Bichard,2013).Thereisacloseassociationwithaugmentedretweetsinpoliticalelectionsthatsuggeststhepresenceofwide‐spreadsockpuppetry(StieglitzandDang‐Xuan,2012).SockpuppetryinTwitterretweetsisassistedbytheuseofmetadata,inparticularURLsand#hashtags(Suh,Lichan,Pirolli,&Chi,2010;Yang&Counts,2010).Retweetedintegrationincludestheuseofpolicy‐event‘#hashtags’,togaugethepopularityorsignificanceofevents,policies,orpeople.ThusinpoliticalTwittercommunities,whereaspecificeventsuchasanelectionisinplay,theretweetcomponentsallowfortheamplificationofpoliticalnarrativesthroughsockpuppetry.

M a r k e t e r s still love to sell us nostalgic forms of authentic goods. Th e United States off ers Disneyworld’s pristine Main Street U.S.A.; Cracker Barrel’s general store, replete with its old-fashioned candy jars and moon pies amid a faux-rusticated interior; Pottery Barn’s new distressed furniture, machine made to look old and weath-ered. Likewise, Britain is awash in the selling of a venerable old England, from the vine-covered cottage, to the proliferation of the heritage industry, to the open-ing of Dickens World in Kent, to the immensely popular Hovis Bread ads, which featured a young boy delivering loaves of fresh bread down a cobblestone street. In a diff erent variation of the phenomenon, marketers present a refi ned aesthetic, one miraculously and allegedly free of the vulgar taint of commerce; here we fi nd the soft -focus Ralph Lauren ad; the fi reside scene of the L. L. Bean Christmas catalog, with its golden retriever puppies reclining on softfl annel; and the solid sophistication (with lovely wood accents) of the venerable London store Liberty. In every case, the viewer is assured that the real is “real”—and readily available for a reasonable price.

Over the course of the next century, dramatic changes in advertis-ing, marketing, and shopping would encourage consumers not simply to live a life but to select among lifestyles; not to stay within the given circumstances and time of their birth but to live within multiple pasts; not to remain fi xed in one identity but to perform within many.

The polemic of authenticity is nicely illus-trated by the frequent mediaeval era disputes, seizures, and thefts, of relics, bonesor objects reputed to be associated with holy men of the Christian church

‘authenticity is implicitly a polemi-cal concept’.

My decision to expose myself to the sexism of Dr. Dre, Ice Cube, Snoop Doggy Dog, or the Notorious B.I.G. is really my plea to my broth- ers to tell me who they are. I need to know why they are so angry at me. Why is disrespecting me one of the few things that will make them feel like men? What are they going through on the daily that's got them acting so fucked up?

effectively denied rap the status of ar

Over time — by which I mean a day or two — you start to like the song a little. It makes people happy, right?

This comment is a zeminder that Dylan's own musical education did not comesolely, or even primarily, from witnessing live performances.

They both speak by and to the same organs; the bodies in which both of them are clothed may be said to be of the same substance, their affections are kindred, and almost identical, not necessarily differing even in degree; Poetry*sheds no tears ’such as Angels weep,’ but natural and human tears; she can boast of no celestial choir that distinguishes her vital juices from those of prose; the same human blood circulates through the veins of them both.

We are fond of tracing the resemblance between Poetry and Painting, and, accordingly, we call them Sisters: but where shall we find bonds of connexion sufficiently strict to typify the affinity betwixt metrical and prose composition?

We will go further.

keenly interested to find out that others see the real differently from us.