Showing posts with label myspace. Show all posts
Showing posts with label myspace. Show all posts

Thursday, June 5, 2008

Stalking: An Occupational Hazard for Chamber Musicians?

 Pathé book
I  am not absolutely certain that I’m being stalked. But I’m pretty sure somebody was following me after our quartet’s last performance. What should I be doing about this? I don’t know who to talk to or call about this.”
  —  Anonymous.
This is outside the scope of things I have any personal expertise in. The links below may be helpful to you, though.

Current U.S. statistics on stalking are here. More than one million women and almost 400,000 men are stalked annually in the United States. Eight percent of women and two percent of men in the United States have been stalked in their lifetime. Although stalking is a gender-neutral crime, most victims (78 percent) are female and most perpetrators (87 percent) are male. In the course of managing a stalking episode, 28 percent of female stalking victims and 10 percent of male victims obtained a court protective order. Sixty-nine percent of female victims and 81 percent of male victims had the protection order violated. Eighty-one percent of women who were stalked by a current or former husband or cohabiting partner were also physically assaulted, and 31 percent were also sexually assaulted by that partner.

The average duration of stalking is 1.3 years. Most stalking, however, lasts about one month. Statistically, the median (31 days) is way lower than the mean (470 days in the U.S.). The statistical distribution has a long tail toward the right (longer durations). Two-thirds of stalkers pursue their victims at least once per week. Seventy-eight percent of stalkers use more than one means of pursuing, contacting or interfering with the victim. Have a look at this article by Mullen’s group in Australia for more information. (The stats are qualitatively similar in other countries, although duration distributions by stalking type, comparative prevalence by stalking type, and other details differ quantitatively from country to country, or even by region within each country.)

Stalking, Table.1 from Mullen et al., 1999
There are no statistics maintained on epidemiology of classical musicians as targets of stalking or as stalker perpetrators, although undergraduate musicians or conservatory students probably experience stalking rates comparable to other university students (about 20%). Possibly members of small chamber music ensembles might be more vulnerable on account of the small number of members in the group, and the absence of budget such as a large orchestra may have for security and other services.

Stalking behavior is not motivated by any one thing, and therefore no one strategy is effective protection against all the various types of stalking and types of stalkers. Effective strategies are ones that take into account the particular circumstances and identity, if these are known (that is, the history of any prior relationship with the pursuer; the chronology of events; the methods the pursuer is using).

R  isk assessment in stalking situations is currently limited by a lack of prospective studies of representative samples. Clinicians and the legal decision-makers do not, however, have the luxury of deferring action until such evidence emerges. They must, for the present, depend on integrating knowledge from stalking research, borrowing from the systematic studies of risk in other areas, and drawing on clinical experience... The longer stalking has lasted, the longer it is likely to persist. Nearly 50 percent of stalking situations amount to a short burst of intrusive behavior lasting only a few days and not extending beyond two weeks. This form of harassment is typically perpetrated by a stranger. In contrast, stalkers who persist for longer than two weeks usually continue for many months.”
  —  Paul Mullen et al., 2006.
Even if no physical violence has occurred, the anxiety and fear and implied threats are a form of harm. You do not know what the stalker might do next.

B  eing stalked can induce depression, anxiety, and chronic stress. Post-traumatic stress disorder (PTSD) describes the psychological sequelae of stalking... To our knowledge, however, the utility of [PTSD] treatments in the management of stalking victims has yet to receive empirical support.”
  —  Paul Mullen, Michele Pathé, and Rosemary Purcell, Stalkers, p. 221.
Don’t assume that there is just one pursuer. Some celebrities attract multiple pursuers, either serially or concurrently. Classical musicians may not have as great a likelihood of this as other celebrities, but the risk of it is surely not zero.

Do inform others about what is happening and what you are concerned about. Neighbors, co-workers, friends, and other ‘proxies’ who are not aware of the victim’s situation and who think they are being helpful can unwittingly disclose the information that a stalker wants to know.

If you have children who could be potential secondary targets for the pursuer, do have a calm, serious discussion with the children about the subject and instruct them how to be safe. In the U.S., you can contact VictimServices.org’s 7x24 hotline at 1-866-689-HELP (4357) for advice.

The Mullen-Pathé-Purcell book is especially good. It covers strategies to defend against and manage stalking behaviors; protecting personal information; declining and terminating contact; classifying different types of stalking and stalkers and risks associated with each; false stalking and delusions of being stalked; stalking-by-proxy, such as ordering/cancelling goods and services. Proxies utilized by stalkers may include your current or past employers, doctors, lawyers, pharmacists, hairdressers/cosmetologists, gyms/fitness clubs, banks, schools, churches/synagogues, and other intermediaries.

The book provides comprehensive discussion of morbid infatuations and other psychopathologies; incompetent suitors and intimacy seekers; acquaintances and friends. It counsels us to avoid any further discussions or correspondence with the pursuer—do not indulge them in argument or negotiation; do not deliver your termination message incrementally, in ‘let them down slowly’ instalments. The imperative is to be decisive, be firm.

The 12-page 2006 paper by Mullen and co-workers is excellent. The pdf is downloadable free here.

Recognizing possessiveness, hypersensitivity, dependence, jealousy, and mood swings in friends or business acquaintances can help to identify the potential for stalking and may be instrumental in your decision to terminate contact with the person, as a means of preventing stalking by someone who is known to you. According to Mullen and Pathé, ex-intimates are the stalking victims most likely to be threatened and assaulted. A history of domestic violence and/or jealousy before separation have been reported to increase the risk of violence in this group. Statistically speaking, and despite some famous examples to the contrary, stranger stalkers present the lowest risk of assaulting their victims.

Do be selective about disclosing personal details, including home address or phone numbers or email addresses. A post-office box provides security to prevent theft of confidential materials from a private letterbox at your home.

Do get an electric shredder for your home and be careful to shred all of your mail before placing it in the recycling or rubbish bins. Don’t take the same route to work or concert hall or other destinations; don’t do anything that’s readily monitored, in which your routine daily patterns can become known in a manner that may make it easier for a pursuer to harrass or attack you.

Do get a whistle. Get a small mace or pepper spray if legal in your area.

Do avail yourself of some musician-specific guidance for your use of MySpace, FaceBook, and other social networking sites, available on pages 206-208 of Frances Vincent’s book. Her blog is here.

Do consider hiring under-cover security services, such as Bo Dietl & Associates, for at least a few days or for covering your next several performances. They can discreetly monitor the performance venues and monitor your comings and goings, to ascertain whether there is or is not suspicious stalking-type activity. On a short-term or intermittent engagement basis such services are not tremendously expensive, and the reassurance that can come from their expert observations (esp. if they find no evidence of stalking) is huge. And, if in fact there is someone stalking you, they are expert in engaging law enforcement, the courts, forensic healthcare, and other appropriate authorities to deal with it in an expeditious, definitive way. With far more flexibility than the authorities can muster, an under-cover security service can devise counter-measures to stop the person, or to precipitate circumstances and evidence that will make the pursuer chargeable under the anti-stalking laws. Tremendously good value. Here are some more suggestions:

  • If you are arriving or departing from a performance in separate vehicles, make sure each person is accompanied/escorted between the performance venue and the transportation.
  • If you are not accompanied while en route, be sure and phone someone to let them know when you are departing and when you expect to arrive.
  • Leave your mobile phone turned on. If it has a GPS feature, leave that turned on as well.
  • If no one will be home when you get there, arrange to go to someone else’s house/apartment and stay with them, instead of going directly home to an empty house.
  • Let doctors, lawyers, hairdressers, dentists, etc., know the importance of maintaining your security. They may be able to arrange off-street parking so that you are less visible. Ask them to instruct the receptionist not to allow any information about you to be leaked out.
  • Check to be sure the library, gym, video shop, etc., will not give out information about you.
  • Sell your car and buy a different one if feasible, so that the stalker will not recognize you (for awhile).
  • Make sure you check the car before you get in, to make sure no one is in it.
  • If you are being followed drive directly to the nearest police station.
  • Don’t always drive the same way home. Don’t always take the same subway or bus home.
  • Put the car away immediately when you arrive home, out of sight if possible.
  • If you believe someone is stalking you, call the police.
  • Arrange for your mail to be redirected to a post office box. You will need to fill in a Mail Redirection form from the Post Office.
  • Call ‘fire’ instead of ‘rape’ or ‘help’.
  • Put 911 into your mobile phone directory so that it can be speed-dialed. Note that, when contacting 911 from a cellular phone, you must identify where you are (i.e., tell the dispatcher your exact address or location). From a hardwired landline phone, the address pops up on the dispatcher’s computer automatically. But with cell phones, the computer doesn’t know where the phone is. 911 calls placed from cell phones are routed to the closest 911 operations center based on cell tower site location that’s closest to where you are calling from. And although technology has made advances in getting cellular phone calls to the appropriate police/fire agency, the process is not 100-percent accurate. If you call 911 on a cell phone, it will be associated with the nearest mobile phone repeater cell antenna tower, which may be miles away from where you are. The software will not route to the correct 911 center closest to you but instead will route to the 911 center that is closest to that cell tower. Then, if you are not able to speak freely or if you hang up or an attacker damages your phone, the dispatcher will not have your address information available, and it may take many minutes to locate the approximate address where your cell phone transmissions came from to send you help. Help would be dispatched from a 911 center needlessly further away from you, possibly some miles beyond that cell tower, to a destination that is so vague as to offer minimal chance of locating and assisting you in a timely way. Uggh.
  • For the reasons noted in the previous point, put other emergency numbers into your mobile phone, for each of the cities where you perform.
Please be safe. Don’t ignore or discount what’s going on or pretend that it’s not happening or that it will go away. Contact one of the social services agencies in your area who have responsibility for sexual harassment prevention and management, or one of the national services whose URLs appear in the list below. Bo Dietl & Asociates provide a number of security and investigative services to performing musicians. Thank you for your CMT comments and questions!

Categorizing Stalking, Fig.1 from Mullen et al., 2006

 Glass book


Tuesday, December 26, 2006

Whatever Happened to Online Etiquette?

Incivility
“The uncivil and ignorant have always been with us—but now they have Internet access. Mix in anonymity—what do you expect?”
  — reader response to David Pogue, N.Y.Times, 21-DEC-2006

CMT: David Pogue in his column in the New York Times on 14-DEC-2006 asked the question, ‘Whatever Happened to Online Etiquette?’

DSM: You know, it seems to me that hostility online is getting worse—and it’s not just in mass-culture environments either. Or else how do you explain, this Joshua Bell / Saint-Saens / Etude video and the accompanying bombast?





CMT: Is this sort of communication behavior emblematic of video culture, do you think, or online culture? Or is it just a manifestation of uncouthness that we simply have now a technology-based means to observe—something that’s always been around but which in the past was not played out in public? There are, after all, a number of chamber music and classical music videos and vlogs—things expressed with civility and good will. Check this Maxim Vengerov / Ravel / Tzigane video:




and this Emerson Quartet / Bach / Art of the Fugue / Contrapunctus No. 9 video:





DSM: Allan Kozinn of the New York Times has remarked that Bell, instead of performing in strait-laced recital style, characteristically does light pieces as encores announced from the stage, reviving the less formal style favored by violinists in the 1920s. Some time ago Kozinn evidently found Bell’s account of the counterpoint in the Chaconne from Bach's Partita No. 2 in D minor, BWV 1004, satisfying. Others seem to admire Bell’s playing, too.

Lukovich Cartoon
CMT: There are broad cultural trends recently that condone ad hominem attacks—we see this in the U.S. with many mass-media productions, including reality television programs and mainstream ‘news’ media. Open opposition to diversity has become a gratuitous modus operandi for many. And for others it’s an expedient way to get attention and do promotional marketing. It’s sad. But it’s even sadder when those deplorable tendencies from mass-culture spill over into the arts, like classical music.


Joshua Bell


Sunday, December 17, 2006

Always Already New: iMix Playlist Sharing

iMix
CMT: Did you know you can share your playlists with others by publishing them to the iTunes Store? Published playlists are called iMixes.

DSM: Yes. iMixes include 30-second previews of the tracks in your playlist that’re available from the iTunes Store. By definition, tracks by performers/composers that aren’t available in the iTunes Store can’t appear in iMixes. There aren’t a lot of classical or chamber music iMixes out there yet, but there are more than 400,000 iMixes that’ve been published to-date overall.

CMT: I know that iMixes have been around for a couple of years. But I hadn’t really bothered with them until the new features in iTunes V.7. Your comment about 6,000 string quartet tracks in the iTunes Store the other day made me think again about iMix. I spent some time playing with iTunes’ new iMix feature in iTunes V.7, which allows users to embed playlists in a blog, a MySpace or Facebook or LinkedIn page, or any other web site.

DSM: When you’ve created your iMix, find it in the iTunes Music Store and click the link for “Publish to the Web.” You then get frame containing HTML code that you can paste into your blog or web page. Anyone will be able to click on any of the tracks in order to hear a 30-second sample within their iTunes software. I’ve had occasional problems getting an embedded iMix to work in this Blogspot CSS, and Apple’s iMix/iTunes Store doesn’t currently allow direct streaming from the page. But overall it’s pretty cool.

CMT: Yes, this is a viral marketing play by Apple, to pull users into the iTunes Store. But it’s not much different from the “share this song/playlist” features in Napster, Rhapsody, and other music services. So if you were imagining getting some valuable widget for free and being spared the commercial promotion, fuggettaboudit. An alternative of course is just to point your friends to your last.fm profile. That takes absolutely no effort and is commercial-free, but it’s got the disadvantage that last.fm doesn’t yet have an adequate catalog of classical music available. And it shares your entire last.fm profile, which you typically wouldn’t want to do, with all the non-chamber music things it’s probably got in it. And your last.fm profile is evolving over time, so the profile you share today won’t be what your friend who opens it next week or next month gets. It’s not a ‘publishing’ model at all. So I really prefer publishing and sharing a defined iMix playlist.

DSM: If you don’t like iTunes Store or don’t want to have Apple embedded iMix playlists force-launch iTunes, you might try HotListMaker . HotList enables playing 30-second MP3 clips, but, like iTunes, it too is commercial, steering the listener to digital music site Puretracks to buy the tracks. HotListMaker is currently in alpha, and it shows.

CMT: To publish your iMix:
  • Select the playlist you’ve created on your PC that you want to publish as an iMix and choose File > Create an iMix.
  • Enter the descriptive information about your playlist and click Publish (upload to the iTunes Store site).
  • (Changes you make to a published iMix aren’t updated updated automatically on the iTunes Store, so if you want to change your iMix you need to republish it after you make your updates.)
If you add or remove tracks from a playlist that you’ve published as an iMix in the iTunes Store, you need to update the iMix before others can see your new list. You can also edit the description or title of an iMix, or remove an iMix from the iTunes Store.

DSM: And here’s how to change an iMix that you’ve previously published:
  • To see a list of the playlists you’ve published or to remove an iMix from the iTunes Store, sign in to the iTunes Store and click View Account.
  • Select the playlist, click the arrow to the right of the playlist, and then click Update iMix. Make your changes and click Publish.
  • To see your iMix as it appears at the iTunes Store, click the arrow to the right of the playlist.
CMT: One main aim of playlist-sharing is for the sharee to discover new music that the sharee might not otherwise have encountered. Besides the playlist-sharing iMix stuff, there’s also the aspect of music-discovery. When looking at the iTunes website, I see that you can create a custom RSS feed to keep you apprised of new releases in your preferred genre(s). When I created one and plugged the URL into my RSS feed reader and it gives me a nice list of entries.

DSM: Well, the ‘surface’ aim isn’t the end of the matter. Publishing playlists is a cryptic way to communicate your identity, too. One of the more illuminating parts of Howard Rheingold’s book, Smart Mobs, is its discussion of the ways that technologies are being coopted by people to craft their social identities. Some readers might construe the lists of items we put at the bottom of each post in this blog that way. Of course, publishing playlists is a two-way street. The sharer can be critiqued by the sharees, or he/she can be ignored. Epinions, eBay buyer and seller feedback, and Slashdot contributor ratings—and now iMix ratings—are a few examples of how we’re now able to create public identities and social capital online. But that social capital and those identities are weighed in the balance of public opinion—they can appreciate in value, or they can go down in value.

CMT: So you’re anxious about people creating and publishing iMixes merely as ‘ornaments’ for their false, wanna-be persona? Poseurs? Social fraudsters?

DSM: No, not concerned—just an incidental thought that occurred to me. I’m more concerned about what intellectual property rights attach to these things called playlists when they’re published.

CMT: And I’m wondering how the lists will be curated so that the response-time of searching to discover iMixes that match my search criteria doesn’t deteriorate over the next few years. I wonder whether Apple iTunes Store will enable ‘best-if-used-by’ expiration dates, or maybe implement some sort of most-frequently-referenced ranking or generation-based garbage-collection regime or some other way of purging old or unpopular or orphaned iMix playlists. More than that, I wish they’d add a feature that would let me specify my own effectivity ‘start’ and ‘end’ dates. I’d like to be able to put an iMix up in a sequestered pre-press ‘staging’ area, pending my having my email or blog post or other collateral materials ready. As it is, it’s instantly in the public ‘available’ status as soon as I share it. So Apple really isn’t supporting any kind of ‘publishing’ model for us. I imagine that that doesn’t matter to all of the kids sharing playlists with each other. But for a not-for-profit organization or for a university or any type of serious entity that wants to use iMixes as part of their marketing and communication with their constituencies, it’s problematic.

DSM: I’m sure Apple’s got some VLDB (very large database) engineers working on that. Of course, all that’s needed is for Google to buy them…


iMix