Facebook faces criticism on privacy change

Digital rights groups and bloggers have heaped criticism on Facebook’s changed privacy policy.

Critics said the changes were unwelcome and “nudged” people towards sharing updates with the wider web and made them findable via search engines.

The changes were introduced on 9 December via a pop-up that asked users to update privacy settings.

Facebook said the changes help members manage updates they wanted to share, not trick them into revealing too much.

“Facebook is nudging the settings toward the ‘disclose everything’ position,” said Marc Rotenberg, executive director of the US Electronic Privacy Information Center (Epic). “That’s not fair from the privacy perspective.”

Epic said it was analysing the changes to see if they amounted to trickery. Continue reading

The Legendary Godfather of Rap Returns – Gil Scott-Heron Interview

In early 2010 Gil Scott-Heron will release a brand new album entitled ‘I’m New Here’ on XL Recordings. For more info and to download the track ‘Where Did The Night Go’ for free go to http://imnewhere.net/

Originally broadcast on BBC2 on Monday 16th November 2009

Gil Scott-Heron – ‘I’m New Here’ out early 2010.

gscottheron1

In early 2010 Gil Scott-Heron will release a brand new album entitled ‘I’m New Here’ on XL Recordings.

Here are four excerpts from his first album of new material since 1997; ‘A.M.’, ‘I’m New Here’, ‘Me And The Devil’ and ‘I’ll Take Care Of You’. These tracks have been recorded in New York over the past 18 months.

Live review: Gil Scott-Heron at the El Rey and new album

October 5, 2009 |  3:25 pm

“For those of you who believed I wouldn’t be here,” Gil Scott-Heron told the El Rey crowd with an amiable smile Sunday night, “you lose.”  It was the 60-year-old poet, musician, spoken-word sage and hip-hop harbinger’s first show in L.A. in several years. After decades of parsing media mirages in song, it was as if Scott-Heron’s mere appearance onstage were his latest political provocation. He said nothing about the drug- and health-related predicaments that had kept him from performing in the U.S., except to suggest that the rumors on the Internet had been, to borrow the words of another humorous and acutely race-conscious American raconteur, Mark Twain, greatly exaggerated.  The message was simply this: Gil Scott-Heron is still here.

Seated behind a keyboard, Scott-Heron introduced himself to the audience with a freewheeling and amusing monologue that took in the ludicrousness of CNN-commissioned “experts,” the trick of finding your own “-ology” and the problems with February as Black History Month and calendars in general. He announced a new record (his first in more than a decade and a half) to be released next year, “I’m New Here,” which he joked would surprise listeners as much as “the old ones you have not bought,” and a book, “The Last Holiday,” chronicling Scott-Heron and Stevie Wonder’s 1980s campaign to make the Rev. Martin Luther King Jr.’s birthday a national holiday.

Scott-Heron began the set by himself, with his song dedicated to voting rights activist Fannie Lou Hamer in honor of her Oct. 6 birthday, “95 South (All of the Places We’ve Been).” He was then joined by his band,  including saxophonist Leon Williams, guitarist Ed Brady, bassist Robert Gordon, keyboardist and vocalist Kim Jordan and drummer Kenny Powell. They launched into another song, “We Almost Lost Detroit” (also from the 1977 album “Bridges”), after Scott-Heron’s shout-out to a “brother named Common” who sampled the song for 2007’s “The People.”

It was a meditative and exuberant night. The set continued with the rousing rebuke to “the military and the monetary” in “Work for Peace,” the vivacious musicological query “Is That Jazz?,” his stirring national elegy “Winter in America” and “Your Daddy Loves You,” which Scott-Heron dedicated to his own daughter in the audience.  The singer who boldly derided Ronald Reagan in “B Movie” and “Re-Ron” refrained from mentioning any specific political figures. This was not an evening for discussion of how “The Revolution Will Not Be Televised” or an open letter to rappers in a “Message to the Messengers.” Continue reading