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vendredi 10 juillet 2020
Sports in a Pandemic Don’t All Stink
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Amazon Makes Employees Delete TikTok From Phones, Citing Security Risk
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jeudi 9 juillet 2020
History of the British farthing
History of the British farthing.
Historically, the British farthing was a continuation of the English farthing, a coin struck by English monarchs prior to the Act of Union 1707 that was worth a quarter of an old penny (1⁄960 of a pound sterling). Only pattern farthings were struck under Queen Anne. The coin was struck intermittently through much of the 18th century, but counterfeits became so prevalent the Royal Mint ceased striking them after 1775. The next farthings were the first ones struck by steam power, in 1799 by Matthew Boulton at his Soho Mint. The Royal Mint resumed production in 1821. The farthing was struck regularly under George IV, William IV and in most years of Queen Victoria's long reign. The coin continued to be issued in most years of the first half of the 20th century, and in 1937 it finally received its own design, a wren (pictured). By the 1950s, inflation had eroded its value. It ceased to be struck after 1956 and was demonetised in 1961.
Historically, the British farthing was a continuation of the English farthing, a coin struck by English monarchs prior to the Act of Union 1707 that was worth a quarter of an old penny (1⁄960 of a pound sterling). Only pattern farthings were struck under Queen Anne. The coin was struck intermittently through much of the 18th century, but counterfeits became so prevalent the Royal Mint ceased striking them after 1775. The next farthings were the first ones struck by steam power, in 1799 by Matthew Boulton at his Soho Mint. The Royal Mint resumed production in 1821. The farthing was struck regularly under George IV, William IV and in most years of Queen Victoria's long reign. The coin continued to be issued in most years of the first half of the 20th century, and in 1937 it finally received its own design, a wren (pictured). By the 1950s, inflation had eroded its value. It ceased to be struck after 1956 and was demonetised in 1961.
Can Facebook Ever Stop the Drama?
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mercredi 8 juillet 2020
Ninja Played Fortnite on YouTube, and the Gaming World Lost Its Mind
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Facebook Removes Roger Stone for Ties to Fake Accounts
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Robinhood Has Lured Young Traders, Sometimes With Devastating Results
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The Tech Giants’ Invisible Helpers
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How to Buy Tech That Lasts and Lasts
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Virus-Tracing Apps Are Rife With Problems. Governments Are Rushing to Fix Them.
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Facebook Decisions Were ‘Setbacks for Civil Rights,’ Audit Finds
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mardi 7 juillet 2020
Facebook Fails to Appease Organizers of Ad Boycott
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Internet Powers Collide in Hong Kong
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Magic Leap Hires Top Microsoft Executive as C.E.O.
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lundi 6 juillet 2020
TikTok to Withdraw From Hong Kong as Tech Giants Halt Data Requests
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Google, Facebook and Twitter Stop Hong Kong Data Requests
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Palantir Technologies Files to Go Public
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Maya (M.I.A. album)
Maya (M.I.A. album).
Maya is the third studio album by British recording artist M.I.A. (pictured), released on 7 July 2010 on her own label, N.E.E.T. Recordings, through XL Recordings and Interscope Records. Songwriting and production for the album were primarily handled by M.I.A., Blaqstarr and Rusko in Los Angeles. The album centres on the theme of information politics. Elements of industrial music were incorporated into M.I.A.'s sound for the first time. In the album's first week of release, it entered the UK Albums Chart at number 21, becoming M.I.A.'s highest-charting album in the UK. It also became her highest-charting album in the US, reaching number nine on the Billboard 200, and debuted in the top 10 in Finland, Norway, Greece and Canada. M.I.A. promoted the album by performing at music festivals in the US and Europe and by releasing a series of tracks online, including "XXXO", "It Takes a Muscle" and "Born Free". (This article is part of a featured topic: M.I.A. albums.)
Maya is the third studio album by British recording artist M.I.A. (pictured), released on 7 July 2010 on her own label, N.E.E.T. Recordings, through XL Recordings and Interscope Records. Songwriting and production for the album were primarily handled by M.I.A., Blaqstarr and Rusko in Los Angeles. The album centres on the theme of information politics. Elements of industrial music were incorporated into M.I.A.'s sound for the first time. In the album's first week of release, it entered the UK Albums Chart at number 21, becoming M.I.A.'s highest-charting album in the UK. It also became her highest-charting album in the US, reaching number nine on the Billboard 200, and debuted in the top 10 in Finland, Norway, Greece and Canada. M.I.A. promoted the album by performing at music festivals in the US and Europe and by releasing a series of tracks online, including "XXXO", "It Takes a Muscle" and "Born Free". (This article is part of a featured topic: M.I.A. albums.)
YouTube’s Power of the Purse
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