Then there's the killer feature: You can hide sensitive content behind a button before posting, so people don't have to see your long rant, political content, or spoiler for a new episode of a TV show. The system is designed to encourage thoughtful posting—not selfish or gratuitous posts. It's even simple to contribute descriptions of images you're posting for the visually impaired, something Twitter doesn't bother turning on by default.
Last year, after Twitter began moving away from a purely chronological feed, Rochko began building the back end for what would become Mastodon. Instead of building a unified service, Rochko envisioned something more like email, or RSS: a distributed system that lets you send public messages to anyone who follows you on the service. Anyone can create a server and host their own instance of Mastodon, and Mastodon works in the background to connect them. (source)
Someone You Loved is Capaldi’s first single to pass the mark, while Giant is Harris’ 20th and Rag’n’Bone Man’s third. Overall consumption of Harris tracks since his 2007 debut Acceptable In The 80s stand at 22,544,175. That’s a huge amount but Rihanna - with whom he spent six weeks at No.1 with We Found Love in 2011 – dwarfs that with a to-date tally of 41,073,313 since her 2005 debut. Steel Banglez, AJ Tracey and MoStack all score their first Top 10 single, with their collaboration Fashion Week becoming the highest of this week’s five new entries to the Top 75 at No.7 (31,270 sales). It is Steel Banglez’ third Top 75 hit as a credited artist – he has many more as a producer - AJ Tracey’s 10th and MoStack’s sixth. Four weeks after peaking at No.7, Options makes gains for the second week in a row for NSG feat. Tion Wayne, and returns to the Top 10, climbing 11-10 (24,899 sales). And four weeks after debuting and peaking at No.8, Walk Me Home rallies 12-9 (27,350 sales) for Pink, helped by its newly-released promotional video. There are new peaks inside the Top 10 for Just You And I (4-3, 40,727 sales) by Tom Walker, Sucker (5-4, 36,898 sales) by Jonas Brothers, Location (8-6, 31,564 sales) by Dave feat. Burna Boy and - improving its chart position for the eighth straight week since it debuted at No.43 - I’m So Tired (9-8, 28,138 sales) by Lauv & Troye Sivan. Completing a rare Top 10 in which eight tracks climb two are static and none fall, Break Up With Your Girlfriend, I’m Bored surfs 6-5 (32,922 sales) for Ariana Grande. Overall singles sales are up 4.66% week-on-week at 18,494,978. That is their second highest level to date, and 12.33% above same week 2018 sales of 16,465,382. Paid-for sales are down 0.44% week-on-week at 741,229, and are 28.55% below same week 2018 sales of 1,037,469. 27 years after he topped the album chart with his eponymous debut solo album, Michael Ball returns to the summit with Coming Home To You. The album is a collection of covers by the 56-year-old, with many of the songs pre-dating Ball’s first album, including To Love Somebody (The Bee Gees, 1967), Love Is Like A Butterfly (Dolly Parton, 1974) and Miss You Nights (Cliff Richard, 1975) and Sail On (The Commodores, 1979). Coming Home To You is Ball’s first album since his back-to-back No.1 collaborations with fellow tenor Alfie Boe, Together (November 2016), and Together Again (November 2017). Thus providing his fourth No.1 in all, it is also his 22nd Top 75 album, and his ninth Top 10 album, it can’t match those Boe collaborations for first week sales. Consumption of 18,039 units (including 114 from sales-equivalent streams) – the lowest for a No.1 since Ed Sheeran’s Divide topped 83 weeks ago with 13,975 sales - is considerably below Together’s first week tally of 44,860 and Together Again’s 43,795. It is also below the 19,087 copies that Boe’s subsequent solo album, As Time Goes By, sold when it debuted and peaked 17 weeks ago at No.10. Blending original recordings of the former with newly-recorded instrumental elements provided by the latter, The Carpenters With Royal Philharmonic Orchestra reached No.8 last December and, with Richard Carpenter on a UK promotional tour, re-enters this week at No.10 (5,880 sales). George Ezra scores his sixth Top 40 single with Pretty Shining People (41-38), while parent album Staying At Tamara’s sales increase 13.17% week-on-week to 11,541 – a 10 week high – as it climbs 6-5. The rest of the Top 10: Singing To Strangers (1-2, 14,046 sales) by Jack Savoretti, The Greatest Showman soundtrack (4-3, 13,799 sales), What A Time To Be Alive (3-4, 1,534 sales) by Tom Walker, Bohemian Rhapsody (5-6, 10,710 sales) by Queen, Psychodrama (2-7, 10,495 sales) by Dave, Thank U Next (7-8, 9,119 sales) by Ariana Grande and A Star Is Born (8-9, 7,438 sales by Lady Gaga & Bradley Cooper. Overall album sales are up 4.86% week-on-week at 1,796,945, 4.67% below same week 2018 sales of 1,882,925. Sales-equivalent streams accounted for a record 1,182,979 sales, 65.83% of the total. Sales of paid-for albums are up 4.25% week-on-week at 613,966, 33.84% below same week 2018 sales of 928,024.
I'm going to end this piece by stating that I love Instagram. It is where all my clients are on a daily basis, I get to engage with new audiences, connect with new creatives, and often scroll till my thumb gets numb. But Instagram is also a victim of it's own success. The bombardment of bots (which will hopefully slow down) that auto-comment, limited search engine, and increase in sponsored posts is spoiling the broth. I've given five alternatives above that each bring something different to the party, and may create new avenues of interest and creative expression to pursue in this digital, mobile age. Please share any of your own alternatives below.
Facebook noted on its blog post about the purge: “These networks increasingly use sensational political content – regardless of its political slant – to build an audience and drive traffic to their websites, earning money for every visitor to the site. And like the politically motivated activity we’ve seen, the ‘news’ stories or opinions these accounts and Pages share are often indistinguishable from legitimate political debate. This is why it’s so important we look at these actors’ behavior – such as whether they’re using fake accounts or repeatedly posting spam – rather than their content when deciding which of these accounts, Pages or Groups to remove.” Facebook went on to say that many of the pages used fake accounts to make their posts appear more popular than they were, or were actually ad farms. But some owners of these pages have insisted that they don’t fall under the description that Facebook listed. Sites with conservative, liberal, and Libertarian leanings have been removed.
That said, it's good at what it does, the product is sound, it's the aura around it that's misplaced. That and the fact that it's been dangled in front of Android users for far too long only to culminate in an arguably unfinished version (no tilt-shift? really?) when it was teased as "in some ways, it's better than our iOS app," according to one of the app's founders. Combine the aura that and the fact that so many iOS users don't want you playing in their sandbox anyway and it's worth looking at some alternatives.
All of this stuff was total catnip for me. After all, what Twitter does isn't that impressive. If anything, Twitter's made its elegant platform significantly worse over the last few years, changing the "favorite" icon, introducing a higher character count, pushing obnoxious "suggestions," and messing up the chronological timeline in favor of an algorithmically-generated one. And then there’s the user-hostile API changes that might spell doom for third-party Twitter clients. It's no wonder that even loyal users are fed up.
For those determined to exit the Facebook ecosystem, the best approach is more likely to be a patchwork of sites and apps that mirror individual features. Messaging is the easiest: apps such as Telegram and Signal offer messaging and group chats, as well as voice calls, with encryption to keep your communications private. Telegram even has a thriving collection of chatbots, similar to Facebook Messenger.
Everything has its pros and cons and so does Facebook. While Facebook has become a part of our lives and it is loved by millions, it has got its share of criticisms. It has been panned across the globe for its ever changing privacy settings, which gives Facebook total control over the information that we provide on our accounts. If you are in mood for a surprise, just compare the privacy disclaimers of Facebook from its past to present to know the difference. Facebook’s experiments with the News Feed has also not gone down too well with users. The company’s Internet.org initiative has also made sure to irk net neutrality enthusiasts. To sum it up, these are good enough reasons to need Facebook alternatives.
500px is a money making machine and reward certain types of photography. (It’s also full of bots). Flickr was great, but it’s now a dinosaur. Tumblr is owned by Verizon and crippled with bots and porn. EyeEm is great as a platform to sell your images. Unsplash has a tremendous visibility but your work is then available for free even for commercial use. Behance is great to showcase projects, but not really made for sharing single images.
Metal for Facebook and Twitter is one of the up-and-coming Facebook apps. There has been a lot of positive press over the last couple of years. Like most, this is a web-wrapper (the mobile website inside of an app) with some tweaks and additional features included to improve the experience. It boasts an ad-free experience, advanced notifications, a few UI tweaks, and there are even theming options. The developer has had a good track record with updating the app with new Facebook features (along with fingerprint support) and it’s a pleasant overall experience.
GLOBAL NO.1 - 30 YEARS AGO... Madonna is known for her blatant style- and taboo breaks. With the release of the lead single 'Like A Prayer' for the album of the same name, she came with really heavy guns: a 180 ° image turn-around from the blonde beast to a meekly brunette ... her music changed into an exalted, hymn-like and danceable sound with religious-controversial and provocative texts. But the big bone of contention was the music video, directed by Mary Lambert. It portrays Madonna as a witness to the murder of a girl by white supremacists. While a black man is arrested for the murder, Madonna hides in a church for safety seeking strength to go forth as a witness. The clip depicts a church and Catholic symbols such as stigmata. It also features a Ku Klux Klan-style cross burning, and a dream about kissing a black saint. The Vatican condemned the video, while family and religious groups protested against its broadcast. They boycotted products by soft drink manufacturer Pepsi, who had used the song in their commercial. The company canceled their sponsorship contract with Madonna, but allowed her to retain the fee. 'Like A Prayer' became, not least because of this rather unintentionally publicity through the condemnation of parent associations and church representatives, the world's biggest hit in 1989.