text:
"We the millennials, bro!"
Kanye West is 10 minutes and 43 seconds into his mesmerizingly elliptical sermon at the 2015 MTV Video Music Awards, and he's showing no signs of relenting. MTV producers had allotted just two minutes for his Vanguard Award acceptance speech. West burned through that time onstage with muted mugging alone, bathing in "Yeezy! Yeezy!" chants from the downtown Los Angeles crowd before kicking off his homily by yelling, "Bro! Broooooooooo! Listen to the kids!" Pontificating on, well, everything—art, brands, culture, ego, Justin Timberlake, the future—West might as well be giving a TED talk on the seemingly inexplicable nature of what attracts the millennial and postmillennial audience that he's speaking to, for, and about. Finally, he wraps up, announces his candidacy for the presidency in 2020, and drops the mic.
Inside the celebrity-packed theater, I watch as attendees lose circulation in their arms from holding their smartphones aloft, the Snapchat app's camera open, to film the spectacle from every angle. It's exactly the kind of epic scene Snapchat is so adept at capturing. Thanks to a partnership with MTV's parent, Viacom, the company has a team of six here. They're racing around to shoot and curate a Live Story of the VMAs, a feature that stitches together images and videos generated by both users and Snapchat itself.
The VMAs Live Story, updated throughout the evening, includes red-carpet shots of Miley Cyrus and John Legend, behind-the-scenes peeks at performances from Macklemore and Pharrell Williams, and crowd perspectives of West's speech. It's not comprehensive, but it's intimate, visceral, and voyeuristic—a peek past the velvet rope that you can't experience on any other channel, cable or digital. Then the whole thing, like all Live Stories, will disappear in 24 hours. As West puts it during his rant, "This is a new mentality!
Snapchat's delicious montage of the event turned out to be a monster. Twelve million viewers tuned in, more than the number that flipped to the awards show on TV, even with Viacom simulcasting the VMAs across 10 of its channels. MTV's own Snapchat account attracted an additional 25 million views throughout the day; MTV, the cable network, attracted only 5 million viewers for the live 9 p.m. telecast, a 40% drop from 2014. No wonder A-list brand advertisers such as Taco Bell, Verizon, and Cover Girl snapped up the limited number of ad slots Snapchat made available during the VMAs Live Story despite rates of $200,000 per sponsor. "With Snapchat, we're putting our content into the pockets of 100 million millennials," says Viacom sales chief Jeff Lucas. "Snapchat is targeted television on mobile."
If you still think Snapchat, a company valued at $16 billion, is just a teen sexting app, you're not listening to the kids, bro. In a mere 15 months since its first Live Story, Snapchat has transformed itself from a photo-based messaging app into the singular obsession of the media and advertising industries. "We have two major businesses," says Snapchat's chief strategy officer Imran Khan. "One is communication, and the other is entertainment." Communication—a string of messaging products including photo and video sharing, voice calling, and texting features, as well as a tool to exchange money on the service—will, in the near term at least, be monetized through 99¢ snap replays and branded photo filters.
What has everyone atwitter about Snapchat, though, is its entertainment ambitions—the company's attempt to build both a distribution channel and a content lineup for 13- to 34-year-olds, who make up 86% of Snapchat's U.S. users. Think Comcast for kids.
Yes, we've heard this type of chutzpah before. In the past few years, Twitter was so going to dominate the conversation around live TV that it would ultimately siphon all the advertising dollars for itself. YouTube had such clout that it was going to woo away all the brand marketers. Facebook's video push has made it a threat to the established order. The entertainment industry was going to disrupt itself with Hulu. You can go all the way back to Yahoo's (cuckoo) $5.7 billion acquisition of Mark Cuban's Broadcast.com at the height of the dotcom bubble to find companies seeking to disrupt television. This year has also seen Apple, the most valuable company in the world, flirt with using its might to sell customers a bundle of networks. But according to media analyst Richard Greenfield, "Apple will not enter the TV business until it can create a superior product, and the TV industry is not yet in enough pain to work with Apple to enable that superior product."
The TV business, though, is desperate enough to reach millennials that it is racing to work with Snapchat. The service boasted in September that it has more than 4 billion daily video views, a figure that has doubled since June and now matches Facebook's scale, despite Snapchat having one-tenth of Facebook's daily user base. In addition to Live Stories, earlier this year the company launched Discover, a network of name-brand channels—traditional players such as Comedy Central and ESPN as well as digital-first ones such as Vice—producing professional content, often exclusive to it. How big is Snapchat already? The company claims that more people watch college football on Snapchat (via a packaged Live Story) than on traditional TV, and top Discover channels attract more viewers than all but a handful of premium cable channels.
Players in Silicon Valley, Hollywood, and Madison Avenue speak of Snapchat's potential with awe, bewilderment, and more than a little fear. But what, really, is Snapchat's strategy? Can the app truly be the long-awaited digital beast that slays traditional TV? Nobody can precisely explain why Snapchat is so popular. Even supporters call its products "confusing," its business a "conundrum," and its cofounder and CEO Evan Spiegel a "contradiction." Spiegel himself has struggled to define the service: This summer, he published a curious video entitled "What Is Snapchat?" that befuddled viewers. Sir Martin Sorrell, CEO of the advertising conglomerate WPP, points to how the youngest generations are embracing Snapchat with unique patterns of behavior, then adding, "so Snapchat seems to be really on the cutting edge," as if that explained the cause and effect of its success.
Cocky, erratic, difficult, petulant—these are some of the ways Spiegel is described by those who would give anything to work with him. He is disrupting the traditional media landscape, yet embracing its most established formulas. The 25-year-old CEO is an opinionated, independent paper billionaire who until a year ago still lived with his father. He's a notoriously private media mogul who dates a supermodel.
This is a story about understanding Snapchat's contradictions, the seemingly irreconcilable facts that make Spiegel and his creation as inscrutable—and undeniable—as Kanye West. In interviews with key Snapchat executives, board members, investors, and dozens of advertisers and media partners including Cosmopolitan, Daily Mail, Comedy Central, Food Network, National Geographic, and Yahoo, the picture becomes clearer. While Snapchat declined to make Spiegel available, exploring these six contradictions shows where Snapchat is actually headed—and why everyone needs to take note.
Contradiction #1:
User-generated content and self-discovery fuels Snapchat's platform, yet the company is most interested in telling its users what to watch—and creating content itself.
Snapchat's first product enabled users to share images that disappeared, eliciting authentic, relaxed communication rather than displays of vanity. That brilliant interaction model has informed its evolution ever since. If people are more candid in a single Snapchat photo, wouldn't a series of images (and videos) be a compelling way to communicate what happened throughout a whole day? That insight gave birth to the Stories product. Snapchat then started collecting shared experiences—allowing users at particular events to send their snaps to the company. The results have been riveting.
Those communal events are now called Live Stories. They blend snippets from both user-contributed media and Snapchat's in-house production team into packaged narratives. It's a novel format, all the more distinctive because Snapchat itself came up with it rather than its users. That's rare in the digital space: YouTubers, not YouTube's cofounders, created its confessional aesthetic; Twitter's user base, not Twitter, invented hashtags and made it a home for live commentary.
Snapchat's employees in its Venice, California, headquarters and its New York City offices curate and release Stories every single day—covering sports matches, music festivals, and world events, as well as creating travelogues. A recent Snapchat Story, for example, centered on Russian culture. It begins with a video of a Moscow crowd shouting, "Welcome, Snapchat!" and then proceeds to show early-morning city life. The clips then migrate to the countryside, where, as the Story progresses, we watch a traditional dinner being prepared. Night falls and we're back in Red Square for a concert. The story concludes by wishing viewers good night. It's an addictive mosaic that practically tucks you into bed. Clips like these are added throughout the day and only last 24 hours, keeping users—and advertisers—constantly coming back for more. Most Live Stories now garner between 10 million and 20 million viewers each day.
Snapchat, unlike Twitter and YouTube, is not willing to leave to chance what its users see. The company isn't afraid to bet that its audience will care about Coachella, the Ronda Rousey UFC bout, and Ramadan in Mecca, so it proactively creates Live Stories from these kinds of events. Live Stories are plotted out the way network executives program their fall lineups. "One of my favorite meetings every month is when we sit down and discuss the forward-looking content calendar," says Nick Bell, Snapchat's content head who joined the company last year from News Corp. Increasingly, the company is using its growing clout to get behind-the-scenes access, working with major producers to create Live Stories from events such as the U.S. Open tennis championships and Fashion Week, and then splitting the ad revenue.
It is also directing the arc of its Stories rather than merely curating them from user-generated content. As with the VMAs, Snapchat is increasingly sending staff to events that it will turn into Live Stories. It's going even further with news coverage. In New Orleans for the Katrina commemoration in August, for example, top political reporter Peter Hamby, whom Snapchat poached from CNN to oversee its news content, scored an interview with Mayor Mitch Landrieu and provided narration. "It's early days," says Bell, "but we have a really ambitious team, and we're going to see a huge amount of development there." Snapchat is also aggressively marketing Live Stories to advertisers: Executives meet regularly with brands, talking to, say, Universal Pictures about upcoming Stories so they can figure out which movies in the pipeline might make for good ads within them.
If all this doesn't scare Twitter's shareholders, it should. Twitter has spent years trying to convince the entertainment business that it's the perfect second-screen companion to live events. Meanwhile, Snapchat is making itself the first screen.
Contradiction #2:
Snapchat aims to reinvent media consumption—by turning the clock back to TV circa 1970.
In January, Snapchat launched Discover, a new feature that goes one step further than Live Stories by giving select media partners coveted real estate inside the Snapchat app to post short-form content—videos, articles, quizzes, photo displays, and animations—in exchange for a share of advertising revenue. All of Discover's content gets refreshed daily, with yesterday's news gone forever.
That one-day life span creates an urgency that's unprecedented in today's distraction-filled world. "If your email inbox was going to disappear in 24 hours," says Danielle Mullin, VP of marketing for ABC Family (its hit show Pretty Little Liars boasts 1.4 million followers on Snapchat), "you would feel the need to actually read every single email. That's the genius of Snapchat."
This isn't entertainment available only to those who happen to be following the right person or know what to search for, as you must, say, on Twitter or YouTube. With Snapchat, the content is limited in quantity, center stage, on demand, and often original rather than repurposed. Bell believes that Discover resonates because it has so few channels—just 15. "There's something great about limiting selection, because you can quickly access content easily," he says. "If you suddenly start providing too much choice, it impedes the user experience. Keeping it simple and tight is key." The company agonized about going from 12 to 15 channels because the extra row of icons didn't fit as neatly on one phone screen.
The Discover roster attracts 60 million monthly visitors, with channels such as Cosmo now seeing 4 million daily unique views. "I think of our Snapchat channel as having our own cable channel," says Jon Steinberg, CEO of Daily Mail North America, a Discover partner that's trying to tap into the BuzzFeed audience. "It has larger viewership than you'd get on most cable networks. (Editors' note: After this article went to press, Daily Mail announced that Steinberg will leave his role by the year's end, and some have speculated that he could be heading to Snapchat.)
What's particularly audacious is that Snapchat is asking its users to care about channels. Elsewhere in media, people prefer to follow content or personalities. Want to watch Jimmy Fallon clips on YouTube? You probably don't go to NBC. The network's YouTube channel has 380,000 subscribers; Fallon has 8 million. In fact, YouTube spent a reported $300 million promoting channels a few years ago and the initiative flopped. Snapchat, though, believes developing a relationship with a brand is a key metric for success. "The key number for us is around loyalty," says Bell, who says he looks at "people who come back to a channel five out of seven days. If you look at channels like Cosmo and ESPN, the number of users that come back five out of seven days is huge." Says Sony Entertainment CEO Michael Lynton, a Snapchat board member, "In many ways, it's a return to the old broadcast model."
Channels may seem like an antiquated construct, but they are a clear rebuke to the endless torrent of content that can overwhelm other digital platforms. On Twitter and YouTube, both of which brag about how many tweets and videos are uploaded every minute, our eyeballs ricochet between all the elements on any given screen. On YouTube, if you're stuck with an ad, you can just scan the video's comments or peruse the sidebar of related videos. On Snapchat, drools Viacom's Jeff Lucas, "viewability is 100%—real and pure."
Contradiction #3:
Snapchat is committed to helping its channel partners—if they adapt to the company's wishes right now.
Two days after the VMAs, I stop by the offices of mobile-focused food-and-travel media startup Tastemade Studios in Santa Monica, a short drive from Snapchat's Venice Beach headquarters. Snapchat had welcomed Tastemade as one of three new Discover partners just five days earlier, and the company is making the most of it. Twentysomethings sit at reclaimed-wood desks editing together shows such as Hashbrowns and Hashtags, filmed at the huge studio space next door, where DSLR cameras sit propped at 90-degree angles on tripods. Tastemade designed one set, a 1950s-era kitchen space, exclusively for vertical video, its furniture arranged to squeeze as much as possible into the camera's narrow frame. "One hundred percent of what we're doing here is shot specifically for the Snapchat audience," Tastemade cofounder Steven Kydd tells me as we tour the set. In the office, TV screens are affixed to the wall sideways so employees can review Snapchat clips.
Snapchat pushes its partners to create this kind of original content, especially video shot in vertical view, which fills your iPhone screen from corner to corner and which the company says has nine times higher completion rates than video shot in landscape. Snapchat also wants its partners to focus on developing a strong editorial voice and avoid click bait. While there are important stories delivered on the platform such as CNN's ISIS coverage, they are infrequent, and Discover's content is predominantly light and fluffy.
Perhaps that's why after Discover's strong launch, user enthusiasm temporarily dipped. In part, this was a design issue: Discover was hidden within the app, several swipes from home base (the camera view), so once its novelty wore off, some partners saw daily visits fall by as much as 65%. Clicks rebounded with a mid-July app refresh that put Discover on the same page as Stories (one swipe from the camera). But the slowing engagement was also a signal that some partners just weren't connecting with the Snapchat audience.
In late July, Snapchat killed two channels, Warner Music Group (WMG) and Yahoo, replacing them with iHeartRadio and BuzzFeed. "It was six months to the day they changed out WMG and Yahoo," says one top executive partner close to the Snapchat team. "For us, that indicated, 'Hey, this is going to be Darwinian, so you're going to have to demonstrate you're delighting your audience.' It turned up the heat."
WMG and Yahoo were delighting no one. According to a source close to Snapchat, Spiegel, explaining his vision for WMG's channel, once asked, "Is there a way here to re-create Total Request Live from MTV?" WMG was not up to the task: The music giant had no infrastructure to produce daily content, so it offered a predictable collection of its music videos from the likes of Jason Derulo and David Guetta. But few of Snapchat's users even made it that far; they didn't know what WMG was. The channel eventually had to alter its Discover icon—adding the words Warner Music to the stylized W created by legendary graphic designer Saul Bass in the 1970s—because Snapchatters didn't recognize it. But users still didn't care, because their relationships are with artists, not labels. "Bottom line: The channel wasn't performing and wasn't being programmed for Snapchat's audience," says the source.
In Yahoo's case, Spiegel kicked off the relationship directly with Katie Couric, but its global news anchor ended up being part of the problem. Most Yahoo content opened like an old-school news broadcast, with Couric sitting at a desk, reading into the camera, followed by a long cut to the Yahoo logo. Kids couldn't tune out fast enough. Snapchat informed Yahoo it wasn't performing but didn't offer a "ton of analytics," according to one Yahoo source involved. Partners were only told whether their traffic placed them in the top three, middle three, or bottom three of Discover channels. The data were presented in a "vacuum," this source explains. Snapchat and Yahoo, which work out of the same building in New York, held meetings to try to fix Yahoo's ratings. But when rumors spread that BuzzFeed would soon be joining the Discover lineup, Yahoo quickly realized that BuzzFeed would be taking its spot. (BuzzFeed has proved itself: CEO Jonah Peretti revealed on a podcast that 21% of all BuzzFeed content views came from Snapchat in August 2015, its first full month on Discover.)
Nick Bell, the Snapchat content head, says there are no specific milestones the company required partners to hit in terms of traffic or ad sales: "The focus is on the content." Most Discover participants have glowing things to say about their editorial freedom and appear unfazed by any perceived performance pressure. "We won't end up like Warner Music because Cosmo and Snapchat have the same user base," says Cosmopolitan editor-in-chief Joanna Coles. "If Cosmo can't survive on Snapchat, then I'm not sure who can." But some also admit that it's taken time to learn what content works on Snapchat. "A lot of people just assumed, Okay, this is a younger demo and therefore they're going to want cat videos," says CNN executive VP Andrew Morse. "But that wasn't the case. They're engaging with really smart storytelling, which for us is gratifying."
One serendipitous effect of Snapchat's quest for ratings and revenue is that it fuels competition between Discover partners. Daily Mail has been privately boasting that it will rake in $10 million to $20 million this year from Snapchat ad revenue, according to several sources, as if to say to its Snapchat rivals, Beat that! This sum, according to another Discover participant, is "categorical, absolute, complete bullshit," but it motivates everyone's sales teams. (The Daily Mail's Steinberg declined to discuss revenue.) When CNN began talking about how many employees it had exclusively working on Snapchat content, the implicit message to everyone else was, Can you keep up? Another partner source describes the reaction internally at his network when they heard about CNN's Snapchat team: "We all looked around like, 'Shit, should we be doing that too?' "
Snapchat is pushing the competition directly as well. The company has its own Discover channel, called Snap, and it recruited Marcus Wiley, a former development executive at Fox, to program it. Snapchat has aggressively pursued original and exclusive content, including, most notably, a five-day miniseries starring Stephen Colbert in the final days before his CBS debut. (Editors' note: After this article went to press, Snapchat removed Snap from Discover. The company is still pursuing original content, but its focus is changing. Wiley has since left the company.)
The Discover channel most squeezed right now by Snapchat's succeed-or-die dynamic is Food Network. A source close to the channel says the cable-TV staple was amped about the partnership because "ad sales [on Snapchat] were really high" and it gave them access to "the elusive demographic." Yet the Food Network soon learned that little of its TV programming could be repurposed on Snapchat—it simply wasn't relevant for millennials—and executives weren't sure what original content would work. "No one wants to see [67-year-old TV chef] Ina Garten in the kitchen baking a casserole on Snapchat," the source says.
When Snapchat added Tastemade to Discover in late August, several sources indicate that Snapchat did not give Food Network a heads-up before the deal was finalized, which to some signaled its Discover spot may be in jeopardy. Ironically, Food Network's parent company, Scripps Networks Interactive, led a strategic investment in Tastemade in 2014. What's more, BuzzFeed and Vice are also producing food content. When asked for comment, a Food Network spokesperson replies, "We have a strong ongoing relationship with Snapchat and are in talks right now about further extending our partnership."
Discover participant Comedy Central, for one, seems to have gotten the message. The executive in charge of its channel, Steve Grimes, wonders aloud to me whether the network could have filmed Jon Stewart's Daily Show send-off in vertical video to enhance clips of the finale on Snapchat. "We've been talking to our production team about, What does it mean to shoot something phone safe? How does that work? What does it look like? Because the TV is not the way [to work with Snapchat]." A month later, Comedy Central announced six new original series that it will exclusively develop for its Snapchat Discover channel.
Says Snapchat's Bell, after hearing how Grimes is thinking about vertical video: "I feel like a proud father."
Contradiction #4:
Snapchat is an advertising pioneer—by following the same strategy as Facebook, Twitter, and YouTube.
Part of the reason advertisers are bullish on Snapchat is that, like TV, its content is "so rich," says Josh Elman, a partner at Greylock and former product leader at Twitter and Facebook. "When a tweet or Facebook ad scrolls by [in my feed], I may or may not emotionally relate, but if you have my full attention for even three seconds or 10 seconds with a full-screen video, you can engage so many different emotional triggers. If Snapchat can't monetize that, that's criminal."
For Snapchat to justify its $16 billion valuation, it has to become an advertising juggernaut. Imran Khan, Snapchat's business lead who previously worked at Credit Suisse, eagerly tells me that the company has already locked in several eight-figure marketing deals for 2016. Snapchat's sales team has quadrupled in the past five months to around 50 people. That's a good sign, because according to a leaked 2014 P&L document that Gawker published in August, Snapchat made just $3 million in the first 11 months of 2014 on losses of $128 million.
While that leak produced a healthy dose of schadenfreude, the numbers were hardly shocking. Snapchat didn't air its first ad until mid-October 2014. Plus media startups usually invest in growth at the expense of revenue at the outset. Snapchat declined to comment on Gawker's post, but one investor tells me, "Go back and look at how much money Facebook lost before they turned on advertising. Then do the same for Twitter." (When Facebook was three years old, as Snapchat was last year, it lost $138 million, though it booked $153 million in revenue. Twitter was four the first year that it sold advertising, and it lost $67 million, on $28 million in revenue.)
This investor adds that Snapchat is "going to blow out their plan this year from a revenue standpoint. It could come in almost twice what they marketed to folks just a few months ago." Recent reports indicated the company is aiming to hit $50 million in revenue this year and $200 million in 2016.
Before Snapchat can IPO, as Spiegel has publicly said it will "need to," the company must devise a better story about its valuation, which is roughly on par with Twitter's market cap despite it having a fraction of Twitter's likely $2 billion in 2015 revenue. "There's a very focused awareness within the company about the revenues and potential multiples and ways of describing the value proposition and the growth prospects of the company in a way that makes sense to the broader markets," says Mitch Lasky, a Snapchat board member who is also a major Twitter investor. "We're very conscious of the way Wall Street has painted Twitter with Facebook's brush." (Twitter has been plagued by having to live up to Facebook's metrics—such as monthly active users—even though the companies are fundamentally different; Twitter's stock now trades around 30% below its market debut.)
Snapchat is clearly trying to spin a different narrative, one that revolves around its rivals pursuing easy money. "If Evan wanted to pick low-hanging fruit, he could simply [turn on app-install ads] and do $100 million in cost-per-install revenue tomorrow," says Lasky. Spiegel has called the targeted direct marketing that makes up a significant portion of Facebook's and Twitter's revenue "creepy." This type of performance-based advertising, which includes Google's pay-per-click search listings, is a growing percentage of a $156.8 billion market, but it can't compare with the projected $578 billion in global brand advertising this year.
That is Snapchat's bet: that it's going to be the one to migrate ads designed to improve brand awareness to digital. The global TV ad market alone, most of which is brand based, is a $213 billion annual business. "TV viewership is down almost 20% with millennials," says Khan. "Look at the ad dollars still spent on magazines and newspapers [approximately $32 billion this year]. There's a tremendous pent-up demand for big brand advertisers to allocate their brand advertising to digital."
If this sounds familiar, that's because Facebook, Twitter, and YouTube all have a similar vision. Everyone believes they will be the big winner when—and it's always when and not if—digital consumes the traditional advertising industry.
Contradiction #5:
Snapchat can deliver millennials—as long as you don't ask too many questions.
Another good reason for Snapchat to go after brand advertising: It's difficult to measure. It can take years before a major corporate marketer will see a meaningful uptick in affinity. And with social media, which is still relatively new, the metrics are even murkier. "Social stats can be very misleading," says Michael Moses, Universal Studios' cohead of marketing. Universal bought the first Snapchat ad and has purchased spots to promote everything from the niche horror movie Unfriended to Furious 7 and Jurassic World. "I mean, we have a vendor a week coming in here and saying, 'We've cracked the code and we know. We'll parse the firehose of everything that's coming in on social and we'll let you know exactly what it means for your movie.' I remain unconvinced."
Marisa Thalberg, who oversees how youth-oriented fast-food chain Taco Bell interacts with customers, says that Snapchat has become its "most engaged platform." Including TV? "No, no, on social," she quickly responds, before stopping short, reconsidering, and adding with a laugh, "Although how do you measure engagement on TV? Who knows? Maybe it is."
Both advertisers and Snapchat are still figuring out what works: In early 2015, dropout rates after three seconds were on the order of 60% to 70% for almost all ads on Snapchat. "We learned we needed to adjust the way we talk to Snapchat's audience, because they detect when it's advertising," says Coca-Cola North America content SVP Emmanuel Seuge. The company's ads repurposed from TV and other social networks performed poorly during Snapchat's Live Story for the NCAA Final Four tournament. The soda brand continued working "hand in hand" with Snapchat to develop more ad programs; not long ago, as part of Snapchat's back-to-high-school Story featuring scenes from kids' first day of classes, the completion rate for a Snapchat-exclusive 10-second Coke spot shot up to 54%.
Moses, Thalberg, and Seuge—and almost every other marketer we contacted—are Snapchat believers, even though everyone we spoke with also complained about not getting enough metrics. A Snapchat spokesperson responds that it shares viewership data with marketers and that it commissions third-party research on the resonance of major campaigns. For now, advertisers find Snapchat's demographics and traffic enticing enough. "You know the audience you're getting," says one digital Hollywood executive. "Everyone who has a child between 12 and 24 knows who's using it and the success with it. So it's not a secret who you're advertising to."
Then there's the price. "When I met with them [in the beginning], they were telling me the minimum ad spend was $750,000 per day, and I felt like I wanted to throw up," says the CEO of one big-name advertising agency. Snapchat discontinued that ad unit, replacing it with 10-second spots within Live Stories and Discover. Although a marketer can get into Discover for a reasonable five-figure sum, if it wants to own a high-profile Live Story such as the VMAs, the price is $800,000, though it can be split among advertisers. Sources universally say Snapchat's fees are substantially higher than equivalent ad prices on YouTube, Facebook, and Twitter, but that it's too early to measure Snapchat in comparison.
The gaudy numbers send a message about how Snapchat perceives itself to be the only way to reach 13- to 34-year-olds. That haughtiness can make the company "a pain in the ass to work with," says one marketing exec. "They understand their power right now and they're just egotistical about what they have." Early on, Spiegel himself rejected campaigns because he didn't like them and "worried about his users." According to this person, "Instagram was the same way in the beginning. That's changed at Instagram. Hopefully, Snapchat is beyond that."
Despite any cavils, most advertisers I spoke with are at least willing to give Snapchat time as it matures into an advertising business. They're confident that Snapchat's infrastructure will get better, and like all of its rivals, it too will eventually add more data analytics and improved targeting. "[Snapchat] is not going to get held to the same sort of rigorous metrics that we can now put in place for other vendors with more granular data," says Ivan Pollard, Coca-Cola North America's SVP of connections, investments, and assets. "We're willing to risk a bit of money to learn."
One common sentiment is that Snapchat is handling that maturation better than its rivals, perhaps having learned from their mistakes. Brands and advertisers universally deride Facebook and Twitter for their so-called bait-and-switch, when they spent years encouraging companies to build up organic followings, only to change abruptly to an expensive pay-to-play model. "Snapchat has been very clear from the beginning. They're like, 'If you want it, you have to pay for it,' " says Jess Greenwood, VP of partnerships at R/GA. "I think brands are probably quite grateful for that."
Contradiction #6:
Evan Spiegel runs a storytelling company, yet he's struggled to tell Snapchat's story—and his own.
The "What Is Snapchat?" video, posted to YouTube last June, features grainy footage of Spiegel, clad in his usual loose-fitting white V-neck T-shirt, sitting in what appears to be a windowless conference room. In 3 minutes and 56 seconds, he condenses the history of social media, offers a Snapchat tutorial, and discusses the mobile revolution's impact on self-identity. Years ago, he says, identity equated to the accumulation of everything representing you online. Now, thanks to Snapchat, "identity is who I am right now. It says, 'I'm the result of everything I've ever done, but I'm not the accumulation of all that stuff.' "
It's a fitting demarcation for someone whose past is so public that he understandably would prefer it not to be linked to his identity. There are leaked misogynistic emails from his time at Stanford; evidence that he forced out Snapchat's third cofounder Reggie Brown; the abrupt departures of several high-profile senior executives; and the correspondence ensnared in the Sony hack that reveal his board members Lynton and Lasky referring to Spiegel as "super paranoid" and board meetings as "contentious," and generally painting a portrait of a team working behind each other's backs to avoid "land mines."
On the day Spiegel released the YouTube video, perhaps to emphasize his point, he deleted all his public tweets. A Snapchat spokeswoman explained, "He just really prefers to live in the present."
The Evan Spiegel of late 2015 remains, well, a contradiction. A slew of off-putting anecdotes from sources seem to confirm the worst, including one from a former associate who tells me at length how cold, "truly arrogant," and "calculated" Spiegel was in their dealings. Even Spiegel's supporters, including his investors, will admit that he is, at times, his own worst enemy. "If you told me that some people found him incredibly brash and arrogant, I wouldn't fall out of my chair," says one close ally. "When I first met him [in 2014]," recalls WPP's Martin Sorrell, "I said, 'You're the first 25-year-old billionaire I've met,' and he responded, 'I'm 24.' "
Sorrell tells me he doesn't regard that as being cocky and lauds Spiegel for being "no BS. He's to the point; if he's not interested in something, he says so, but if you have a good idea, he'll listen." Spiegel loyalists echo this characterization and add that he has a good heart, he's hilarious, and he loves talking music and reading The New Yorker. He's the kind of guy who sends handwritten thank-you notes and constantly seeks advice. Take a moment and you can see all of these attributes in Snapchat, from his sense of curiosity to his single-mindedness.
Spiegel's allies contend that he is simply young and experiencing a mountain of responsibilities. There's only one other person who has faced this kind of pressure at this age: Mark Zuckerberg. He, too, was 25 and running a company with more than 100 million users and a valuation in excess of $10 billion. Zuck's subsequent success and personal growth have erased the memory of his youthful lack of polish. As Jonathan Teo, an investor and Snapchat adviser, tells me, "Evan is never going to write on his business card, 'I'm CEO, Bitch,' " which Facebook's CEO notoriously did.
It's remarkable how many media honchos give me their take on Spiegel despite having never interacted with him beyond crossing paths at Cannes. In this hothouse of faux intimacy, "he's guarded," says a top VC who is friendly with him. What Spiegel values most is loyalty, colleagues say, and just as in the app, authenticity. Andrew Watts, 20, grew up near Spiegel and contacted the CEO in 2012 to write about the pre-unicorn startup for his high school newspaper. The two kept in touch over the years, and even as Snapchat became a big company and Spiegel's real and paper wealth soared, Watts says Spiegel was always exceedingly generous, always willing to meet and offer advice. Watts could never understand why someone who has become so successful, so famous, would still make time for a college sophomore—let alone agree to visit his campus and speak to his classmates. So he asked.
"Evan told me, 'Well, you were friends with me before it was cool to be friends with me,' " Watts recalls.
Virtually every partner, advertiser, and investor quoted in this story is older than Snapchat's millennial sweet spot. Spiegel wants their content and their money, but he's building Snapchat for the Andrew Wattses of the world. Daily Mail's Jon Steinberg, 38, jokes that Snapchat is the first product that ever made him "feel kind of old"; he recalls emailing Spiegel to suggest an interface change he found confusing. "He wrote to me and said, 'People will figure it out—you're not really the target.' " In other words, Snapchat isn't for you, old man! "That was kind of profound for me," he says. "Every teen I see using this thing has no problems with it."
Why Snapchat Is Becoming "Comcast For Kids"
A version of this article appeared in the November 2015 issue of Fast Company magazine.


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Attic Retreat Collection 4 Piece Bedroom Set With King Size Panel Storage Bed + 1 Nightstands + Dresser + Mirror: Weathered Mink
Add Warranties and Services
1x Broyhill ATTICPANELBEDK
Category: Beds | SKU: ATTICPANELBEDK
Attic Retreat ATTICPANELBEDK Panel Storage Bed with Frame Panel Headboard, 2 Cedar Lined Drawers and Distressing Details in Mink Finish, King
- Brand:Broyhill
- Stock Id:295884
- Product Number:ATTICPANELBEDK
- Series:Attic Retreat
- Color:Mink
- Style:Rustic
- Construction:Veneers
- Finish:Mink
- Series:Attic Retreat
- Upholstery:Not Upholstered
- Type:Storage
- Width:81.75"
- Height:62"
- Size:King
- Length:86.75"
- Frame Material:Wood
- Foldable:No
Technical Details
Distressed Detailing
Create a story and simulate years of wear! For those who admire rustic, shabby chic or cottage design�. the distressed detailing on this furniture piece re-creates the look of a beautiful antique.
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Ideal for jewelry, scarves and accessories...the material lining on the inside of this drawer will keep your valuables from scratching.
Simple Pulls
Allow other design features on your furniture piece or overall decor to have center stage with the classic clean look of simple pulls.
Molding Detail
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Beveled Edge
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subset: commoncrawl


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Chicken Fry
|Vegetable oil
|2 Tablespoon
|Skinless, boneless chicken breasts halves
|1 Pound
|1 , sliced
|Ginger garlic paste
|1 Teaspoon
|Chili peppers
|To Taste, chopped
|Coriander powder
|3 Teaspoon
|Garam masala
|1 Teaspoon
|Turmeric powder
|1⁄2 Teaspoon
|Chili powder
|1 Teaspoon
|Ground nutmeg
|1 Pinch
|Chopped cilantro
|1 Tablespoon (For Garnish)
|To Taste
Heat oil in a pan. Add onions, green chilies, garam masala powder, ginger-garlic paste and fry until onions turn golden brown. Add chicken pieces, turmeric, nutmeg, pepper and chili powders and let cook for 5 to 6 minutes. Add salt and additional coriander powder to taste and cook until done. Garnish with cilantro if desired, and serve.
Recipe Summary
Rate It
Nutrition Rank
Nutrition Facts
Serving size
Calories 233 Calories from Fat 91
% Daily Value*
Total Fat 10 g15.8%
Saturated Fat 1.5 g7.5%
Trans Fat 0 g
Cholesterol 65.8 mg21.9%
Sodium 273 mg11.4%
Total Carbohydrates 8 g2.6%
Dietary Fiber 3 g12.1%
Sugars 2 g
Protein 28 g55.3%
Vitamin A 16.1% Vitamin C 11.4%
Calcium 7% Iron 11.6%
*Based on a 2000 Calorie diet


text:
Gourmet Leg Of Lamb
|Lamb leg
|6 Pound (1 In Number)
|1 Clove (5 gm)
|Kosher salt/Coarse salt
|1⁄4 Cup (4 tbs)
|2 Tablespoon, cracked
|1⁄4 Cup (4 tbs)
|Dry red wine
|2 Cup (32 tbs)
Trim excess fat from lamb.
Cut garlic clove into 4 to 6 slices.
Using a paring knife, make enough small slits to insert slivers of garlic into various parts of meat.
Sprinkle coarse salt and pepper over all sides of lamb.
Place in large bowl; pour cognac or brandy over it.
Refrigerate several hours or overnight, brushing with cognac or brandy and turning meat several times.
Drain meat and put it and red wine in slow-cooking pot.
Cover and cook on low 10 to 12 hours or until meat is done.
If possible, turn roast in pot once during cooking.
Makes 8 to 10 servings.
Recipe Summary
Rate It
Nutrition Rank
Nutrition Facts
Serving size
Calories 689 Calories from Fat 375
% Daily Value*
Total Fat 42 g64%
Saturated Fat 20.9 g104.5%
Trans Fat 0 g
Cholesterol 206.8 mg68.9%
Sodium 2384.7 mg99.4%
Total Carbohydrates 8 g2.8%
Dietary Fiber 0.01 g0.04%
Sugars 0.5 g
Protein 50 g100.1%
Vitamin A 0% Vitamin C 0.26%
Calcium 2.7% Iron 24.6%
*Based on a 2000 Calorie diet


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Bonnycastle Park
The Harlequin Romance publishing empire was founded in Winnipeg in 1949 by Richard and Mary Bonnycastle. Today this empire spans over 94 international markets and its books are printed in more than 25 languages.
The above is courtesy of Factoids which is published by destinationWinnipeg.
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Taken on September 5, 2010


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David Knopfler (Dire Straits) Performs at the Triple Door
The Triple Door, Corner of Union & 3rd Ave. 216 Union Street Seattle, WA 98101
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Full Price
A founding member of Dire Straits, David Knopfler spent three years in the band with his brother Mark before embarking on a solo career. Since his 1983 debut album Release, the musician has recorded nine critically acclaimed solo albums that showcase his remarkable songwriting abilities. Knopfler is also a published author and poet, and although he keeps a low profile, he has earned the respect and admiration of a generation of musical peers. Longtime collaborator Harry Bogdanovs will accompany Knopfler on stage and singer/songwriter Jenn Grinels will open the show.
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The last date listed for David Knopfler was Monday May 13, 2013 / 7:30pm (Doors Open at 6:30pm).
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"Our Mission is to provide our clients with the best real estate agent representation in the industry." To that end, RE/MAX Full Spectrum provides its agents with premier office locations and regular training on up to the minute industry topics, including technology and ethics. Our friendly family culture is our company's biggest asset. All our agents and staff are upbeat, positive and team players. We recruit agents who are trustworthy and responsive with great integrity. The best representation offered comes from our reputable agents' ability to help our clients achieve their real estate dreams.
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text:
- Overview
- Specs
- Reviews
Shimano Dura-Ace FD-7900 Clamp-On Front DerailleurThis front derailluer is redesigned with wider linkage and an optimized spring tension for dramatically improved shifting!
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Check out our Basic Guide: Introduction to Shimano Road Groupsets.
Check out How to Adjust Your Front Derailleur.
Check out our Basic Guide: Road Cycling.
Shimano Dura-Ace FD-7900 Clamp-On Front Derailleur
- capacity:
- clamp diameter:
- 28.6mm/31.8mm/34.9mm
- compatibility:
- Shimano Dura-Ace 7900
- material:
- Aluminum
- max. chainring:
- weight:
- 68g
- rating:
- 5
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Philips 1400W Black Air Fryer, HD9220/20
Enjoy great tasting fries with up to 80% less fat! The unique design of the Philips rapid air technology lets you fry with air to make food that is crispy on the outside and tender on the inside. Little or no oil is needed and you'll still get deliciMore >


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Architecture envisioning is an agile best practice to outline the technical decisions that guide development and testing of software-intensive systems. A software architect typically uses the following steps to outline the target architecture of a software-intensive system (see the Resources section to access part 1 of this series):
- Identify significant requirements
- Define the candidate architecture
- Define the initial deployment model
- Define the domain model
But architectural thinking is not a one-time activity. It is a continuous effort that experienced agile teams integrate into their development work. As your team progressively builds the system, you uncover new technical challenges, and you have new architectural decisions to make.
The following architectural activities are typically performed during development iterations:
- Refine architectural mechanisms: Technical concepts to satisfy architecturally significant requirements identified in the first step.
- Refine design elements: The architecturally significant design elements
- Refine the deployment architecture: The deployment units and topologies
Iteratively refine the architecture
Understand that typically you do not need to specify the design for all the parts of your system. Just like everything else in a project, you only do it if it brings some value. But some parts of software-intensive systems must be specified in greater details than others. It might be because some components are more difficult to understand and implement, or because they impact critical elements of other subsystems. Some organizations need more detailed specifications before they hand off the development to a business partner or a geographically distributed development team. Some teams have to specify and document their architecture more carefully to fulfill regulatory requirements.
Refine architectural mechanisms
When your team needs to specify the design of a component, you can start by defining the architectural mechanisms to realize it.
The objective of this stage is to define the analysis classes necessary to realize the significant requirements of your system. In other words, you want to identify all the elements that are necessary to fulfill a specific business need.
For a better visual representation, you can choose to associate those classes to an analysis stereotype. Use the Boundary stereotype to represent a class that acts as an interface to the system. Use the Control class to describe a component that exercises control over other classes. Use the Entity stereotype to designate a class that carries data.
A graphical representation of these analysis stereotypes is shown in Figure 1.
Figure 1. Analysis stereotypes
Figure 2 shows the analysis stereotype as it is applied to a significant requirement of the system. In the Yummy Inc. example, the ordering business need involves several elements (analysis classes) such as a customer, a menu, and the processing of a payment.
Figure 2. Analysis elements for the ordering package
After you identify the analysis classes (figure 2), you might also need to define the static and the dynamic aspects of some significant requirement.
Then, for each significant scenario, the purpose of this step is to define both their static and dynamic aspects. Rational Software Architect assists the architect in achieving this task by providing a use-case realization template.
The template (Figure 3) comes by default with a class diagram to record the static aspect (Participants) and a set of sequence diagrams (Basic Flow, Alternative Flow n …) for the dynamic behaviors.
Figure 3. Use-case realization template for the Order Menus functionality
Each diagram addresses a different aspect of the component. The class diagram (Figure 4) depicts all the classes involved in a use-case realization (dynamic) while the sequence diagram (Figure 5) illustrates the interactions between them (dynamic).
Figure 4. Class diagram for the Order Menus functionality
Figure 5. Sequence diagram for the Order Menus functionality
At the end of this step, you have developed some significant requirement realizations of the system with UML models. It is an important part of the architecture when you need to depict the static structure and the behavior of some components of your software-intensive system.
Because the Analysis Model is still technology-agnostic, you can reuse it as the starting point for several implementations.
Refine the Design Model
After you define how you want to realize significant requirements in the analysis model, you are ready to dive into the concrete design of the components.
While the Analysis Model is abstract, the Design Model must be closer to the real implementation. The software architect typically identifies a set of goals and constraints related to the technology that is used to implement the solution. The Design Model is usually not developed from scratch. It is an evolution of the analysis model that you already defined (figure 2 and figure 3).
In our example, Yummy Inc. Online Catering is developed using the Java EE platform. Data persistence leverages the Java Persistence API (see Resources ), the application logic is implemented with Session Beans, and access to the delivery service is done through web services.
In architecture and design, a widely adopted best practice is to define the different layers of the solution, and how they relate to each other. The Java EE n-tier architecture encourages the separation of concern between layers.
In the Architectural Layers perspective of Rational Software Architect, the design template provides a view where you can define the dependencies between the layers (Figure 6).
Figure 6. Architectural Layer Dependencies view for the Online Catering system
With the architectural layers defined, the software architect produces the first iteration of the design. The Rational Software Architect design template provides a pre-defined structure for this activity. The component specification typically contains the interfaces and data used to interact with the component (Figure 7). It is usually the first aspect that a software architect defines. For each component, it is important to specify the data that it manipulates and its interface, including the available operations.
Figure 7. Design packages for the Online Catering system
Note that because the implementation platform has been chosen at this stage, the design model can be enriched with technology-specific information. In our example, persistent objects are marked with a JPA stereotype to identify how the object model maps to the database.
For some component of your software-intensive system, you might decide to specify the design a step further. Remember that you add details to the design only if it helps your team implement and deliver the application. In figure 8, a detailed class diagram has been created with a specific objective in mind. The team wants to generate Java code from the design model using some of the transformations that Rational Software Architect provides (see Resources for further information about the transformations).
Figure 8. Detailed class diagram for code generation
Creating the detailed design for some components is not always the responsibility of a software architect. Depending on the size and skills of your project team, the software designer role can be assigned to one or many different persons, such as senior developers (the boundary between architecture, design, and development is sometimes unclear).
Refine the deployment architecture
Architects are responsible for creating systems that fulfill business needs. One key aspect of software-intensive systems is how they are deployed on the physical architecture. The initial deployment model is usually defined when you envision the architecture (see the Resources section to access part 1 of this series). As the project progresses, architects refine the deployment architecture to incorporate the non-functional requirements and the constraints related to the production environment.
With the Rational Software Architect deployment planning tools, you can create topologies to show the relationships between information technology resources. You can also plan and validate deployment scenarios (see the Resources section for more information about deployment planning and automation with Rational Software Architect).
Rational Software Architect helps achieve deployment analysis at different levels of abstraction. You can create logical topologies where you capture decisions about the operational architecture of a software-intensive system (figure 9). In a logical topology, you describe the system at a high level of abstraction. You specify how the components of the application are organized and connected, and where they will be located and hosted. Note that the units representing the solution are not always created from scratch but are derived from UML elements for better traceability.
Figure 9. A logical topology example for the Online Catering system
Architects can also define a topology to describe how the application is deployed. This type of model describes a specific, complete deployment instance of an application and the specific infrastructure on which it is deployed (Figure 10).
Figure 10. Sample of detailed deployment model for the Online Catering system
Incrementally build the system
Teams working to deliver a software-intensive system must always keep in mind that working software is the primary measure of progress. Activities required to develop an application is beyond the scope of this article, but it is important to remember that successful teams integrate architecture and design into their development work.
Ongoing architectural thinking is part of the development effort, and teams should not write new code or modify existing one without thinking about how the change will affect the whole application. A popular technique to modify existing code is called refactoring (see Resources for further information about refactoring). Rational Software Architect provide a rich set of tools to facilitate code development and refactoring. You can change the structure of your code by using refactoring assistance (Figure 11). You can also identify patterns and anti-patterns in your application code by using the architectural discovery capability (Figure 12). Both features helps you write better code and discover problems at early stages of software development.
Figure 11. Refactoring assistance in Rational Software Architect
Figure 12. Identify patterns
If you have created some models during your architectural thinking activities, you can also decide to transform them into code. Rational Software Architect ships with a set of transformations to generate Java code, Java EE elements, or SOA artifacts (Figure 13). You can also generate models from existing source code.
Figure 13. Transformations in Rational Software Architect
As you incrementally build the system, you create the working software that conforms to the design decisions made during architectural thinking activities.
Agile methodologies promote the adoption of short iterations to build a system piece by piece. If Big Design Up Front (see the Resources for BDUF) has proven to be a non-efficient approach mostly adopted in waterfall models, it does not mean that architecture and design activities must be banned from agile projects. Design must be both intentional and emergent. Intentional because at the beginning of a project, you anticipate some of the technical needs based on the product backlog (architecture envisioning). Emergent because during development iterations, you adapt and enrich the design based on the new technical challenges that your team discovers.
In part 1 of the series, we focused on typical tasks to outline the architecture and to align the technical vision to development needs. In this second part, we have described how the architecture is refined during development iterations. For the whole project lifecycle, Rational Software Architect provides model templates to specify the architecture of a software-intensive system from different viewpoints (Figure 14)
Figure 14. Models for a variety of architectural views
Architectural thinking is a continuous effort that experienced agile teams integrate into their development work. It does not always result in formal diagrams. Keep in mind that if UML is not the right approach in your context, nothing prevents you from using Rational Software Architect sketches instead, just like you would do on a whiteboard. Rational Software Architect sketches are less formal than UML diagrams but they may be a good alternative for your specific project.
|Yummy RSA models
- Defining application architectures with Rational Software Architect, Part 1: Envisioning the architecture
- Modeling deployment topologies: a training module to learn about deployment topologies with Rational Software Architect
- Learn about modeling with Rational Software Architect in this free self-paced training
- Learn about the Design Management project, a new solution to help team collaborate on architecture and design activities
- Read the blog Pragmatic architecture, for the author's perspective on software engineering.
- Big Design Up Front (BDUF): A page to learn about the BDUF approach.
- Java Persistence API: A Simpler Programming Model for Entity Persistence.
- Rational Software Architect wiki: A product wiki where you can find a variety of resources to help you design, develop, implement, and deploy applications.
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- IBM agility@scale: Watch a short video to learn more about IBM agility@scale.
- IEEE Recommended Practice for Architectural Description for Software-Intensive Systems: Learn more on IEEE 1471 standard.
- Patterns for e-business: A collection of reusable assets that can help speed the process of developing new e-business solutions.
- Deployment topologies with Rational Software Architect: This article shows how to create deployment topologies with Rational Software Architect.
- What's new in IBM Rational Software Architect v8.0: This article is a basic introduction to the new features in Rational Software Architect version 8.
- IBM Rational Software Architect product page: Find technical documentation, how-to articles, education, downloads, and product information about Rational Software Architect
- Architectural Blueprints—The "4+1" View Model of Software Architecture: A paper by Philippe Kruchten.
- UML resource page: The official site for information about UML.
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Publisher's Description+
From AiMiS: Inventory Manager manages the stock and forwarding of the product which are gives bar code or none. Bar code or choosing in a product or a category (maker or vendor) list. In the case of the product which are not given a bar code, a product code is generated automatically at the time of product registration. You can send email as an attached file with a CSV file(the list of products,stocks).
What's new in this version:
1)for iOS72)change UI3)add scanner module
read more +


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Magento Admin Debug
This project was successfully completed by g17owner for $194 USD in 5 days.Get free quotes for a project like this
Project Budget$30 - $250 USD
Completed In5 days
Total Bids35
Project Description
As soon as we started using a new canned theme, we noticed some odd behavior within the Magento admin area - after edits to a product (like inventory or price changes), that product was removed from all its categories.
After checking the code, we noticed that the function $this->getCategoryIds() (in /app/code/core/Mage/Adminhtml/Block/Catalog/Product/Edit/Tab/[url removed, login to view]) was returning an empty result instead of an array of the category ids the product was assigned to. When Magento saved the results after an edit, it used this data (an empty set instead of the correct data) and wiped out all the sku to category assignments for the product.
Need to locate the issue and resolve asap
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text:
Zegna Uomo Hair amp Body Wash 200ml. A luxurious and cleansing hair and body wash infused with the scent of Zegna Uomo.
Thank you for visiting Zegna uomo hair & body wash 200ml on happybeauty.co.uk
We bring the products from many websites to one website for you to search, save and compare.


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A MEDICAL student has been shortlisted for a prestigious national award.
Luke Holland, who studies at Brighton and Sussex Medical School, has made it to the national finals of the Surgical Skills competition organised by the Royal College of Surgeons.
He beat ten fellow students from the Sussex, Surrey and Kent regional heat by demonstrating a range of skills including stitching and knot-tying and cyst removal tests.
He will now take part in the final in Scotland in March.
Mr Holland, 23, said: "Over the past two years I have worked hard to become confident in my surgical skills so it is very rewarding for this to have been recognised by winning the regional heat.
"Taking part in the grand final is an exciting prospect, although I feel I have a lot of work to do in order to stand a chance at winning.
"I am anticipating the final |to be more challenging and I feel I have more to play for which will no doubt |increase the adrenaline on the day."
The overall winner will win a trip to a European surgical training institute in Germany later this year.
See the latest news headlines from The Argus:
- Albion fan is banned after celebrating goal on pitch
- Cash boost will finance 'exciting' new schemes
- Sixth form college needs more room for science students
- Brighton and Hove tops list for shopping potential
- Albion praised for supporters' healthy travel


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September 11 National Day of Service & Remembrance: Honoring through Service
As a positive way to forever remember and pay tribute to the victims of September 11, honor those that rose in service in response to the attacks, and to remind people of the importance of working more closely together to improve our world, the Michigan Community Service Commission (MCSC) will be observing September 11, 2016 as a National Day of Service and Remembrance. We invite you to serve, honor, and remember alongside us on this historic day.
About September 11 National Day of Service and Remembrance:
The September 11 National Day of Service and Remembrance is the culmination of an effort originally launched in 2002 by 9/11 family members and support groups. It became officially recognized following the passage of the Edward M. Kennedy Serve America Act of April 2009.
2016 9/11 Day of Service Mini-Grant Application Guidelines
The Michigan Community Service Commission is awarding mini-grants to Michigan organizations who wish to host volunteer projects as part of the 2016 9/11 Day of Service.
All proposed events or activities must occur on or around Friday, September 9, 2016 through Sunday, September 11.
Grant Amounts
Grants valued at up to $1500 are available and will be distributed based on the following scale:
$1500 - Engage 100 or more volunteers
$1000 - Engage at least 75 volunteers
$500 - Engage at least 50 volunteers
$250 - Engage at least 25 volunteers
We will be awarding 10-15 grants to Michigan organizations.
These grants are intended to encourage volunteer projects that address:
Disaster preparedness, resiliency, and mitigation: Helping communities prepare for, respond to and recover from natural and man-made disasters, including 1) Recognizing Risks, 2) Planning Ahead, 3) Gathering Supplies, and 4) What to Do During a Disaster. A project must be cost-effective and substantially reduce the risk of future damage, hardship, loss, or suffering resulting from a disaster.
Supporting veterans, military families, and first responders: Serving those who served us, as well as engaging the talents of our veterans and military families
Applications addressing critical community needs including education, health, clean energy/environmental stewardship, economic opportunity or public safety will also be considered.
Eligible Applicants
National service grantees, volunteer centers, nonprofits, municipal/local emergency response organizations, and K-12 and higher education institutions are eligible to apply.
Funding Guidelines
Applicants are encouraged to consider the following:
- Funds must be used to support elements of a service project
- Projects should demonstrate collaboration among multiple organizations
- Project must benefit Michigan residents
Allowable Expenses
Mini-grant funds must be used to support essential volunteer project materials that correlate with the volunteer project activities outlined in the project description section of the application.
Applicants are encouraged to find alternate or match funding for all items, especially supplemental items that are not essential to the success of the volunteer project such as snacks, t-shirts, water. Please use the budget explanation section of the application to clearly explain why the items listed in the budget are essential to the success of the community volunteer project.
Project examples:
- Create disaster kits for a community, group, etc.
- Create a preparedness plan for a school, nonprofit, etc. (call lists, work w/ VCs, materials and space secured, work to prep places and materials, volunteer plan…)
- Clear and maintain a watershed or floodplain
- Hold an awareness event to promote disaster preparedness and resiliency
- Perform door-to-door or community disaster preparedness literacy campaign
- Engage in responding to the recovery from a disaster or emergency in the state of Michigan (e.g.: Flint Water Crisis Recovery or Detroit 2014 Flood Recovery)
- Support disaster mitigation plans (e.g.: the Grand River Urban Waters Campaign)
- Hold an emergency or disaster response training or mock-run for your organization, community, etc.
- Build disaster resiliency infrastructure (reinforce buildings and other structures, build flood/retaining walls, expand or create culverts, create a shelter, etc.)
- Perform an erosion control project
- Create a coordinating plan with media, government, nonprofits, etc.
Complete the application available online. If a paper application is required, please email email@example.com. Applicants are encouraged to participate in one of the two informational grant webinars occurring on Thursday July 14 and Tuesday July 19.
Webinar Registration:
July 14, 2016 at 3:00 p.m.- https://attendee.gotowebinar.com/rt/3244313942786956289
July 19, 2016 at 11:00 a.m.- https://attendee.gotowebinar.com/rt/3244313942786956289
Application Deadline
Sunday July 24, 2016
Application review
The applications will be reviewed internally by the Michigan Community Service Commission.
Reporting Requirements
Grant recipients must complete a final report survey, which will require project receipts, number of volunteers, number of volunteer hours, etc. A link to the final report survey will be provided to grantees after they have been awarded funds. The final report must be completed by Friday September 23, 2016.
Other Grant Requirements
If approved, an organization representative will be required to participate in one webinar for 2016 9/11 mini-grant recipients. Available dates include Thursday, Aug. 18 at 3 p.m. or Tuesday Aug. 23 at 11 a.m. Webinar registration information will be provided to the mini-grant recipients. Mini-grant recipients will be required to register the service project as 9/11 event on InnerView by Friday, August 26 at volunteermichigan.org. Service project registration information will be provided during the mini-grant recipient webinars.
All applicants will be notified electronically at the beginning of August. Awardees are required to return a signed award letter to accept funds by Monday Aug. 15, 2016
Send questions to: firstname.lastname@example.com
9/11 Service Project Resources
9/11 Day Toolkits. With specific toolkits for employers, teachers, and nonprofits/government, these toolkits from 911day.org will help you make the most of your 9/11 Day activities.
United We Serve 9/11 Resources. This site has a range of resources that will be useful to your 9/11 Day events, including communications toolkits, project planning guides, tips for engaging elected officials, digital assets, downloadable posters, and more.
Register Your 9/11 Service Project
Registering projects is an important part of any National Day of Service for the following reasons:
It allows you to recruit additional volunteers to assist in your local efforts.
It helps the MCSC, and other key partners, to document and track the various projects occurring locally and across the state.
It raises awareness with the media and others about the specific 9/11 activities that will be occurring.
Please register your September 11 National Day of Service and Remembrance project as soon as you have enough details to do so. To register your opportunity, visit www.volunteermichigan.org.


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Supramolecular Soft Matter
Applications in Materials and Organic Electronics
By (author) Takashi Nakanishi
Format: Hardback
Normal Price: $206.95
Your Price: $186.26 AUD, inc. GST
Shipping: $7.95 per order
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Availability: Available to Backorder, No Due Date for Supply
Supramolecular Soft Matter by Takashi Nakanishi
Book DescriptionThis book covers molecular design and synthesis, as well as the development of smart molecular assemblies, for organic electronic systems. It identifies concepts that hold promise for successful development of organic/polymeric electronics with real-world applications. Unlike other books, this is not simply a compilation of current trends in supramolecular soft matter. The chapters, written by leading researchers, help readers understand and manipulate the electronic properties of supramolecular soft materials for use in organic electronic devices, such as photovoltaics and field effect transistors, some of the most desired materials for energy conservation.
Buy Supramolecular Soft Matter book by Takashi Nakanishi from Australia's Online Bookstore, Boomerang Books.
Book DetailsISBN: 9780470559741
(240mm x 165mm x 31mm)
Pages: 504
Imprint: Wiley-Blackwell
Publisher: John Wiley and Sons Ltd
Publish Date: 28-Oct-2011
Country of Publication: United States
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Author Biography - Takashi Nakanishi
Takashi Nakanishi, PhD, is a principal researcher at the National Institute for Materials Science, Japan. He is a reviewer for more than twenty journals, including Angewandte Chemie International Edition, Journal of the American Chemical Society, Langmuir, Chemistry of Materials, Journal of Physical Chemistry, Advanced Materials, Advanced Functional Materials, Chemistry A European Journal, Chemistry An Asian Journal, Small, and has also written sixty-eight papers and thirty-two reviews or book chapters.
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text:
Tweetheart panel afterparty at Catch Grill and Bar on Thursday, February 16, 2012. What a great way to hang and pick the brains of the panelist from "Keeping Social Media Real & Organic": Maria de Los Angeles[email protected], Natasha Otero-Santiago[email protected], Janey Coffey[email protected], James Echols[email protected], Liza Walton[email protected], Steve Roitstein[email protected] and Alex de Carvalho[email protected]
"Social Media Week is one of the world's most unique global platforms, offering a series of interconnected activities and conversations around the world on emerging trends in social and mobile media across all major industries. In just under three years, Social Media Week has expanded to 21 cities, including New York, San Francisco, Los Angeles, Chicago, Toronto, Vancouver, Sao Paulo, Rio De Janeiro, Bogotá, Buenos Aires, Mexico City, Istanbul, London, Paris, Rome, Milan, Glasgow, Berlin, Moscow, Beirut and Hong Kong. SMW just added Tokyo, Singapore, DC and Miami this year."
{Please feel free to download and share.}
Click here to sign up for the Soul Of Miami email list.


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University of South Carolina-Columbia Reviews
Student & Graduate Reviews (15)
The University of South Carolina's Masters of Accountancy program was a great experience and and a fairly decent value.
Although the campus and area is nice enough, it also rests on a very steep hill. Mainly the core subjects will be taught in the main part of campus. The College of Engineering & Computing buildings have a major train problem.
The college is under developed, unorganized and treat doctoral students badly. Their financial packages are also not competitive.You will leave the college unprepared to compete with PhDs from other schools. There are a few good professors who should leave the college.
College was a great time for me. I really learned to come out of my shell and how to live on my own. I had never had the experiences that I had in college before, so I learned how to deal with keeping a schedule and making appointments, etc. You also learn that networking is crucial to being successful in the real world. College is like a real world simulator.
Carolina was a great institute, but bear in mind that you get out of it what you put into it. You can get a degree by taking easy professors and classes or truly earn your degree by taking challenging courses under a really great faculty.
Engineering school is great. Plenty of resources. The advisors weren't as much help but the staff is willing to helping you go after it. They also worked really well with my financial situation. The school as a whole is run well and in a great place. Lots to do and lots of people to meet. They have recently updated many of the dorms. I'm very happy with my time at USC.
Loved the college. Always was a wonderful experience
I had an amazing experience! I was part of the Honors College and so my experience had the feel of a smaller tight-knit community with all the resources of a large state university. It was a bit of a culture shock moving to the south but you learn to navigate social rules pretty quickly.
It was a great school. I met a lot of great people and the whole environment was excellent. Go Cocks!
The University of South Carolina is a wonderful place that has multiple opportunities for graduate students to be involved and practicum opportunities. The faculty come across a variety of specialities so there is a little bit for everyone.


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Mellina Acupressure & Rlxtn, acupuncture clinic, listed under "Acupuncture Clinics" category, is located at 1701 Greenville Ave Dallas TX, 75206 and can be reached by 2145754888 phone number. Mellina Acupressure & Rlxtn has currently 0 reviews.This business profile is not yet claimed, and if you are the owner, claim your business profile for free. If you are not the owner you can invite this business to join by email or by phone.Browse all Acupuncture Clinics in Dallas TX. Discover census data for Dallas, TX.
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Are there enough pins left over to run a display, or maybe an RTC so this could be used as an alarm clock?
wait for trigger();playfile(filename);playpause(); // pausejump(newtime); // jump to new position (in seconds)playpause(); // play
playfile(filename);starttimer(); // start 1/100th second timer (10s of milliseconds)wait_until(timer == sometime);do_something();wait_until(timer == someothertime);do_somethingelse();
it just seems like a lot of communication
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via Egeo 16
Torino, 10131


text:
Translation from English to Russian, Italian, German, French
This project received 38 bids from talented freelancers with an average bid price of €417 EUR.Get free quotes for a project like this
Project Budget€300 - €400 EUR
Total Bids38
Project Description
The English text is about a tourist guide of a medieval town and includes description of buildings and history facts as well. The initial text is about 20500 words. I prefer someone (or a team of people) to do the whole job but also offers for partial job or single language translation will be welcome. I need professional work and no computer translation is accepted.
I can offer different service to you. Translate text in brief( short) time .
Skills Required
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JudoShiai is a set of programs that help to organize a judo tournament.
User Ratings
User Reviews
A Tournament planning Software with all things you need for a good organization. In the past we had a lot of problems with our own solution. So we are happy to organize our next tournament with JudoShiai- for free!!! Thanks for this tool!
The best for tournaments.
It's appear to be a great software! Maybe I can help translating to portuguese.
Good work :)
JudoShiai is the only software that gives you the possibility to organize the full competitor flow during the tournament. From the registration (barcode ID), through weight control (scale connected to PC + barcode scanner works perfect - 300 comp in 30 min), judogiControl on the entrance to tatami up to the fights history registration and diplomas printout. Not to mention the drawing option.Fully tested during Warsaw Judo Open in 2011. I fully recommend the software if you plan to organize a Judo Tournament.


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DU Battery Saver Pro Apk
Free download DU Battery Saver Pro丨Phone Charger 220.127.116.11 Patched latest version update. DU Battery Saver Pro Apk Download links Below in Description.
DU Battery Saver, the world's leading battery saver and Android power doctor & manager, with PRO features is an even more powerful battery saving app that makes your phone's battery last even longer! Get up to 70% more battery life for your Android phone and tablet! With DU Battery Saver's smart pre-set battery power management modes, one-touch controls and healthy charge stage s features, solve battery problems and extend your battery life.
Screen Shots of DU Battery Saver Pro
Details game DU Battery Saver Pro Apk


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Paul Michelman thinks this is interesting:
Expenses and Profitability
Revenue and growth are important, but they are not the whole story. Growth is not the same thing as profitability. If revenues rise, but expenses rise by even more, profitability suffers. In order to develop and reformulate business strategies, managers must also be able to break down costs. Which costs are high and which are under control? Were profits low because of the effect of a one-time event that caused expenses to be temporarily high, or are the causes more systemic?
Analyzing costs generates much-needed feedback on how the company is doing. This information is essential to enable managers to decide how t...
- Expenses and Profitability
- from Financial Literacy for Managers: Finance and Accounting for Better Decision-Making
- Publisher: Wharton Digital Press
- Released: May 2012
You may have heard the saying, "You have to spend money to make money." This lesson looks at expenses—the costs that a business incurs to earn revenue—and different ways of evaluating them.
Share this highlighthttp://www.safaribooksonline.com/a/financial-literacy-for/97238/