This is the story of a group of kids in Ethiopia bringing the world of
skateboarding to their homeland. Abenezer Temesgen, the young founder of
Ethiopia Skate, uses skateboarding to empower the youth to find their
own voice. With only 7 boards between 25 kids they ask for help from the
world community of skaters as they enter a new frontier of
skateboarding. We just want to skate.
Tuesday, 29 October 2013
Saturday, 26 October 2013
One Minute Wonder 43 - Erykah Badu
Erykah Badu is an artist and a proud mother of three. Born in Dallas,
Texas she released her iconic debut album Baduizm in 1997 and was hailed
as one of the leading figures of the neo soul genre. She has since
released other influential albums such as Live and New Amerykah Part One
& Two. Badu is furthermore an avid activist and heads her own
charity organization, B.L.I.N.D., providing community-driven development
for inner-city youth through music, dance, theater and visual arts.
This is Erykah.
Tuesday, 8 October 2013
Brits spend one in 12 waking minutes online
The average Briton spends one in every 12 waking minute online,
racking up around 43 hours of web activity each month. This is almost
double the time spent online in 2010, where the monthly average was 22
hours.
This increase has been matched by efforts from the
advertising industry to keep us well supplied with ads when browsing the
web: companies spent £3.04 billion in the first half of 2013 delivering
adverts to mobile devices and PCs.
Averaged across the 46.1 million internet users in the UK, this meant that over the first 6 months of 2013 companies spend £66 per head supplying us with adverts.
Spending on mobile ads experienced a noticeable boom, up 127% from the first half of 2012 to the first half of 2013 to hit a grand total of £429.2 million.
Analysts suggest that this is due to high numbers of smartphone ownership (over two-thirds of the population or 68 per cent of us has one) and the rise of faster mobile data.
The introduction of 4G networks in the UK has seen the spend on video advertising for mobiles shoot up 1,260%, from £1.7 million in the first half of 2012 to £23.0 million in the first half of 2013.
The research from the Internet Advertising Bureau (IAB) and PwC also looked at exactly what online activities attracted consumers most, with entertainment being the largest single draw, accounting for 22 per cent of online activity. This was followed by time spent on social networks and blogs.
Commenting on the findings, Tim Elkington, Director of Research & Strategy at the Internet Advertising Bureau , said: “Nothing illustrates the internet as an entertainment platform better than the fact that over one in five minutes online is accounted for by entertainment, and that advertisers spent almost 1,300% more on mobile video than a year ago.”
“With smartphone penetration crossing the two-thirds landmark and the successful roll out of 4G, 2013 could be the year when advertising spend on mobile crosses the £1 billion threshold,” said Elkington.
Averaged across the 46.1 million internet users in the UK, this meant that over the first 6 months of 2013 companies spend £66 per head supplying us with adverts.
Spending on mobile ads experienced a noticeable boom, up 127% from the first half of 2012 to the first half of 2013 to hit a grand total of £429.2 million.
Analysts suggest that this is due to high numbers of smartphone ownership (over two-thirds of the population or 68 per cent of us has one) and the rise of faster mobile data.
The introduction of 4G networks in the UK has seen the spend on video advertising for mobiles shoot up 1,260%, from £1.7 million in the first half of 2012 to £23.0 million in the first half of 2013.
The research from the Internet Advertising Bureau (IAB) and PwC also looked at exactly what online activities attracted consumers most, with entertainment being the largest single draw, accounting for 22 per cent of online activity. This was followed by time spent on social networks and blogs.
Commenting on the findings, Tim Elkington, Director of Research & Strategy at the Internet Advertising Bureau , said: “Nothing illustrates the internet as an entertainment platform better than the fact that over one in five minutes online is accounted for by entertainment, and that advertisers spent almost 1,300% more on mobile video than a year ago.”
“With smartphone penetration crossing the two-thirds landmark and the successful roll out of 4G, 2013 could be the year when advertising spend on mobile crosses the £1 billion threshold,” said Elkington.
Saturday, 28 September 2013
The BoF 500
The BoF 500, an innovative, multi-channel initiative, exploring the
people shaping the global fashion industry, curated by the editors of
BoF and powered by social media. Discover it at http://www.businessoffashion.com/bof500
Business of Fashion,
the brainchild of fashion business adviser and writer Imran Ahmend, has
just launched the BoF 500, a list of the 500 most influential names in
the global fashion industry. The BoF 500 was whittled down from an
original list of over 2,000 leaders and agenda-setters within the
industry and includes fashion designers, executives, retailers, creative
heads, media members, models, digital entrepreneur, and those working
behind-the-scenes. The list includes unique characters such as Brazilian
designer Pedro Lourenço, who at 23 is the youngest on the list and Iris
Apfel, the 92-year-old muse and current senior member of the list. The
BoF 500 has a page devoted to each of the 500 members with information
on what they are doing, and the list can be broken down based on country
and role. Have a look for yourself here.
Monday, 2 September 2013
The anatomy of a modern-day deal
THE RESEARCH
The most organised clubs work as much as 12 months
ahead of time, sometimes even longer. Clubs will scout players
relentlessly, both in person and by using computer programmes, such as
Scout7,
which allow them to watch any game in the world at any time and
which store statistical data on every professional player. Once they
have drawn up a list of targets, some of the biggest Premier League
clubs employ consultants to undertake due diligence on the players in
question.
These consultants talk to former team-mates, family members and
friends to establish what kind of character the player is. Does he
drink? Does he smoke? What is his relationship status? Does he have any
skeletons in the cupboard?
In one case, a Premier League club decided not to
pursue a transfer when they were told a player, who had just captained
his club side in a convincing defeat by their bitter rivals, had been
spotted out drinking and joking with friends a few hours after the game.
It was decided, for good or for ill, that this player lacked heart and
commitment and that the fortunes of his team simply did not mean enough
to him.
The club passed and moved on to a different target.
Each report on a player will come back with three results: green, amber
and red. The final decision, however, is always taken by the club. And
even if the report comes back red, a manager may feel talent makes it
worth the risk.
THE DEAL
Football Association
Premier League rule K5
states that 'a player under contract shall not directly or
indirectly make any approach to another club without having obtained the
prior written consent of the existing club to who he is contracted.'
The reality of the 21st century transfer deal is that no club bids for a
player until they have made contact with their agent to gauge the
player's interest in the move.
You might say that is tapping up, but
clubs often use agents as intermediaries or go-betweens to distance
themselves from direct contact with the player - it is one of football's
many open secrets. No club wants to go to the trouble of agreeing a fee
with a rival, only to find the player has no intention of joining them -
it could lead to public embarrassment and criticism.
Once a club has established a target's interest in
joining them, they can approach his club knowing that a deal is
realistic. Recently, a Premier League club actually flew a player and
his agent over to England before the clubs had agreed a fee. A source
close to the deal said "it is the way of the modern transfer deal. Often
the last thing that is agreed is the fee between the clubs."
THE HITCH
A transfer deal can be fraught and fragile, it often
doesn't take much to make the whole thing collapse. The deal for Willian
was the prime example. Over the course of a weekend, Liverpool grew
increasingly optimistic that they had landed him from Anzhi Makhachkala.
But his agent, Kia Joorabchian, wanted to secure the best possible deal
for his client, both financially and in terms of his career.
Spurs then hijacked the move, outbidding Liverpool.
Willian passed a medical at Spurs,
but there was to be a twist.
Chelsea owner Roman Abramovich intervened.
They matched Spurs' offer, offered even more lucrative terms and
the lure of Champions League football and the deal was finally done.
It was an example of why it is hard to be certain of
anything in the transfer window and just how quickly things change. On
one deadline day, a leading international striker had been sold from one
Premier League club to another in a multi-million pound deal.
What neither club had bargained on was the player
falling asleep at the airport and missing his flight and therefore the
medical. With the deadline fast approaching, the deal was scrambled over
the line with the help of the trusty fax machine and a friendly pilot.
It happens.
THE LEAK
The simple answer is often because one of the parties
wants it to. Everyone has an agenda in a transfer window - clubs,
players, agents. Perhaps a player wants to tell the world he wants to
leave a club but doesn't want to go as far as releasing a statement in
case he ends up having to stay? Perhaps a club wants it to be known they
have rejected an offer for their star player to start an auction?
Perhaps an agent wants his player to be rewarded with a new contract?
Even managers are not immune from using the media. The
journalist's job is to weigh up all the information that comes their way
and assess what can be trusted and what might be leaking out to drive
an agenda, rather than being based in fact. Some managers, agents,
players and even football clubs do not always tell the truth, however.
In one instance during this transfer window, an agent
made contact to say a foreign club had approached a Premier League
defender. The English club confirmed, off the record, that the story was
true. The next day their manager denied an approach had been made.
In another situation, a club confirmed a story, again
off the record, that ultimately ended up being incorrect. It can be a
viper pit of mistruths.
THE PLAYER
This summer has shown that players approach things in very different ways when they want out.
Suarez went public with an explosive interview
that only hardened Liverpool's resolve not to sell him to Arsenal.
Wayne Rooney said nothing, but he didn't need to as sources close to the player indicated he was
"angry and confused"
about his status at Manchester United and wanted to be allowed to join Chelsea.
Gareth Bale and his advisors have been altogether more careful.
There is no doubt that they were frustrated by the protracted nature of
his potential world record move to Real Madrid, but they kept their
counsel throughout.
Bale did, however, miss training,
although sources at the club disagree on whether he was ever expected to report with his future in doubt.
It isn't easy for clubs to ride out these sagas, but
this summer's transfer window has shown, if nothing else, that players
don't always get their way.
Suarez agitated and went public with his frustration
but Liverpool owner John W Henry stood firm and refused to accept that
he had to sell to a rival club, Arsenal, simply because his star player
wanted to leave. Likewise, Manchester United did the same with Rooney.
Both are strong examples of clubs wrestling some power back from their
players, but the biggest deal of the summer did see Bale granted his
wish to join Real Madrid.
All clubs have three categories of players in their
squad - those who are not for sale under any circumstances, those who
would be sold for the right price and those they are actively seeking to
sell. Often players who are the subject of bids are taken out of
training by the selling squad. Often injury will be blamed but in many
occasions the club wants to protect their value and prevent a
last-minute injury damaging a deal.
THE AGENT
Football agents have a bad name and are often portrayed
as greedy, cut-throat operators who cause trouble and are simply out to
make money. The truth is that there is a broad spectrum of agents in
the game, but in a general sense they are there to either look after the
interests of a player, or to act for a buying or selling club to broker
a deal.
The most thorough agents will look after a
player's commercial interests, their financial planning and their
public image. Agents normally take around 5% of a player's salary and
sponsorship deals. Clubs deal with agents in very different ways. Some
Premier League clubs now pull out of deals over agents' fees and
commission.
One club signed a player who broke their transfer
record this summer but simply refused to pander to the agent. When the
player checked in at his hotel ahead of the medical, no room was booked
for the agent. No flight had been booked. Their deal was with the
player. But agents should not be seen as the bad guys, they are advisors
and, like referees, you don't hear much from the very best ones.
BBC Three - Secrets of the Superbrands (Fashion)
Alex Riley thinks he's immune to brands. When it comes to fashion,
technology and food brands he just goes for the cheapest and what works
for him. He's convinced he's not seduced by the advertising, celebrity
endorsements and hype which surrounds the big global brands. So how did
that pair of Adidas trainers get in his wardrobe? And how did that can
of Heinz Baked Beans make it into his shopping trolley? And why does he
have a Nokia mobile phone in his pocket rather than any other make?
With the help of marketeers, brain scientists and exclusive access to the world of the superbrands Alex sets out to find out why we buy them, trust them, even idolise them. Programme created by the BBC
With the help of marketeers, brain scientists and exclusive access to the world of the superbrands Alex sets out to find out why we buy them, trust them, even idolise them. Programme created by the BBC
Saturday, 31 August 2013
Fashion week's celebrity circus
When Fashion Week Was Made of Simpler Cloth
The drumbeat for Fashion Week started a month ago in my in-box, and
now it’s up to oblivion level, white noise in the black season.
I can’t get ready for Fashion Week, though. (And part of me wants to
return the F and the W to lower-case status, so I don’t feel as if I am
actually attending a trade show.) Maybe it’s the 45 shows on my plate
that give me pause. Besides, the things I love about the four-city
tour are almost all personal, like getting up at 5 every morning to
“make the doughnuts” (an expression I first heard from Michael Kors to
describe, in my case, a review for the newspaper) or a slow walk at
night back to my hotel (Paris, let’s say) to digest the day, especially a
day of decent shows and gossip.
At the start of my fashion-writing career, when in Paris, I used to
send photos from The Associated Press, then near the top of the Rue du
Faubourg Saint-Honoré, and afterward walk down the street. It was
generally midnight. Sometimes you would see models going into Thierry
Mugler’s place or hanging out in the little cafe nearby. But the street
was pretty empty. I was never scared, as I might be a little today. I
used the time to give myself a little pep talk, along the lines of
“there are good days and bad days,” and, undoubtedly, to reconnect with
normal things, which in Paris were always around you.
Now, almost everyone uses a car and driver, a convenience that
gradually became a necessity. As for pictures, it takes about 30 minutes
to move a day’s worth of images. I like the speed of things nowadays —
it has a merciless appeal — but when you are a little more footloose you
can’t help but believe that decisions are more in your own hands. I
think many people crave that power.
Take, for example, this business of commanding guests at shows to
tuck in their legs and handbags, so the photographers can get a tidy
shot of the clothes. It’s pretty embarrassing, like sitting in study
hall. One of the great things about pictures of shows in the ’60s, or
’90s is that the scene is messy. The models seem at the center of a
respectable orgy. Some of this realistic quality still exists. But the
goal today is branding, and that expectation, that everyone will be
doing it during FW, can really put the starch in your collar.
By CATHY HORYN (the times, August 23, 2013, 4:18 pm)
http://runway.blogs.nytimes.com/2013/08/23/when-fashion-week-was-made-of-simpler-cloth/?_r=0
http://runway.blogs.nytimes.com/2013/08/23/when-fashion-week-was-made-of-simpler-cloth/?_r=0
Designer calls for a halt to fashion week's celebrity circus
Oscar de la Renta halves his guest list for show in New York as critics say too many poseurs crowd the runways
Some of America's most prominent fashionistas are calling time
on the overcrowding, demand for endless "newness" and general hoopla
that has become an obsession in the industry.
Before this week's opening round of New York spring-summer 2014 presentations, Oscar de la Renta, one of the most respected figures in American fashion, has announced that he will halve the number of people at his show. De la Renta, a former couturier for Jacqueline Kennedy, said decision-makers in the business should not have to fight their way through "30,000 people, and 10,000 who are trying to take pictures of all of those people, who are totally unrelated to the clothes".
His call for a new, sober approach to replace the traditional, celebrity-infused fashion week frenzy has struck a chord. In the New York Times, leading fashion journalist Suzy Menkes echoed his call, rueing the pace of high fashion, which she described as "a whirligig that seems to be spinning out of control", with designers being asked to produce as many as 10 collections each year.
In an earlier article, Menkes told of how she could hardly get into shows "because of all the photographers snapping at the poseurs". She wrote: "There is a genuine difference between the stylish and the showoffs – and that is the dilemma. If fashion is for everyone, is it fashion?"
In the same newspaper, critic Cathy Horyn reminisced about the messiness of fashion in an earlier era, when the models seemed to be at the centre "of a respectable orgy". With the fashion conglomerates focused on global branding, guests are commanded to tuck in their legs and handbags so that photographers can get tidy shots of the clothes. "It's pretty embarrassing, like sitting in study hall," Horyn wrote.
The notoriously fickle industry is being transformed by social media technology. As the control and judgment of a select few is challenged, designs and ideas that would once take months to reach the public are now global – and illicitly replicated – in a matter of seconds. Fashion is changing, and with it the fashion show, said industry consultant Robert Burke.
De la Renta, who this year engaged John Galliano to design some of his collection, represents a counter-reaction. "If a show is highly chaotic and a real circus, the people that do matter aren't going to be put into the best of moods," he pointed out. "Do you want to jeopardise the experience of the 100 people that matter with the 500 people that don't?"
Burke described a "circus" of bloggers and people holding out phones and posting on Instagram and Facebook. He said that the number of people taking photographs is dramatically greater than even five years ago. "Sometimes you can hardly see the show because people are jumping up to photograph each other," said Burke. "Designers want to bring the focus back to the clothing. Bloggers and celebrities are important, but there needs to be a balance."
Some designers, such as Tom Ford, already show their clothes to a select few and forbid photography. But with fashion's global audience accustomed to instant pictures and streaming, Ford's approach may not be the answer either. Business is business and, without orders, the fashion show would cease to exist.
British fashion creative Simon Doonan, author of The Asylum, a fashion memoir published this week, said that publicity is all fine and dandy, "but at the end of the day designers need orders. A discerning buyer makes their selection objectively. Their choices are not based on which designer gets the most celebs in the front row."
Before this week's opening round of New York spring-summer 2014 presentations, Oscar de la Renta, one of the most respected figures in American fashion, has announced that he will halve the number of people at his show. De la Renta, a former couturier for Jacqueline Kennedy, said decision-makers in the business should not have to fight their way through "30,000 people, and 10,000 who are trying to take pictures of all of those people, who are totally unrelated to the clothes".
His call for a new, sober approach to replace the traditional, celebrity-infused fashion week frenzy has struck a chord. In the New York Times, leading fashion journalist Suzy Menkes echoed his call, rueing the pace of high fashion, which she described as "a whirligig that seems to be spinning out of control", with designers being asked to produce as many as 10 collections each year.
In an earlier article, Menkes told of how she could hardly get into shows "because of all the photographers snapping at the poseurs". She wrote: "There is a genuine difference between the stylish and the showoffs – and that is the dilemma. If fashion is for everyone, is it fashion?"
In the same newspaper, critic Cathy Horyn reminisced about the messiness of fashion in an earlier era, when the models seemed to be at the centre "of a respectable orgy". With the fashion conglomerates focused on global branding, guests are commanded to tuck in their legs and handbags so that photographers can get tidy shots of the clothes. "It's pretty embarrassing, like sitting in study hall," Horyn wrote.
The notoriously fickle industry is being transformed by social media technology. As the control and judgment of a select few is challenged, designs and ideas that would once take months to reach the public are now global – and illicitly replicated – in a matter of seconds. Fashion is changing, and with it the fashion show, said industry consultant Robert Burke.
De la Renta, who this year engaged John Galliano to design some of his collection, represents a counter-reaction. "If a show is highly chaotic and a real circus, the people that do matter aren't going to be put into the best of moods," he pointed out. "Do you want to jeopardise the experience of the 100 people that matter with the 500 people that don't?"
Burke described a "circus" of bloggers and people holding out phones and posting on Instagram and Facebook. He said that the number of people taking photographs is dramatically greater than even five years ago. "Sometimes you can hardly see the show because people are jumping up to photograph each other," said Burke. "Designers want to bring the focus back to the clothing. Bloggers and celebrities are important, but there needs to be a balance."
Some designers, such as Tom Ford, already show their clothes to a select few and forbid photography. But with fashion's global audience accustomed to instant pictures and streaming, Ford's approach may not be the answer either. Business is business and, without orders, the fashion show would cease to exist.
British fashion creative Simon Doonan, author of The Asylum, a fashion memoir published this week, said that publicity is all fine and dandy, "but at the end of the day designers need orders. A discerning buyer makes their selection objectively. Their choices are not based on which designer gets the most celebs in the front row."
Friday, 30 August 2013
What Most Schools Don't Teach These Billionaires - Short Documentory
This list of college dropout billionaires is based (where not otherwise
noted) on an annual ranking of the world's wealthiest people compiled
and published by Forbes magazine on March 11, 2009.[1] The list does not
include heads of state whose wealth is tied to their position (see List
of heads of state and government by net worth). College dropout refers
to a person who has dropped out from a college or university before
completing his/her degree. Some of the world's most famous and richest
billionaires (including the second richest man in the world, Bill Gates)
are college dropouts. The combined net worth of these dropouts is USD
246 billion.[2] This list is not exhaustive.
The average net worth of billionaires who dropped out of college, $9.4 billion, is approximately triple that of billionaires with Ph.D.s, $3.2 billion. Even if you remove the world's second richest man, Bill Gates, who left Harvard University and is now worth $66.0 billion, college dropouts are worth $5.3 billion on average, compared to those who finished only bachelor's degrees, who are worth $2.9 billion. According to a recent report from Cambridge, Mass.-based Forrester Research, 20% of America's millionaires never attended college.
Learn about a new "superpower" that isn't being taught in 90% of US schools.
Starring Bill Gates, Mark Zuckerberg, will.i.am, Chris Bosh, Jack Dorsey, Tony Hsieh, Drew Houston, Gabe Newell, Ruchi Sanghvi, Elena Silenok, Vanessa Hurst, and Hadi Partovi.
The average net worth of billionaires who dropped out of college, $9.4 billion, is approximately triple that of billionaires with Ph.D.s, $3.2 billion. Even if you remove the world's second richest man, Bill Gates, who left Harvard University and is now worth $66.0 billion, college dropouts are worth $5.3 billion on average, compared to those who finished only bachelor's degrees, who are worth $2.9 billion. According to a recent report from Cambridge, Mass.-based Forrester Research, 20% of America's millionaires never attended college.
Learn about a new "superpower" that isn't being taught in 90% of US schools.
Starring Bill Gates, Mark Zuckerberg, will.i.am, Chris Bosh, Jack Dorsey, Tony Hsieh, Drew Houston, Gabe Newell, Ruchi Sanghvi, Elena Silenok, Vanessa Hurst, and Hadi Partovi.
Kevin Plank: Great Brands are Like Great Stories
Kevin Plank, Founder and CEO of Under Armour, discusses his experience
of founding Under Armour, and transforming a garage start-up into a
high-growth global company.
Tuesday, 2 July 2013
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