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Television s business model Fit for a digital world
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1 Television s business model Fit for a digital world
2 Contents Foreword 1 About the research 2 Subscription video-on-demand: a complement, competitor and a channel 4 Broadcast sports rights: looking ahead to Television should not go short on long-form 14 Innovation: can the television industry compete? 20 Recent thought leadership 24 Contacts 25 Endnotes 26
3 Foreword Television appears assailed by a range of digital challengers: how is it faring in this environment? This report assesses television s current performance and outlook given the following developments: The rise of subscription video-on-demand (SVOD) providers: will the broadband networks enable the disintermediation of the traditional ad-funded or pay TV broadcaster? Sports: does the rise of the Internet and the abundance of sports related information available from the Web, challenge television s primacy as the principal source of premium sports content? Video clips: as the most popular clips now attain viewing figures in the billions, is short-form video content finally toppling the traditional (thirty or sixty minutes) programme length? Innovation: technology companies seem to dominate when it comes to innovation, launching a range of headline-grabbing products and services. Today, few TV broadcasters have sizeable research and development departments. Can the TV industry compete in the race to innovate? Deloitte s assessment of each of these areas suggests that television remains in fine health, and its near-term outlook remains positive. SVOD is growing fast, but is currently less than two per cent of the European pay TV market, and an even smaller share of all TV revenues in the region. Television remains the home of premium sports, with rights values globally forecast to rise by 12 per cent in 2015 to $28 billion, following a double-digit rise in Long-form traditional TV content remains dominant relative to short-form in terms of viewing hours and advertising. The most viewed online video clip ever, Gangnam Style, has been watched two billion times globally; every day two billion hours of long-form programmes are consumed in Europe alone. Long-form ads generate about $200 billion annually worldwide, about 40 times greater than estimated revenues from video clips. As for innovation, the TV industry has long proven adept at exploiting a range of technological advances, from video compression to lightweight drones. More critically the television industry has delivered consistent innovation in its prime role that of storytelling. Television has fared positively in an increasingly digital world, but should be neither complacent nor unnecessarily distracted by the ever-changing digital environment. Jolyon Barker Managing Director, Global Technology, Media & Telecommunications (TMT), Deloitte Touche Tohmatsu Limited Ed Shedd Lead Partner, Global Media Leader, Deloitte Touche Tohmatsu Limited Paul Lee Technology, Media & Telecommunications, Head of Research, Deloitte Touche Tohmatsu Limited Television s business model Fit for a digital world 1
4 About the research About the research Deloitte has researched and written this report as part of its support for the 2014 IBC Leaders Summit. The research was led by Deloitte s dedicated research division, which consists of full-time research individuals based around the world, working with Deloitte s network of practitioners that serve our technology, media and telecommunications (TMT) clients. Deloitte s approach is to analyse the TMT sectors as an inter-related, inter-dependent ecosystem. Deloitte s analysis of market dynamics for the TV sector is guided by our analysis of capabilities and limitations in corollary sectors, such as: fixed or mobile broadband networks, evolution of operating systems for mobile phones; economies of scale in screen technologies; pricing models for mobile broadband; developments in processors; diversification of the smartphone form factor; increases in satellite capacity. Deloitte s research approach combines qualitative and quantitative research. Deloitte s TMT research team holds many hundreds of meetings with executives in TMT companies, investment banks and industry analysts. Specific programmes of quantitative research that have informed this report include: Inputs from an online survey of 2,000 nationally representative respondents in the UK looking at a wide span of TV consumption patterns and attitudes to TV. The survey was fielded by Ipsos and based on a question set written by Deloitte and Ipsos reflecting inputs from industry executives. Fieldwork took place during July Respondents were sampled and weighted to reflect the UK adult population (16+). Selected inputs from Deloitte s Global Mobile Consumer Survey, an online survey taking place in 22 countries. Fieldwork took place during May-July For further information about this research please contact About Deloitte Deloitte refers to one or more of Deloitte Touche Tohmatsu Limited ( DTTL ), a UK private company limited by guarantee, and its network of member firms, each of which is a legally separate and independent entity. Please see for a detailed description of the legal structure of DTTL and its member firms. Deloitte LLP is the United Kingdom member firm of DTTL. 2
5 Subscription video-on-demand: a complement, competitor and a channel Broadcast sports rights: looking ahead to 2015 Television should not go short on long-form Innovation: can the television industry compete? Television s business model Fit for a digital world 3
6 Subscription video-on-demand: a complement, competitor and a channel 4
7 Subscription video-on-demand: a complement, competitor and a channel Proclamations of doom by commentators about the future of television are easy to find. Every major technological advance, such as the Internet and tablets has prompted a flurry of misguided obituaries for traditional television. Traditional television s current nemesis is subscription video-on-demand (SVOD), a service that delivers television programming via broadband networks. 1 This is seen primarily as a challenge to traditional pay TV providers, but is also perceived as a potential threat to free-to-air broadcasters. SVOD competes for spend, as well as for on-screen talent, programme producers and writers, and viewer attention. 2 Television-on-demand is a decades-old service is the thirtieth anniversary of the first major video-ondemand (VOD) trial in Europe, which was run by France Telecom in Biarritz and lasted seven years. 3 The trial found that, while the service appealed to consumers, the fibre-to-the-home (FTTH) upgrade required to deliver the service was a cost that neither customers nor the carrier wanted to bear. However, technology progresses steadily and untiringly. Connectivity speeds have increased at a double-digit rate year-on-year, such that the same millimetre-thick copper strands going into our homes that were good for 19.2 Kbit/s twenty years ago can now deliver 100 Mbit/s albeit depending on the distance from the telephone exchange. 4 A constant two Mbit/s link may now be sufficient to deliver video-on-demand to a TV set at a quality equivalent to terrestrial broadcast; and in ideal conditions an 18 Mbit/s connection can deliver ultra-high definition (UHD) images. With every year, SVOD s addressable market widens Faster and better broadband have made SVOD a commercially viable proposition, and user numbers and revenues both appear to be growing rapidly. The best-known SVOD provider, Netflix, has over 50 million subscribers in over 40 countries 5 ; and investors faith in the company is such that as at the beginning of August 2014 its market capitalisation was over $25 billion, implying a PE ratio of 160. The critics have been impressed too. Netflix has 31 nominations (compared to HBO s 99) in the 2014 Emmys for shows for which it is the distributor. 6 Our assessment is that the SVOD market will continue to grow both in Europe and globally; and in some markets, SVOD offerings may challenge established pay TV players. However this progress should be put into perspective. There are thousands of SVOD services, of which only a handful may be commercially viable in the long run. SVOD will both compete with and complement other TV services, and TV broadcasters need to determine just how much of a threat or a partner SVOD services may be. SVOD is typically a complement, and rarely a substitute, for pay TV A first reality check concerns the motivations of consumers who subscribe to SVOD. The fear among existing broadcasters is that customers who sign up for SVOD will cancel their traditional pay TV service at the same time an action which is sometimes known as cord cutting. Pay TV packages often cost tens of dollars per month. In Europe SVOD is typically priced at a single-digit fee per month; for example Netflix is priced at 8 per month in the Netherlands. Television s business model Fit for a digital world 5
8 Deloitte s expectation is that most customers will add SVOD to their existing pay TV content and will see SVOD as a way of adding to their existing suites of programmes, equivalent to adding a family pack or a sports pack to a conventional pay TV package. We base this view on observed behaviours in the US and the UK, and the typical human preference for accumulating rather than choosing between alternatives. Indeed, Deloitte anticipates that by the end of2014 at least 50 million homes globally, some ten per cent of them in Europe, will subscribe to conventional pay TV and one or more SVOD services. This is not an aggressive forecast. It extrapolates observed trends over the past eight years in the US and the last two years in the UK. In the US, as of July 2014 Hulu, Netflix and Amazon Prime had between them over 55 million subscriptions (with some customers having multiple subscriptions). 7 8 Netflix has built up a base of 36 million subscribers over the past eight years; Hulu has built a six million plus base for its premium service over the last four years 9 ; and since 2011 Amazon has included access to TV and movies content for its million Prime subscribers in the US. 10 Over the eight years that SVOD services have been available in the US, the number of US homes with pay TV has increased. 11 The complementary nature of SVOD is also shown by usage patterns. Research by Nielsen has found that SVOD is only a small part of overall viewing: among the top 20 per cent of US viewers who used streaming to get programmes, their average streamed content was 22 minutes per day, compared with an average of 242 minutes for their watching of live TV. 12 The UK, where services have been available since 2012, is the most mature of the large SVOD markets in Europe. So far, the usage pattern of SVOD in the UK is similar to that in the US: the service is typically a complement, and not a substitute. A survey undertaken earlier this year found that that 67 per cent of Netflix customers and 77 per cent of Amazon Prime customers also had pay TV. 13 SVOD s lower subscription costs may make it hard for it to compete for a wide basket of rights The ability of SVOD services to grow their share of the viewing market will be a function of their content budget. This in turn will depend on the revenues they can generate, as well as the sales, production and marketing costs. TV programmes are either leased through licence agreements or commissioned by television channels and programme services. The more successful a series, or cast and production team, the more sought after it will become, and the cost of its rights invariably increases. The demand for good television content is at an all-time high: there are over 350 scripted series in production in the US currently, and a two-year wait for editors and script writers. In short, good television content is scarce and almost always expensive. Netflix s licences for the first two 13-episode series House of Cards were reportedly $100 million, 14 and this did not include streaming rights in Germany, France and Italy. 15 The best television talent also comes at a hefty price: the recent pay negotiations for Big Bang Theory reportedly settled on $1 million per 22-minute episode for each of the three main stars, or $72 million dollars in total for the 24-episode run. 16 In 2013 estimated global SVOD revenues were $5.3 billion; in comparison, spending on content in the same year by UK TV channels was in the region of $10 billion. 17 SVOD revenues are likely to increase, and their content budget should grow accordingly. However, the total annual SVOD content budget is estimated at $13.8 billion by Although this is a significant amount, it also sets a limit on potential revenues. 6
9 SVOD is currently a small part of European pay TV revenue and may remain so in the medium term In 2014 SVOD is expected to generate revenues of $950 million in Europe, which is only 1.5 per cent of the $63 billion pay TV market in Europe, in spite of annual growth of 23 per cent in the prior year. SVOD s share of the market is little different when looking just at Western Europe, where the SVOD offering is more mature: in Western Europe its share is 1.4 per cent of pay TV spend. 19 Worldwide SVOD s share is higher, at 2.6 per cent of the market. In the medium term SVOD is forecast to grow annually through 2018 at double-digit rates, both in Europe and globally, but is still expected to remain a small part of the total pay TV market. By 2018 SVOD is forecast to generate $15.6 billion globally, of which $2 billion will be from Europe. 20 This equates to four per cent of all pay TV revenues globally and 2.5 per cent of the European market. It is worth noting that SVOD revenues are dominated by a handful of players. Total SVOD revenues in 2014 are estimated at $6.9 billion; Netflix and Hulu together are likely to generate over $5 billion, or about threequarters of the total. 21 In Europe there are 3,600 VOD services; 22 and globally there are probably thousands more, many of them generating revenues from subscriptions. So hundreds, or possibly thousands, of SVOD companies are sharing just $2 billion or so in revenues. Traditional television broadcasters and pay TV platform operators are likely to expand their SVOD offer Most discussions about SVOD focus on new players in the TV space, most commonly Netflix, Amazon and Hulu (which has not yet launched in Europe). However the SVOD market in Europe includes services provided by traditional pay TV companies and free-to-air broadcasters, many of which are extending their SVOD offer. 23 For example: BSkyB launched its SVOD service in July 2012 with a movie service marketed under the NOW TV brand; in October 2012 it added an entertainment package; in July 2013 it announced a subsidised streaming box; by July 2014 the service was accessible via leading games platforms. 24 Pro-Sieben, a German pay TV provider, has recently launched an SVOD service, comprising several of its channels and aimed at the nine million German expatriates around the world. 25 HBO, the US-based producer, is planning to expand beyond the 60 markets where it currently operates, and target customers in any market with sufficient bandwidth. 26 Over the next few years, standalone SVOD players will have to compete not only with the SVOD offerings from existing broadcasters, but also with enhanced VOD from pay TV operators and terrestrial broadcasters. 27 Television s business model Fit for a digital world 7
10 The addressable market for SVOD in Europe A key constraint on the reach of SVOD providers is broadband penetration. In Europe there are about 186 million homes with broadband. This may seem a sizeable market to address, but as of Q Netflix had only 14 million customers outside its home market. 28 So the number of broadband homes might indicate significant potential for growth. However not every broadband-connected home may be a potential client. While average broadband speeds are increasing markedly year by year, variations in speed are becoming ever higher. In general, people prefer to watch television on TV sets: watching on smaller screens is typically a fall-back rather than a first choice. Delivering video to a TV set in high definition requires a five Mbit/s connection, and consumes about three gigabytes per hour. 29 Of the 186 million homes with broadband, a significant proportion may have a connection that is too slow for streaming video to a television set. Homes in rural areas are the least likely to have sufficiently fast connections. One of the principal factors that determines the broadband speed for a house over a conventional copper connection is its distance from the nearest telephone exchange. In the countryside, homes are typically a long way from their local exchange, and every hundred metres of additional distance from the exchange leads to a further fall-off in broadband speed. City dwellers tend to live closer to exchanges; but proximity does not guarantee a reliable, fast connection. The Internet is a shared resource, and your neighbours usage of this resource affects how much is available to you. At peak times there may be congestion, meaning that it may not be possible to watch video-on-demand on a TV set (although you may have sufficient bandwidth to watch on a PC or a tablet). By comparison broadcast is a non-rivalrous service the quality of a broadcast television signal to your home is not affected in any way by your neighbours viewing habits. 30 Another factor affecting speed is the quantity of devices in a household. A growing number of individuals own multiple connected devices, which may remain connected and using bandwidth even when not in active use. Devices may download photos, videos and apps in the background. A family with teenage children may well have ten bandwidth-sapping devices between them, all debilitating the quality of video-ondemand being watched on the TV. As a SVOD provider s subscriber base grows it may need to deploy a content distribution network to maintain quality of service, and it may need to pay to set up direct connections to Internet Service Providers (ISP) networks, adding to the operational costs of running the service. 31 8
11 The challenge of language A likely challenge for any regional SVOD player in addressing the European market is language. Markets have differing levels of tolerance for foreign content and subtitled content. The major SVOD players licenses are predominantly for English language content. In Northern Europe many citizens are proficient in English, reducing the need for subtitles or dubbing. In the rest of Europe, consumers may be more reliant on sub-titles, which can add to the cost. Smaller European countries such as Romania and Greece are accustomed to watching subtitled content dubbing may be too expensive for those markets. But in larger markets such as France, Germany and Italy, viewers may expect content to be dubbed with only a minority of viewers able to watch in English, or tolerating subtitles. 32 The SVOD market will likely be blended into the overall television market Historically, the SVOD market has consisted mainly of recently-formed companies delivering content via the Internet, with funding from subscription, but as the range of SVOD services offered by existing pay TV companies grows, and as more pay TV companies make on-demand a key part of their subscription, the boundaries are becoming ever more blurred. Traditional pay TV companies have launched SVOD services both under their own brand (for example, HBO in the Nordics 33 ) and via new brands, such as Sky Deutschland s Snap. Some SVOD offerings, such as Netflix content, are being distributed via pay TV platforms such as Virgin Media in the UK. Other SVOD content, such as BT s sports channels in the UK, can be accessed multiple ways, via: Sky UK s satellite service, Virgin Media s cable network 34 or BT s own IPTV network. As boundaries blur, differentiation is focusing increasingly on content, which is the current basis of competition for most players in the television space. Yet again, whoever has the best rights wins but as no single company owns all the rights, there will be several different winners. A likely challenge for any regional SVOD player in addressing the European market is language. Markets have differing levels of tolerance for foreign content and subtitled content. Television s business model Fit for a digital world 9
12 Broadcast sports rights: looking ahead to
13 Broadcast sports rights: looking ahead to 2015 Deloitte estimates that the total value of global premium sports rights in 2015 will be $28 billion, a 12 per cent increase on It will be the second year of double-digit growth. Key drivers of the increase are new domestic broadcast deals for major North American sports properties, namely the NFL, NHL and NASCAR, all of which are delivering a substantial uplift in rights fees compared to previous deals. Between 2013 and 2015, the value of premium sports rights will have increased by a third, that is $7 billion (see Figure 1). The double digit growth in 2014 and 2015 compares with an average of five per cent between 2009 and 2013, and will exceed the increase in global pay TV revenues for 2014 and While much of the 2015 growth will be driven by deals in North America, Deloitte estimates that the total value of broadcast rights to European top-tier domestic football leagues and UEFA club competitions will remain at about $10.6 billion in 2015, or 40 per cent of the total global value of premium sports rights. This percentage share has been relatively constant over the past five years. As the value of European rights has increased, so too have those for other premium rights, particularly for US sports. The value of European sports rights is dominated by the big five European domestic leagues and the UEFA Champions League, which contribute almost $9 billion of this total. Methodology for calculating the value of premium sports rights Our methodology for estimating the value of premium sports rights takes the following approach: Only recurring annual competitions are included. The Olympic Winter and Summer Games, FIFA World Cup and UEFA European Championship are not included. The annual value of rights fees are averaged over the duration of the respective contract. Fees are converted into US dollars, where applicable, using the June 30 exchange rate in that particular year. For competitions operating within a calendar year, values are based on rights fees generated in that year. For competitions that operate across two calendar years, values are attributed to the year in which the competition ends. So 2009 refers to competitions operating in 2009 and 2008/09. Our information is obtained from several sources: publicly-available information released by rights holders; trade publications; and confidential and proprietary sources. Television s business model Fit for a digital world 11
14 In 2015 three quarters of global premium sports rights will be generated by just ten sports properties. The premium sports in each market represent a small proportion of all professional sports activity measured by the number of minutes televised, but they represent the vast majority of viewer interest and the bulk of all television revenues. The vast majority of the increases in premium rights fees are come from rights fees paid by domestic broadcasters, but the value of exported content outside the domestic market is increasing. For example the English Premier League generates the highest annual rights fee outside its domestic market of any domestic sports competition, and in the most recent round of contract negotiations, increased average annual rights fees from about 480m per annum to c. 750m per annum (a 56 per cent uplift). Figure 1. Global premium sports rights fees US$ billion CAGR : 7% CAGR : 15% Many commentators continue to ask when the sports rights value bubble will burst 36, leading to stagnating or declining rights fees. Deloitte s view is that rights fees for live rights to premium properties will continue to grow Big four US leagues Premier League Other Big five European domestic leagues UEFA Champions League Other premium properties Note: Rights fees in each year are calculated by averaging the value of rights arrangements across the duration of contracts Source: Deloitte Sports Business Group,
15 Premium live sport continues to deliver large audiences, typically with an attractive demographic profile. It drives subscriptions and can generate advertising for broadcasters, particularly in an increasingly diverse media landscape. The development of pay TV in particular has transformed the broadcasting of premium sports leagues. Live content is a key subscription driver and underpins pay TV business models. As the pay TV subscriber base rises and revenue per user grows, operators are investing increasing sums to secure this key content. It is important for broadcasters and production teams to review continually the technologies available to them, in order to enhance the value that their viewers derive from watching sport. For the television experience, this includes UHD, super-slow motion and an enhanced choice of live matches. On demand services available to viewers include camera angles, player tracking, instant replays, statistics and commentary. Making all of this available, not only on the television but also through any other device that fans may want to use, should increase the perceived value of the experience, even if these additional viewing options are seldom exercised. Along with substantial growth in rights fees, there continues to be further investment in the quality of broadcast production for sports. Premium rights owners face a continual challenge to ensure cutting edge broadcast quality, for example by evaluating the viability of coverage in ultra-high definition (UHD, also known as 4K). 37 Premium live sport continues to deliver large audiences, typically with an attractive demographic profile. It drives subscriptions and can generate advertising for broadcasters, particularly in an increasingly diverse media landscape. Television s business model Fit for a digital world 13
16 Television should not go short on long-form 14
17 Television should not go short on long-form Traditional television is characterised by its longform format, with most programmes of 30 minutes or an hour s duration. For decades, viewers have conformed pliantly to these fixed lengths, even though in other media, from music to films and from books to newspaper articles, there is far more variety. Online video clips, from the cat-on-skateboard genre to instructional videos, are challenging traditional lengths, by being highly popular yet typically ten minutes or shorter. Already, programmes for young children have been getting shorter, partly in a nod to lower-attention, multi-tasking younger generations. Traditional broadcasters are experimenting more with other short-form commissions. A brief foray online reveals many articles, with eye-popping numbers to accompany their argument, that argue that short-form is already dominating over long-form, mostly at the expense of traditional TV. 38 Does long-form the foundation of traditional television have a future? Deloitte s view, is that it very much does, even though at first glance, long-form might appear to be in shortform s shadow. Short-form s (bold) billions contrast with television s (mere) millions One of the most successful traditional TV shows in the US at present, Big Bang Theory, attracted an average audience of 17.5 million viewers in its most recent season. 39 In comparison, Korean star PSY holds the title for the most-watched video on YouTube, Gangnam Style, 40 which has amassed over two billion views since its release in PSY s official channel has had almost four billion views, 42 including 114 million for his most recent hit Hangover, a collaboration with Snoop Dogg. 43 PSY undeniably has form. Arguably he may have it easy: his uploads are slickly-produced, tightlychoreographed, big-budget music videos, some of which co-feature world-renowned stars. This helps to attract those hundreds of millions of views. (Arguably, during MTV s heyday as a music video station, a global hit such as Michael Jackson s Thriller might have been watched dozens of times by tens of millions of viewers, generating the equivalent of billions of views). 44 It is not just music video that can generate billions of hits: the home-made, low-budget clip can do even better. By August 2014 PewDiePie, a UK-based Swede, had amassed 5.5 billion views and 29.5 million subscribers, and was getting in the region of 200 million views per month. 45 His videos, mostly voiced-over video game play, typically get a few millions views each, and over time he has accumulated billions of views by posting 2,000 clips and no rap stars were involved. Opening children s toys on camera can also generate billions of views. DisneyCollectorBR is a non-disney affiliated channel whose core video output is to show new Disney-branded children s toys being taken out of their box and used, accompanied by a voiceover. 46 About fifty new videos are posted a month. The channel s host is anonymous: all that is known of her is her voice and her hands. DisneyCollectorBR was the third-most viewed YouTube channel worldwide in April In the week commencing 4th July it was the most-watched channel on YouTube in the US, with 55 million views. Since DisneyCollectorBR started posting in April 2011, it has had 2.7 billion views. 47 According to reports, these viewing volumes are lucrative. One source claims that PewDiePie and DisneyCollectorBR earn $7 million and $4 million respectively from advertising each year; but this assessment may have confused lifetime views with annual views, and the actual numbers are probably lower. 48 Some short-form online video stars earn additional tertiary revenues. For example Michelle Phan, one of the original US-based how-to stars, now has her own make-up line. 49 Traditional media companies are going short-form Traditional television companies and production houses are responding to the challenge. Disney, for example, acquired Maker Studios for $500 million. The acquisition came with 55,000 channels generating over 60 billion views a year. 50 Fremantle, a subsidiary of RTL Group, in a joint venture with VICE Media has set up Munchies, an online food channel that provides short-form on-demand content. 51 Television s business model Fit for a digital world 15
18 Broadcasters are also investing. Channel 4 in the UK in its 15th series of Three Minute Wonder 52 and has created a hub for short-form content. 53 BBC3 has created an online space for short-form, two-to-ten minute documentaries. 54 So is short-form the long-term future of the format formerly known as television? Has short-form already displaced traditional television? There are, after all, few traditional TV shows that boast the same number of regular viewers as short-form stars PewDiePie (29.5 million) 55 or HolaSoyGerman (18.8 million) 56 have subscribers. The most-viewed video on the DisneyCollectorBR is Angry Birds Toy Surprise Jake and the Never Land Pirates Disney Pixar Cars 2 Easter egg (sic) Spongebob, which has had over 90 million views since first posted in May This video is a sequence that shows six toy eggs with different gifts inside being taken out of their box. 57 Short-form is significant of itself, but insignificant compared to long-form television It is worth looking at the numbers more carefully. Big Bang Theory in the US attracted an average audience of 17.5 million viewers in its most recent season; which may seem modest in comparison to the volume of views for short-form online videos. 58 A similar comparison with NCIS offers an even starker contrast: US viewers spend almost as much time watching one episode of NCIS as they have ever spent watching the world s most-watched online video. About 17 million viewers in the US watch each hourlong NCIS live and a further 18 million either catch up within seven days of broadcast 60 or watch on affiliate networks. 61 If we assume that every online view of Gangnam Style anywhere in the world has been watched in its entirety, the 144 million hours that this represents would be equivalent to just four episodes of NCIS watched by US audiences. NCIS has 24 episodes per series; it has just completed its eleventh series and its 258th episode; it is broadcast in 200 countries; its first spin-off series, NCIS: Los Angeles, has just completed its 121st episode; and a further spin-off starts this year. 62 Looking at the totality of all short-form viewing, YouTube claims one billion unique viewers and six billion hours of viewing per month; including other online video sites might add a further 25 per cent to this total. 63 In comparison, European residents watch about two billion hours of TV every day, and US residents about 1.5 billion hours. 64 If we convert both viewers and views to total hours viewed, US residents have spent an aggregate of 38 million hours watching Gangnam Style since 2012, equivalent to the total viewing time for four-and-ahalf episodes of Big Bang Theory, or one fifth of the 24-episode series. We have assumed that the average time the four-minute-12-second video is watched for is about 200 seconds (80 per cent of the total time), and that US residents have contributed a third of views of the video worldwide. 59 Given these assumptions, the total time spent watching Gangnam Style in the US is about a fifth of the most recent 24-episode series. Between Gangnam Style s online launch and August 2014, US audiences have therefore spent ten times more time watching Big Bang Theory than PSY. 16
19 Viewers and views are fundamentally different Television viewing is typically quantified by viewers (live, or within a few days) and online video by views (all-time). There are fundamental differences between these two metrics which are occasionally overlooked when comparing traditional TV with newer forms of video format. In mature television markets, between one and two per cent of advertising revenues are spent measuring TV viewing among a representative samples of respondents. Whenever anyone in the sample is in front of a TV set, their viewing habits are recorded and aggregated. The approach is typically agreed by all key industry players, and underpins the $200 billion dollar global TV advertising industry. With online video, the definition of a view is typically any request made to a server to play a piece of video. There is no agreed measurement of what constitutes a view, and a view could be anything from a millisecond to the entire clip. According to comscore s data, the average length of a view is about four minutes. 65 There do not appear to be any industry-wide or national standards for measuring online video views. There is also no official data for annual online short-form video revenues, but Deloitte estimates this to be about $5 billion currently. 66 There is no certainty that a video is actually visible on a screen when it is playing; it may well be playing under the line, on a part of the page that is not visible on a screen. There is no data on how many people are watching each view. There is also no way of knowing for sure how each online video is used. Music videos, like music stations on TV, may be used more as a jukebox, playing music in the background, rather than as a conventional video service where viewers predominantly look at a screen. 67 Of the top ten all-time views on YouTube, which together have amassed billions of views, nine are music videos. 68 Up to 40 per cent of all online video views may be views of music videos. 69 Short-form and long-form: distinct and similar Arguably, comparing long-form with short-form in this way is unfair, and Deloitte does not disagree with this view. However the comparison is useful in demonstrating, by means of a common metric (viewing time), the strength and resilience of consumer demand for long-form television. The comparison is not useful insofar as, from a consumer s perspective, short-form and long-form content are quite distinct propositions, even though industry commentators sometimes position them incorrectly as substitutes for, or competitors of, each other. Consumers seem to prefer different devices for shortform and long-form. Conventional long-form television programmes, whether broadcast live or delivered on-demand, are typically watched on television sets; shorter video content is more typically watched on computers, smartphones and tablets. Deloitte s research has found that among the twothirds of UK adults who watch short-form video, about 70 per cent use a PC to do this, 35 per cent use a smartphone, and only a quarter a television set. 70 Among those who watch video clips on more than one device, about half named a computer as their preference for this activity. 71 In comparison, 94 per cent of all respondents watch television on a TV set at least weekly, a third on a computer, and just 15 per cent on a smartphone. 72 Among respondents using a TV to watch content on-demand (TVOD), about two thirds had watched long-form programmes on-demand on their set, but only ten per cent had used it to watch YouTube. 73 Over time TV is likely to capture an increasing share of TVOD. Of those watching TVOD on a TV set, 60 per cent are watching more long-form TV programmes ondemand compared to a year ago; 74 among those using computers to watch TVOD, the figure is 43 per cent. 75 An explanation for this behaviour is that different types of video suit different needs. Across the entire population, video clips are likely to be viewed through the day; whereas long-form is typically watched in the evening. Television s business model Fit for a digital world 17
20 During the day we are more likely to have smartphones, PCs or tablets with us, and can spend a few minutes watching a clip, or sequence of clips. Clips watched during the day fill small voids of time, for example when waiting for friends, or simply to break the monotony of the day. In the evening, most people want to relax, and prefer to watch a sequence of long-form content on a large television set, with choice ideally curated by a thirdparty. We do not want to put together ourselves a long sequence of five-minute videos for watching: we want someone else to do that for us, hence the emergence of TV shows such as MTV s ridiculousness and Channel 4 s Rude Tube, which are based on a sequence of short video clips. 76 Low-budget content created as clips for watching on small screens, and with low-quality sound, may not work so well on larger screens, and with better speakers. Production flaws that look quirky and are appealing on a small screen may be off-putting when shown on a large screen. 77 The appeal of ridiculousness and Rude Tube is that they are traditional TV shows: shot in a studio, with professional cameras and proper lighting, into which excerpts from a small selection of short-form clips are interspersed. For younger generations, short-form may be the main source of video content. For some people, this may last their lifetime; but for others, their preferences may change to those of their parents, and long-form may become their default choice for watching TV, because they prefer the complexity that long-form content offers. A recent survey conducted by Deloitte on viewing behaviour in the UK found that about eleven per cent of adults aged 16 or more had access to Netflix, but among year olds the proportion was double this. 78 A recent analysis of UK viewing patterns for Netflix found that a majority of the top ten most viewed titles were dramas, such as Breaking Bad, Dexter and House of Cards. 79 Broadcasters may only commission short-form as an exception Deloitte does not expect that traditional broadcasters will move to commissioning short-form as their mainstream offering, except for younger audiences (aged ten and below), who have always had shorter content, with stories contained within a five-minute episode. Offering children long-form content as they grow older would simply follow the pattern of children with books. For toddlers, when being read to or when learning to read, the demand is for short books with hundreds of words. As children grow older they progress to books with hundreds of pages. The broadcasting model has been built around long-form, and arguably inertia might be one of the forces for maintaining long-form in the future. There would also be practical difficulties in changing over to commissioning thousands of short-form titles, rather than hundreds of long-form titles every year. Furthermore the current TV advertising model, based on inserting a sequence of ads during a thirty minute or hour-long programme, works well and is something that viewers accept; consumers would be less tolerant of ads within a two-minute clip. 80 Deloitte expects that broadcasters will look at shortform video portals as a way of identifying talent, similar to the way that music labels have scouted for new performers and hits. Short-form video stars have a large portfolio of their previous work online, and the more successful come with an existing fan base. The caveat is that there are so far few examples of short-form stars migrating to traditional TV, and one attempt to transfer an Internet hit to traditional TV did not work out as planned
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Vill du ange som standardvaluta eller gäller valutan endast för detta besök?
Fitness center was very compfortable. I hope that somday there will be Japanese menu in room service.
The location of the hotel is excellent and you are in the city centre but you are insulated from the hustle & bustle of Bangkok City. The staff were efficient and the room was comfortable - and it had a park view. No Complains Whatsoever.
Very comfortable accomodation, clean and convenient
The room facilities were excellent with a small kitchenette and beautiful bathroom. Facilities to have a shower after check out close at 10pm which wasn't made clear at checkout.
The staff were very helpful. The restaurant has an excellent breakfast and rooms have kitchen capabilities if you want to snack there. There are no bars or shopping arcade in the hotel. Has an excellent gym squash courts and an adequate pool. The apartment hotel is very very close to the Ploechit skytrain and on a road with quick access to the airport highway - 30 min it took at peak hour. I had no real negatives and would definitely stay there again.
so comfortable place, great selection of foof
The location, it is only a short walk to Ploenchit BTS station.
Comfortable room with suitable facilities on the whole The three main reasons for choosing that hotel were:- A. location; B. Tea making facilites; and C. Hair and massage salon. Location was known anyway. It was not possible to make tea or coffee, etc. without going out to buy tea milk, sugar, etc. There was just a kettle. Also there was no hair and massage salon. They were at the other C.pt. hotel. No room service after 10 pm.
proximity to bangkok it took too long for the water to heat up or it did not heat up at all.
Accessible and near to malls. Affordable price, and free internet. Nothing
Rummet var helt fantastiskt vilket inte helt framgick av bilderna före bokningen, bättre bilder skulle öka bokningarna. Personalens okunskap.
Allt mkt bra men för lite sol i poolområdet= skugga efter 11:30 am
öVer lag var allt bra Personalen
The location is good and excellent for the BTS. The restaurant (Madison) was very good and we used the concierge to locate a few things and she was very helpful. The room was tired; old TV, odd kettle/water heater. You need to pay for the use of just about everything and you only can connect two devices for the free (limited) WIFI. The bathroom was dated and the bath wasn't appealing. No IPod speaker, there was a funny old mp3 type connection but unclear how this worked. The place needs an upgrade quickly to keep pace with five star competitors
The hotel's location is along Nathan Road one of the main shopping areas in Kowloon, HK. It is also very close to many metro train stations, several large shopping malls, recreational places and good restaurants both high-end and inexpensive. The room and bathroom are very clean just right for my basic needs because I just need a place to sleep, both safe and easy . I am out whole day and I feel I get good value for money.
fashion style check in at 24th which is not convenient too expensive breakfast
The pool is basically indoors - while is on the roof and nice, not being outdoors was a major disappointment for me
The staff was very friendly, facilities was great, the hotel looks up to date but above all was the location of the hotel. Placed at the center of Bangkok, shopping was everywhere and if there is a need to go further, theres the BTS Sky train service which is readily available. Only drawback was the cold swimming pool if you want to swim at night. In fact we extended for another night. Just the cold swimming pool. Everthing else was excellent
located on the main road with all the shopping malls nearby and the skytrain as well. Highly recommended
Great location (near SkyTrain), excellent staff at front desk, nat, taxi/arrival and lounge on 21. Rooms were normal size with good design/decor. Bar area was nice. The executive lounge was great, perhaps only needing a little more hors d'oeuvres variety at happy hour but I loved that they made cocktails to order. All good
Honey moon Everithing ok
I spend 5days in bangkok Intercontinental, it a very nice and comfortable hotel with a great services and its location is just amazing. I think it will be great if you change the breakfast every two days .
the calm and luxuries style of the hotel the food of the hotel (room service) was not good taste
staff were very nice and helpful Laundry Services
nice location> they were no late check out >i was so bad
The Breakfast world there nope
For the 2 nights i was there i could find no fault with the hotel. Only complaint was unattended children at the pool, who were very noisy.
The close accses of the sky walk and sky traine + shopping malls The specail reception for the club room which is located at the 37 floor
Exceptional service, great location, train station located opposite, fantastic breakfast buffet! Wifi wasn't free...at a 5 star hotel, it's something i expect everytime! Apart from that, everything else was exceptionally great!
location and good staff my room was next to the service door and it was annouing for me somtimes , otherwise everything was great
My stay in an Executive Suite was great and the Club Lounge was very good but the Air Conditioning in my bedroom never worked and the hotel was unable to repair it. They just changed the thermostat to display a lower room temperature but the air coming out was hot. I had to sleep in the living room on the couch because it was so hot some nights. Air Conditioning in the bedroom was hot
Loved the decor and the location. Fully equipped one-bedroom suite/apartment located right next door to the US Embassy, where several of our friends work. Almost nothing to dislike. Courteous, helpful and discrete staff would have solved any problem or overcome any challenge.
Clean, close to malls and sky train station, great breakfast buffet and very helpful and friendly staff.
The restaurant staff were excellent The reception staff are too regimented...they can't make any decisions. I don't like open plan toilets. They have no privacy at all!,
Comfort, facilities, services.
pool, gym, staff's politeness and helpfulness It seemed a bit worn overall.
The staff always had a smile and could not due enough for us
Like the style in general, great room (corner room) and nice bathroom. No
I liked the hotel environment. I booked 2 rooms for 4 nights using booking .com, and extended my stay for 5 nights more when I was at the hotel.
Everything was perfect: The atmosphere, the staff, the food and the service. Nothing to improve - just keep on going !
The staff are so firendly and helpful.
efficient in all what is proposed. Executive lounge extremely good.
A great hotel with super service at a nice central location Internet in the room is very expensive also for longer periods of use
Rooms, service, facilities and staff attitudes were very good. Location is also central for people wanting to explore the city Internet in rooms should be free or a better pricing package is needed
The excellent service and friendliness of all the staff. No
Spacious suites, nice Thai decor, good privacy Lack of 24-hour room service (for meals), lack of some standard amenities such as bathroom slippers / scale, location-wise its not an easy walk to bts station unlike advertised.
Hotel service and staff.
It's good for group or family.
I really don't like one things that the stuff use the guest lift to bring the food and tha make the lift smell not good and the coledor too hot and smelly
loved the staff mostly. I felt very safe in Bangkok. When getting into taxi's from Marriot Mayfair was very secure and safe. They really know how to keep their guests happy and yes.... i will stay in the same place again on my next visit. I came with my family and it was worth every penny!!! I dont' think so!
The appartment not new and they need buy new funtjur
The spacious room and facilities. The staff were all friendly and helpful throughout my stay. The location - it was close to BTS stations and main shopping areas. Good restaurants at hotel and directly opposite. The water in the pool was too cold
location nothing
Very friendly staff, comfy beds, great for family, value for money, near to shopping malls by 5 minutes driving (if there is no traffic) no free internet, The charge for internet was expensive.
Very welcoming staff and clean room in the last day, the water come out from the rest room and the water was every where in the living room. staff came fast and fix it.
Hotellet har ett perfekt läge och en underbar service. Kändes lyxigt för liten peng. Speciellt om man beställde genom booking.com - hälften av summan! Ena dagen blev vi väckta klockan 8 utav städarna. Vi tyckte att det var lite väl tidigt... Sängen var också ganska hård, men det verkar vara thailändsk standard då det var likandant överallt vi kom.
Staff was outstanding! Nice location - very calm in the huge noisy city. Close to sky link. Accomodation was just perfect, in the room we were happy to use the washing and drying machine. Bed was very confortable and the bathroom very clean. Thanks, we recommend this hotel. A/C was a little bit noisy, but when we were so tired, we didn't mention that.

subset: commoncrawl


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Need a Thyroid Test in Coshocton, OH? Simply order online 24/7 and get a fast, affordable Thyroid Test at a lab near you (Find More Locations):
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A Thyroid Test consists of lab tests to check the thyroid. People in Coshocton, OH get a Thyroid Test for general screening or at the request of a medical provider.
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Our Thyroid Test prices include the doctor's order that you need to get tested in Coshocton, OH, all lab fees and taxes, and a pdf copy of your results. For current prices, please CLICK HERE.
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text:
Our staff make the biggest impact on the campers, and we are looking for the best to work at CCO. Making in a difference in the life of a young person and gaining lifelong friends in the progress is a wonderful way to spend your summer!
Summer 2017 applications are open!
Applicants must be at least 18 years of age.
International applicants will need to work with an agency to be the sponsor of your VISA. We do not handle sponsorship through the camp office.
Why work at Camp Chief Ouray?
This is what our staff had to say:
"I don't get homesick, I get campsick. I love camp and all the people here."
Matt, 1st year counselor
"My cabin cared for each other with all the love they had and that's why this was my best week of camp ever."
Cameron, 2nd year counselor
"Though one week at camp may seem fast, it isn't for a child and the experience they can gain in that one week can shape them forever. It is always something they will remember."
Jacob, 3rd year counselor
"Camp Magic is about laughter, pure joy, fresh air, shooting stars, deep forests, friends, love, hidden places and the smell of pine. Above all, camp is about finding who you really are. If you do it right, it never leaves you."
Aku, Former Counselor and Current Camper Dad


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The Operative: No One Lives Forever
Windows - 2000
Description of The Operative: No One Lives Forever Windows
If you haven't play The Operative: No One Lives Forever (also known as 无人永生, Никто Не Живёт Вечно , Wu Ren Yong Sheng , No One Lives Forever, NOLF, Nikto Ne Zhivjot Vechno) already, go ahead and download it now! Published in 2000 by Fox Interactive, Inc., The Operative: No One Lives Forever features shooter, spy / espionage, stealth, comedy in a action genre.
Captures and Snapshots
Screenshots from MobyGames.com
Comments and reviews
Data Priest 2017-04-25 0 point
This game was so refreshing when it came out. Colourfull and funny, but still a hardcore shooter.
valiantfan771 2017-04-24 1 point
I have antivirus AVAST and its says that the "NO-CD" fix have "FileRepMetagen" virus.
It is safe to install this fix or is it really infected?
Thanks for respond
Anagnostis79 2017-04-20 0 point
Ok, i just registered, just to comment on this gem. I had finished both this and NOLF2 back in the day and just adored them. Best sense of style ever !!! Thank you so much for this, i am really touched. I have been trying to buy a copy for years and it is just not available anymore !! Thanks guys!
DaviCis 2016-07-20 0 point
I was to young for the game, so glad that I can play it now!
It works on Win10 perfect for me.
(Sometime I get some laggs when I change the gadgets.)
I am just few hours into the game but love it already. Sad that I wasn't able to play it earlier.
Fish 2016-03-29 0 point
Great game. It's like every James Bond movie rolled into one (or maybe 2, since there's a sequel). I used magicdisc to run it and it works fine
Write a comment
Share your gamer memories, help others to run the game or comment anything you'd like. If you have trouble to run The Operative: No One Lives Forever (Windows), read the abandonware guide first!
Download The Operative: No One Lives Forever Windows
We may have multiple downloads for few games when different versions are available. Also, we try to upload manuals and extra documentations when possible. If the manual is missing and you own the original manual, please contact us!
Just one click to download at full speed!
Windows version
Game Extras
Various files to help you run The Operative: No One Lives Forever, apply patchs, fixes, maps or miscellaneous utilities.
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text:
VideoHive Blackboard 2-Pack Green & Black 8171739
Stock Footage \ Motion Graphic
Sneshok \ Blackboard \ Graphics \ Seconds \ Motion \ Animations \ Length \ Channel
Motion Graphic - Blackboard 2-Pack Green & Black 8171739 by palnoise @ VideoHive
Stock Footage \ Motion Graphic
Pack of 2 motion graphics of Blackboards (Green & Black)
When Balckboard comes to the camera finalize in a close up shot. Then you can write your on text on the blackboard.
Technical Specifications
- 2 Videos Pack
- Black and Green Style
- Full HD Resolution: 1920×1080
- Codec PNG
- Alpha Channel
- 30fps
- Length: 9 seconds each. 18 seconds booth animations.
- Music isn't included
Music from Sneshok, please find it here.
http://audiojungle.net/item/the-graduates/459666 by Sneshok
Motion Graphics Created by Palnoise
Alpha Channel: Yes; Looped Video: No; Frame Rate: 30; Resolution: 1920x1080; Video Encoding: Photo PNG + Alpha; File Size: 907mb; Total Clip(s) Length: 0:18.
Loading Airplane Luggage Airport; Wind Turbines Renewable Power; Wind Power; River Boat Travel ; Faster Train Japan Tokyo; Barcelona Fountain (3-Pack); Barcelona Montjuic Fountain Zoom Out.
Keywords: black, blackboard, chalk, children, college, green, handwriting, kid, primary, school, slate, student, study, teacher, wood.


text:
1.25 CT. T.W. Diamond Collar Bridal Set in 14K White Gold
Item# 19956724
The Peoples Difference
Why shop Peoples?
Orig. $5,999.00
Now $5,099.15
Traditional but with a modern twist, this diamond bridal set complements the sophisticated woman. Expertly crafted in 14K white gold, the engagement ring features a 0.75 ct. round diamond centre stone. A halo frame of smaller round accent diamonds surrounds this centre stone, while a diamond-lined collar flanks the arrangement. Additional accent diamonds line the ring's cleverly split shank. On your wedding day, the coordinating contoured and diamond-lined wedding band completes this eye-catching ensemble. Radiant with 1.25 cts. t.w. of diamonds, this bridal set is finished with a bright polished shine. View product details.
Special Offers
Diamond carat weights (CT.) represent the approximate total weight (T.W.) of all diamonds in each setting and may vary no more than .07 below the stated weight. Typographic errors are subject to correction. Merchandise enlarged to show detail and may not always be exactly as pictured. Promotions, prices, styles and availability may vary by store and online.


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Video Glasses
The detail of Video Glasses contains: Power supply: 6-15V (2S Lipo suggested) Working current: 340mA,12V; Display size: 7 inch Resolution: 1280 x 800 Field of view: 72 degree Video signal input:HDMI/AV Built-in speaker with volume controlbutton. Receiver:5.8G, 40CH. Sensitivity: -90dBm Antenna connector: SMA, jack (goggle side). Weight: 400g (excluding battery).
|Show: item per page
|Show: item per page
Group of Video Glasses has been presented above, want more Video Glasses and Headplay Vidoe Glasses, Video Glasses , Please Contact Us.


text:
Dying Angel by ak-fotosWatch
©2011-2017 ak-fotos
Exquisite Shot!!!
Your cemetery's photographs are magnificent and overwhelming. They achieve to transcribe the emotion we have in front of these statues. Thanks for it, and congratulation. (PS: Sorry for my bad English)
I love that Angel
You have me. I have you. Amen.
You have me. I have you. Amen.
so beautiful...
congretulations !
congretulations !
sensual and tragic at the same time, great!
beautiful and poetical
Amazing sculpture ! Well done.
Gorgeous ^^


text:
Former uni staffer jailed for fraud
A former business manager for Curtin University will spend at least two years in jail for stealing more than $600,000 from the university.
43-year-old Tania Carter sent 33 bogus invoices to the university from businesses she had registered, and authorised the payments, which were deposited into her bank account.
Carter also used her corporate credit card for personal expenses and then accessed her supervisors account to approve the spending.
She claimed she was using the money to keep her two daughters in school and to try to keep up appearances.
Her former husband Matthew Carter and another accomplice, Joy Sanderson, were sentenced to jail terms earlier this year for their role in the scam.
Carter pleaded guilty to 401 counts of stealing fraud, following a CCC investigation.
The District Court Judge, Michael Bowden, said her actions were motivated by greed.
He said Carter's teenage daughters will be left to fend for themselves while their parents are behind bars.
Topics: crime, perth-6000
First posted


text:
Boutin, J.D. Kenneth & Amitav Acharya (1998) The Southeast Asia Nuclear Weapon-Free Zone Treaty, Security Dialogue 29(2): 219–230.
Acharya, Amitav (1992) Regional Military-Security Cooperation in the Third World: A Conceptual Analysis of the Relevance and Limitations of ASEAN, Journal of Peace Research 29(1): 7–21.
The Peace Research Institute Oslo (PRIO) conducts research on the conditions for peaceful relations between states, groups and people.


text:
Doing Business in Colorado and Where We Can Effect a Positive Change...
In Colorado, 90% of the businesses employ less than 100 people. These small businesses are the foundation of economic recovery at the State and National level. We need more tax payers, not more taxes. Our declining job market continues under the watch of excess Government Regulation and unfounded EPA Restrictions on Colorado Businesses.
Our State focuses on Commercial property owners to bear a huge tax burden. With the Gallagher Amendment (1982), Tax on Commercial Property is at 384% of the Residential Property Tax. That percentage rate is adjusted every two years. Add into the equation the Business Personal Property Tax which is 29% applied to any form of business equipment.
Commercial business starts out with a significant tax burden before opening its doors for business or collecting one dime of revenue generated through sales and services. The size of a business debt sheet often dictates the success or failure of that business. Generating new business in a down economy is tricky and involves great risk by the business owner. Trends change and businesses must adapt to the ever changing economic needs of the consumer. When business sales and revenues fall short employees are laid off resulting in declining number of tax payers. The financial burden of support then shifts to the Government in the form of unemployment benefits paid out to the unemployed. This is a perpetual circle of cause and effect that never changes.
I would be remiss if we did not address Regulatory Agencies and their ability to fine business on ever changing "unwritten" policy. Many fines assessed to small business are administrative in nature, based in procedure errors, not criminal actions. These fines may result from a "phrase" or "format", in the business contractual agreement with the consumer, perhaps not being what the Regulatory Agency feels was written appropriately. Fines are heavily assessed to the business owner, even though, no rights of the consumer were ever lost in the business transaction. These Unwritten Policies are left up to the Regulatory Agency to define and may change from case to case. It is inconsistent in its application to the Business owners. We need to define those unwritten Policies and get back on track with fair and consistent Regulation for Colorado Businesses.
The State and Local Municipalities of Colorado need to adjust to the changing economic climate and focus on cutting their spending and Government growth. Sticking to infrastructure and mandated services would be a good start.
Unfortunately, Government has become the new "Big Business" outwardly competing with private sector business at the tax payer's expense. Tax payers funded the Government Bailout of GM, massive Government loans for Green Energy Company upstarts such as Solyndra and the endless Government subsidies for Ethanol Plants and unproven Alternative Energy technology. Government accounting methods employ manipulated figures to bury the true cost of Government expansion and tax waste.
All levels of Government have been involved in picking and choosing business winners and losers. Government will "Partner" with or fund a private sector business in an attempt to achieve an outcome that is not dictated by a Free Market Economy, but, rather a Government agenda. The intrusion of Government into the Market has lent a big hand in destroying not only our vision of achieving the American Dream but our Free Market Economy System as well.
As a State, we must encourage a consistent and positive economic and regulatory climate in order for our Small Business "Job Creators" to continue to grow, operate and employ great people. If we are successful in achieving this goal, we will see an increase in the number of Tax Payers Statewide through the success of small business ventures.
These are just a few of the many difficulties business's in Colorado face today. Our economic and employment situation will have a positive change if we address these issues.
As your Senator, I will protect Private Sector Business owners against Government abuse through regulation and taxation. Imagine having the ability to manage your business without fear of Government takeover, competition or regulatory intervention. Let's get to work to restore the American Dream to our great State starting now. The wonderful citizens of Colorado deserve it!
Source: http://www.vickimarble.com/issues/my-view-on-doing-business-in-colorado


text:
Sizing Up the Potential Summers Successors
Larry Summers, Washington's favorite grump, is stepping down as head of the National Economic Council and returning to Harvard. The White House is scouring executive suites for potential successors. The next Summers will have to tackle a wobbly U.S. economy and fend off complaints of stifling regulation from business leaders.
It is a tall order, so Deal Journal is drawing up a list of pros and cons for some of the candidates being tossed around in the media:
Anne Mulcahy
Ex-CEO, Xerox
Mulcahy has "emerged as a leading candidate" to replace Summers, according to the Journal, which reported she had dinner on Friday with Obama adviser Valerie Jarrett….


text:
The continuing war between Palm and Apple that has broken out in the iTunes theatre has taken a new turn with Palm taking the initiative.
The subject is the phone's USB. During iTunes syncing, Apple uses the USB port to read the 'Vendor ID number'. In this way, Apple can tell when a piece of non-Apple hardware (such as the Pre) is trying to sync with iTunes. An action which previously shut out the Palm mobile. To get around that, Palm, in its latest 'fix', fooled iTunes, making the software believe that the Pre was, in fact, an iPod. The cheeky devils. But that's not all, now Palm is complaining to the USB Implementers Forum about Apple's moves, stating that the filtering goes against the open nature of the USB port itself, according to the iPhone Blog website.
We can only expect this tussle to get worse. Brace yourself.
Click to read the iPhone Blog story


text:
Albany Business Review
- State comptroller's office monitoring erroneous tax exemptions in Albanybizjournals.com
- Albany officials cancel downtown event today amid tax controversybizjournals.com
- Where you should grab a bite to eat according to this year's 40 Under 40bizjournals.com
- Albany Business Review announces winners of Tech Awardsbizjournals.com
- WSharing their good fortunewagmag.com
- FuzeBox for sale, Circle Diner sold and more in this week's restaurant newsbizjournals.com
- Year in Review: The 16 most-read stories of 2016bizjournals.com
- CDPHP, St. Peter's reach contract agreementbizjournals.com
- Year in Review: Albany Business Review's front pages in 2016bizjournals.com
- What makes these companies the Albany area's Best Places to Workbizjournals.com
- Who and what you missed at Best Places to Workbizjournals.com
- Ready to roll the dice? Best Places To Work is today!bizjournals.com
- Industry roundtable: Nonprofitsbizjournals.com
- Is gondola a 'waste of money' or 'a must'? You told us what you thinkbizjournals.com
- Proctors wants to close creative workforce gap between employers and young peoplebizjournals.com
- Here are the cities adding — and shedding — the most small businesses in Americabizjournals.com
- 3 things we learned at the Power Breakfast on health care and real estatebizjournals.com
- Albany Business Review announces its first Tech Awardsbizjournals.comSan José , San Francisco , New York , Albany
- Industry roundtable: Bankingbizjournals.com
- What makes Bob Belber a successful executive (Video)bizjournals.com
Frequent names
Newstral's extraction of names of people and organisations from the world's news is completely automated. If you do not want your name to appear here, please contact us. We will be happy to look at your request.


text: The Underdome has only 1 mission. Prove Yourself. Retrieved from "http://borderlands.wikia.com/wiki/The_Underdome_Missions?oldid=166789" Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you've made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Categories: Missions


text:
Thanks for helping us sort this video!
Thanks for helping us associate the correct Pornstars to this video!
Помогите нам: эти порнозвезды присутствуют в этом видео?
Pornstar Name:
That's a big fat cock!
Kendra secrets
She has one fine ass, I would like to lick and fuck. That guys has a huge cock.
Incredibly juicy ass!
Alexis Texas = A body worthy for making the babies, haha!
she best
excelente esta muy buena
Nice sexy body
she is the sexiest
Very nice
que rica de verdad
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… Papadakis to lay out his process for speeding up slow websites. Note: Stavros is one of over 300 AwesomeWeb designers and developers that you can hire today. He is our resident expert on website speed optimization. You should definitely check my previous post with 16 ways to speed up your WordPress website. Although this post provided a quick…


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Angel DeLuca – Wifey Style
Released: March 9, 2014
Imagine the evening ahead when coming home to Angel DeLuca, big-boobed wifey. With the cave all spruced up, Angel shows her balancing act as the clothing is peeled off. She can't resist being playful with different props she picks up before laying out the table cloth and giving you a fine spread. That should give you enough motivation to go back to work tomorrow morning knowing the next evening will be even more rewarding.


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Ferdz Photographer
Coco AnnModel Female London, England, United Kingdom
My MM URL: http://www.modelmayhem.com/CocoAnn
Mayhem # 2598712
About MeI'm 19 years old and have done some previous modelling and would like to continue, in the hope to promote my modelling career. I'm very flexible and I am up for a challenge. I am also very artistic and would love to be involved in more creative roles as a model.
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