[S2E14] Appreciation In Action
LINK >>> https://blltly.com/2tlXyf
Cool. Uh, so as you mentioned, I run the growth marketing team at ChartHop. Uh, we are a young but blossoming, uh, HR technology platform. We're actually a people analytics platform, and we consolidate and centralize people data, employee data from disparate sources. Uh, and the output of that is org charts, head count planning, people analytics reports, um, scenario planning and, and really anything in between. Uh, we are a relatively young business. We were only founded two years ago, but we've got a lot of steam. We're about 100, 110 folks now. I joined last year and, um, was the 20th employee then. So a lot of traction and we raised the few rounds from Andreessen Horowitz in that time. Uh, and we're excited to continue the growth.
So the ability to operationalize, interact and measure the efficacy of those interactions with, of your audience is key to anything you do. Having some, an attribution scheme, uh, to run campaigns at scale and dial back and be like, oh, that totally flopped, this hit, hit it out of the park. Let's do more of that and less of this. That's like the bane of how I make my existence or the crux rather, or, h- bane of, the crux of how I make my decisions.
You're working it, you're driving inbound. You're able to understand the different touch points and interactions holistically at scale. And then you take the right route forward. So we don't report on MQLs-
It all about the operations and the ability to track account level engagement at scale, because then your reps and your BDRs can take action and talk about at scale emphasis on that. Like they know what's good. They know what's going down on the account. They know how to attack if they've seen the touch points.
I couldn't blame Assistant US Attorney Flanagan for wanting to throw the book at Cable. Her assessment of the situation wasn't wrong. Her actions allowed a terrorist to walk free and probably destroyed Flanagan's career.
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This martial arts spin on fairy tales makes for one wild ride of epic action sequences and more than a few laughs. The Princess takes this well-known genre and turns it on its head, with Director Le-Van Kiet delivering something that feels like John Wick and Die Hard meet happily ever after. But this is not your standard princess tale, in this one handsome princes need not apply because this is a self-rescuing princess.
The Princess checks all the fairytale boxes: it occurs mostly in one location, it has a princess, a side kick, and gives the protagonist an evil to stand up against. It even has nods to other classic stories about Sleeping Beauty, Snow White, and Rapunzel. Lorenzo Senatore's cinematography captures the action while also maintaining that fairy tale color palette that is well ingrained into our minds. In fact the way it mirrors classic Disney tales makes for an interesting juxtaposition given what is actually happening on screen. Furthermore, the score by Natalie Holt also toes the line between a princess story and one that is all about beating up as many people as possible in an hour and 34 minutes.
Mrs. Chesterfield tries to break up Jessie and Brooks. Luke, Emma, and Zuri learn about Ravi's late history report and throw him an appreciation day (styled R.A.D.). Emma and Zuri convince Tony to open up to Jessie while he also gives Brooks a job at the Fairfield. When Tony tries to talk to Jessie in the elevator, he is interrupted by Brooks proposing to Jessie.
Jessie must work on a project wit