
London's ‘Little America' Is No More. What's Taking Its Place?
From the Eagle Bar on the top floor of the new Chancery Rosewood Hotel in Mayfair, the views across London are unobstructed, save for a gilded aluminum eagle, its wings spread wide, which crowns the midcentury modern building that once housed the United States Embassy to the United Kingdom.
The Americans pulled up stakes in 2018, relocating the embassy to a giant fortified cube on the south bank of the Thames. They left behind the eagle, along with a collection of monuments and memorials in the adjoining Grosvenor Square — relics of what was once an American citadel in its ancestral land.
John Adams lived on the square. Gen. Dwight D. Eisenhower had his wartime office there. A statue of Franklin D. Roosevelt gazes across the patchy lawn. Diplomats threw star-spangled election night parties, while hopeful travelers lined up outside for visas. During the Vietnam War, protesters clashed with police under the trees.
Now, Grosvenor Square is being recast for a post-American age. The Chancery plans to open to guests in early September, its Persian Gulf owners having converted the Brutalist landmark, designed by Eero Saarinen, into a Rosewood luxury hotel, with junior suites starting at 1,400 pounds (nearly $1,900) a night.
The square, which lies in front of the hotel and has a different owner, is closing this week for a 13-month refurbishment. The project will add lush plantings that celebrate biodiversity and link the six-acre expanse, which has fallen into a state of neglect, more closely to its 18th-century Georgian roots. The owner, Grosvenor Property, insists it is preserving the legacy of a place once known as 'Little America.'
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New Online Casino UK - How Tea Spins is Revolutionising the UK Casino and Slots Scene
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Yahoo
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How I became 'king of billboards' and sold my business for £1bn
When serial entrepreneur Damian Cox shunned university for skiing in the late 1990s and returned to London some five years later looking for a job, it was for anything other than being an estate agent. Cox had previously attended the now-closed Douai School in Berkshire, run by Benedictine monks, and says that around three quarters of his year went on to run their own businesses. 'There must be a direct correlation between the fact that we learned nothing, other than how to look after ourselves and maybe how to create something out of nothing,' says the founder and CEO of Wildstone, one of the world's biggest billboard companies valued today at £2bn. 'As a result, I think we all became quite entrepreneurial.' Read More: The boss who has found 'nature's answer to plastic' Growing up alongside a single mother and three sisters, Cox asked a recruitment friend for any upcoming vacancies and started as a development executive for a start-up called Blow Up Media, which signed up sites and put adverts on scaffolding. As its first UK employee, Cox witnessed scale firsthand as the firm reached a multi-million pound turnover in a few years. He also believed he was the 'worst paid person in the company'. This after negotiating its first sale of £80,000 per month. Following a meeting with the CEO and with no pay rise forthcoming, he left the firm. Cox co-founded a competing venture the next day, having already built a network of landlord contacts. He admits now to lacking business know-how, cash flow experience and, crucially, that being paid on the same day simply didn't exist. 'There was this sort of Gordon Brown-esque extended payment term of 30, 60, 100 days. So you had to pay your landlords on Monday and you didn't get your money for 100 days. And that was a very, very big lesson in business.' Over a year later, a business magazine profiled Cox and his business, EK Straas, which was seen by leading outdoor advertising companies JCDecaux ( and Clear Channel (CCO), the latter offering an undisclosed 'life-changing amount of money' despite not yet being profitable. Cox, 50, worked as a senior executive for Clear Channel for about a year but soon shunned the corporate world after witnessing what he says was a lack of ambition, innovation or growth. Instead, he challenged the consolidated outdoor billboard market with his next agency venture in 2004. Ocean Outdoor aimed to find the best assets and attract a greater revenue profile. Read More: Meet the company that finds 'must-haves' to make everyday life easier He negotiated a deal with a central London landlord on one of the highest profile banner sites by Tottenham Court Road station before erecting the first digital panel in Liverpool. 'The business snowballed from there,' says Cox. In 2010, he was effectively sacked from his start-up after bringing a chairman on board he failed to bond with and the market having suffered from the 2008 financial crisis. 'I was trying to be all things to all people without acknowledging what I'm really good and bad at. So maybe they made the right decision,' recalls Cox. 'But the market did return quickly and that was a pretty brutal learning for me. I'm very thankful today that it did happen because I wouldn't have Wildstone without that period of negativity.' Wildstone, his third venture he co-founded with Patrick Fisher in 2010, set out as a consultancy business as it first extracted revenue from landlords and took commission before becoming the world's largest media infrastructure company. 'We became successful very quickly, however you sometimes underestimate your own ambition. I didn't have the ambition to take over the world, but soon it became apparent that actually that's what I wanted to do again. 'I'm fortunate enough to suffer from ADHD which allows me to compartmentalise things easily. My mother was also a huge guiding force for me in lots of ways because I watched someone bring up four kids with nothing. I can't sit at home doing nothing. I love putting a creative vision in place and seeing if it's achievable.' Wildstone has acquired, upgraded and digitised super-sized billboard posts into architecturally-led designs. The Hammersmith-based firm, which employs 130 staff globally, was sold to private equity in September 2022 for around £1bn, with Wildstone now boasting around 5,500 billboards across the UK, Ireland, Spain, the Netherlands and Germany, as well as Australia. 'People often see the other side, that you've made some money and it must be easy for you,' admits Cox, who lives in the Cotswolds and is an avid collector of emerging artists. 'But they don't see the 10 years of not sleeping or the anxiety that goes with it. Having a business bank account with £50,000 in it and you've got a wage bill on Friday of £400,000; those kinds of elements get lost in history and it's really difficult. 'I wouldn't underestimate that to anyone starting a company. You're navigating politics, revenue, cash flow, a market you can't control. And all of that has to come together in a way that allows you to move forward and survive.' Read More: The life lesson behind 335-year-old funeral business When the business was sold 12 years after being founded, Wildstone's leadership ensured a 'lump sum of cash' for every employee and further qualification for remaining at the company. Staff turnover remains small. Cox remained as global CEO after the sale, following several months of feeling 'deeply unhappy and depressed' after spending years scaling companies. Reinvigorated, he says that billboards today are 'still at the front of everything' when it comes to contextual advertising. 'It's the last broadcast medium that you can't swipe,' says Cox, who aims to grow Wildstone globally to the tune of a £15bn valuation. 'If it's on the side of a road you're driving down, you're going to see it. That for me makes it very attractive and we are becoming more and more valuable.' Helping a competitive market grow You do get slightly aggravated by the level of red tape, tax and constant desire by governmental bodies to take off you, which makes business harder as time goes on. In our industry, business rates are a prime example. Local authorities hate advertising, but they're happy to slap a 40-45p in the pound business levy on every advertising asset for doing nothing. Cash flow means you're very rarely positive for at least a couple of years on building one advertising panel. The benefit we have is that I am able to say that we own that infrastructure and I'll give you 100 billboards that are now digitised. I'll let you pay in arrears for the first quarter so you've got time to build up that cash flow to be able to pay. So actually our business makes the market wholly more competitive than it ever has been before. And it means that the stranglehold some of the bigger players have isn't necessarily as tight as they'd like it to be. We're able to push some of the smaller players up into the market. This is great because, after all, it's hard building a business. Read more: Meet the 'jokers from London' who sold 100,000 blocks of butter in first 10 weeks 'My sofa took six months to arrive — so I built a £20m business' 'I paid myself £4 an hour to get my Rollr deodorant off the ground'Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data


CNET
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Back in November, I spent £6,000 (about $8,100) of my own money on a Leica Q3 43. Over the last six months, it's been with me on multiple travels across Europe, and I've shot over 25,000 photos with it, including everything from street photography, travel, landscapes and even major editorial features. I've got some thoughts on these kinds of premium compacts and hopefully some solid shopping advice for any of you, whether you're considering this camera or another compact like the ever-popular Fuji X100VI. Let's dive in. I bought the Leica Q3 43 with my own money at full retail value, which at the time was just shy of £6,000 -- well, just over, including the second battery I also ordered. That's a huge amount of money, especially at a time when the purse strings are tightening and making big purchases -- especially non-essential ones like this -- are difficult to justify. So, why did I want it? Well, a number of reasons, and I'm hoping that any photographers out there will understand these, Leica fans or not. In recent years, I've found myself being a bit over-encumbered with gear that I've acquired in my 13 years taking photos professionally. Too many bags, tripods, lenses, lens adapters -- whatever -- and I increasingly wanted to take a more stripped-back approach to much of my photography. Andrew Lanxon/CNET For years, I've used the Sony RX1R as a compact, "take anywhere" camera when I don't want to take a bag full of kit. It's a stunning little full-frame premium compact that takes beautiful photos with its fixed 35mm lens. But it's 12 years old now, and it's showing its age, with slow, unreliable autofocus, relatively low resolution, and crucially, there's no viewfinder, so you have to shoot using the main screen and you look like a tourist. I've spent years fruitlessly hoping that Sony would replace it, but where Sony left a gap, Leica filled it. The Q3 43 is, in some ways, its spiritual successor. It has a gorgeous full-frame sensor with an extremely high-quality fixed lens. It takes stunning images, and I can carry it with me pretty much all the time, keeping it slung around my neck, ready to shoot whenever I see an opportunity. I took the Q3 43 to the Arctic and photographed out of the back of cars while speeding around a frozen lake. Fun times. Volvo It has a fixed 43mm lens, which may not suit everyone, but it's ideal for most of my work. I usually flit between 35mm and 50mm focal lengths, so 43mm is an ideal sweet spot between the two that I've never found limiting in the many photos I've captured with it. I tried the 28mm version of the camera and didn't get on with its wide-angle view. I wrote recently about the three types of cameras photographers need to have, which include a workhorse, an everyday carry and a more artistic option, and while the Q3 43 has absolutely been all three for me, it's the second point where I feel it's had the biggest impact for me. It's not a camera that I have had to make any allowances for when carrying it around. I don't need a big photography backpack, just a small sling or messenger bag. Sometimes I've even gone out with it slung around my neck with no bag at all. I absolutely love having a camera with me always. It's true that the best camera is the one you have with you, but it's doubly the case if the camera that's always with you is actually the best camera. Fine, it's not as small as my Sony RX1R, but it's smaller than my Canon R5, and it's been a great companion on photowalks around Stockholm, Edinburgh and Barcelona. It's a joy being able to quickly lift it up and fire away. Having the camera always ready to go meant I could quickly capture moments like this. Andrew Lanxon/CNET It helps that it's simple to operate. I shoot mostly in aperture priority, twisting the dedicated aperture ring on the lens when I want to adjust the depth of field. I keep it mostly at ISO 400, and the camera is always pretty good at giving me the correct shutter speed for whatever scene I'm capturing. At night, I have to crank that ISO hard, especially since the camera doesn't have a stabilized image sensor like my R5. In fact, on a technical level, the Q3 43 doesn't shape up super well, with both its burst rate and autofocus system being slower than rivals. Its subject detection is also best described as "hit or miss." Using the Leica Q3 43 in Sweden was great. Its small size made it easy to always have with me. Andrew Lanxon/CNET But that's why I like this camera. I don't have to dive into the infinite abyss of the settings menu to figure out different autofocus options. I just keep this camera at single-point focusing, half-press the shutter to focus on whatever I want and then recompose to take the shot. Or I'll focus manually. It's a more basic shooting experience that encourages me to think more about the shot I'm taking and less about the settings I'm using to get it. Then there are the built-in color profiles Leica offers, which I absolutely adore. I shoot almost everything using Leica's Chrome look, which does things to colors and contrast that I'm obsessed with. I mostly pair this with a warm white balance and, more recently, a PolarPro Gold Mist filter, which gives my images a warm, filmic vibe that I love. This filter almost never leaves my camera and is, for me, a must-have. I love the tones that the camera can achieve, resulting in almost no post processing. Andrew Lanxon/CNET In fact, I now shoot most of my photos in JPEG and use them with almost no post-processing. That's in stark contrast to my way of working with the R5 -- I only ever shoot in raw on that camera, and all my images go through some level of work in Lightroom. Do I wish Leica offered options to tailor these profiles further in camera? Absolutely. I treat the Q3 43 as a classic point-and-shoot compact camera. I use basic settings to shoot quickly and creatively, leaning on in-camera colors to minimize my time stuck editing. It's offered me a different way of working, and I've thoroughly enjoyed every moment I've spent with this camera so far. The Q3 43 is small, but Sony's full frame RX1R is even smaller. Andrew Lanxon/CNET To be fair, it's not just the Leica Q3 43 that could give you this. Fujifilm's X100VI remains a social media darling thanks to its compact size and customizable film emulation modes, while the Ricoh GRIII is lauded by street and travel photographers for its blend of quality and pocketable size. I did consider buying the X100VI instead of the Leica, but I'll be honest, there is another element I'm perhaps less proud of admitting. I wanted a Leica. I don't like to think of myself as a status symbol sort of person, and while I have no desire for a Rolex, a yacht or a Lambo in my drive (OK, maybe a bit), I have always daydreamed about finally owning a camera that sports that iconic red dot on the front. I worried that it'd be a novelty that would quickly wear off, but it hasn't -- I still find myself excited to pick it up and take it somewhere. It also helps that the solid metal construction of the Q3 43 makes it feel infinitely more premium than the lightweight, arguably quite plasticky feel of the X100VI. It gives me a creative buzz that I don't really get from my Canon R5. To lean on an analogy I've used before, the R5 is a worker's van; practical, it ticks the boxes for what they need to do a job. A professional tool for getting things done. But it's not the vehicle they fantasize about driving down the coast. The Leica is the fantasy car. A classic Ferrari, perhaps. It technically does most of the same things, but it does it in a very different way that makes you feel notably different when you use it. A simple settings layout. Andrew Lanxon/CNET It may have been a lot of money to spend on a camera, especially one that I strictly speaking didn't need. It helped that Leica in the UK offers interest-free credit, so I actually spread the cost over 12 months, rather than dropping the cash all at once. But it's money I was -- and still am -- happy to spend. It's given my photography a boost I didn't even know I needed. In the six months I've had it, I feel I've evolved more as a photographer, and I've taken images I'm incredibly proud of. I can't wait to see what the next six months with it will bring.