Today is Makara Sankaranthi. Makara meaning winter time or time when the sun is at the lowest in the northern hemisphere. Sankaranthi is such a movement. We have moved from one face on this planet to the next face. This is Makara Sankaranthi. This means our relationship with the sun, which is the very source of our life on this planet is changing. When I say relationship with the sun is changing. People who live in Mumbai, in Delhi and in all the big cities and in many parts of the country are right now fearing the summer, the heat, the lack of water, maybe the power cuts and many other inconveniences that happen to you. You must understand right now we begin to rule the very source of our life with this. From a leaf, a plant, a tree, two insect worm, man, woman, child, every other creature on this planet is solar powered. Sun is the basis of our existence, but we are fearing this because when the sun begins to go in full glory, we don't have a tree to sit under. We have ripped this country apart in our quest for whatever. Essentially, it is just ignorance that we have done this. It is time we put back. When the sun comes up, should your children not have a tree to sit under or climb upon? Should there not be enough vegetation, enough water in the land? To this Makarishankaranti, I want all of you to take this up in your life in whatever capacity you can do that we must become competent enough. The future generations in this country should become competent enough to joyfully welcome the summer. This is only possible if we create a conducive atmosphere in nature where the land is rich with vegetation, water resource and the soil is rich to hold the water. Only then we can truly, genuinely celebrate Makarishankaranti. All the best for you when this Makarishankaranti sun is anyway going to come. You are up to handling it or not is the only question. Let's make this happen.


So, I'll probably get my mathematician card revoked for saying this, but don't learn mathematics. Instead, learn how to create mathematics. It's important to remember, it's the journey, not the destination. To learn mathematics, but why would you want to? Skip ahead to 7 minutes 27 seconds. To learn how to create mathematics, play on. So remember that if a connected graph has a bridge, it can be disconnected by the removal of an edge. We might want to prevent this, so let's see how we can avoid having bridges. And so a useful strategy is, book both ways. If we want to avoid having bridges, let's try to make as many bridges as possible. Since no edge on a cycle can be a bridge, how can we avoid having cycles? So let's consider a graph with n vertices. How can we avoid having cycles? You might begin with n edges that form the obvious cycle. To break the cycle, we need to remove an edge. But here's another useful strategy. Making the problem harder sometimes makes it easier. Breaking a cycle by removing an edge is easy. Instead, what if we move an edge so it joins different vertices? Notice that if we move an edge, we get a smaller cycle, and this suggests a connected graph with n vertices and n edges must contain a cycle. So how can we prove this? The key concept is that a bridge breaks a connected graph into smaller graphs. So if we can prove a statement true for small n, we can conclude it's true for larger n. And this suggests that many proofs about bridges can be done using induction. We'll prove it's true for a first case, and then prove that if it's true for some case it's also true for the next larger case. And so we'll use induction. There's one problem. There's no graph with one vertex and one edge, and in fact there's no graph with two vertices and two edges. We have to start with a graph with three vertices and three edges. That's not a real problem, but it will require us to do some additional steps later on. So there's only one graph with three vertices and three edges, and it contains a cycle. Suppose the statement is true for all graphs with k vertices and k edges. Let's consider a graph with k plus one vertices and k plus one edges. And for convenience let's consider the edge between vertices one and two. If this edge is not a bridge, then our graph has to have a cycle since there must be an alternate route between vertices one and two that does not use this edge. If the edge is a bridge, then the graph splits into two subgraphs, g1 and g2. So here's why starting our induction at n equals 3 requires us to take some additional steps. It's possible that one of our graphs has one or two vertices, so we need to consider these separately because we started at n equals 3. So if one of these subgraphs has one vertex, then the remainder has to have k vertices and k edges, and so by our induction hypothesis it has a cycle. If one of these has two vertices, they must be connected since the original graph was connected, so this graph has two vertices and one edge.  Fortunately, that's easy enough to fix, we'll modify it and use strong induction. So remember the idea behind strong induction is we assume our statement is true for everything from some starting point up to our value. So now if the removal of an edge produces a graph with two vertices and one edge, the other graph has k minus one vertices, k minus one edges, and since our induction began with k equals three, we know the k is greater than three, and so k minus one is greater than two, and so k minus one is greater than or equal to three, and obviously k minus one is less than k. So our strong induction hypothesis holds and the graph has a cycle. So we've disposed to the case where one of our graphs has one or two vertices, so otherwise let the graphs have p and q vertices and p and q edges. We don't know how the edges will split among the graphs. So to solve the problem we'll employ a useful strategy in math. Not so much in life, change the game. In this case let's modify what we're trying to prove and prove that in any connected graph with n vertices and n or more edges contains a cycle. Now this doesn't change our analysis for one, two, or three vertices. It changes our induction assumption, but not by much. In fact the only real change is to reflect the theorem we're trying to prove. So I've disposed the removal of the edge, splits the graph into a graph with p vertices and the graph with q vertices where remember these are all of our original vertices so p plus q is equal to k plus one. At least one of the following must be true. The graph with p vertices has at least p edges or the graph with q vertices has at least q edges. If not the two graphs have at most p minus one edges and q minus one edges for a total of at most p plus q minus two edges. But since we obtained this by removing one edge from the original graph then the original graph would have had at most k edges but it had k plus one edges and so at least one of these two graphs will meet the conditions of our induction hypothesis so at least one of the graphs has a cycle and this gives us our theorem. Now if you want to learn how mathematicians think about mathematics don't read the textbook. The textbook has a cleaned up version of the proof of the cleaned up version of the theorem. That being said once we found the proof we should at least clean it up so let's do that. So let's prove the theorem any connected graph with n vertices and n or more edges contains a cycle. We'll use strong induction. Clearly the statement is true for graphs with n equals three vertices and n equals three or more edges. Suppose the statement is true for all graphs with between three and k vertices and at least as many edges and let g be a graph with k plus one vertices and at least k plus one edges. Now consider any edge. If the edge is not on a bridge then it is part of a cycle so g has a cycle. If the edge is a bridge the graph either splits into an isolated point at a graph with k vertices and at least k edges which by our induction hypothesis has a cycle or two points with an edge between them leaving a graph with k minus one vertices and at least k minus one edges which by our induction hypothesis has a cycle or two graphs with p and q vertices where p plus q is k plus one and so if the removal of the edge separates the graph into two components with p and q vertices then either the first graph has at least p edges or the second graph has at least q edges. In either case our induction hypothesis is met and so the graph has a cycle and that proves our theorem.


Okay, thank you very much. Hi everyone, my name is Fuya Guo. I am a PhD student from Cornell University. Today I'm going to talk about our work on rethinking the classical synchronous model in distributed consensus and our proposal of a refinement of synchrony to make it more robust and partition tolerant. In this talk, I will first give an example of protocols that work in synchronous network and then describe a scenario in which with this protocol, a benign failure can cause real-world financial loss to users to show why we think the classical synchronous network assumption is not suitable for practical use cases. To fix the problem, I will then give our proposal of the new model with better robustness and partition tolerance and then give a fix to the protocol to make it work in a new model. Oh, sorry. Okay, so before talking about any specific protocols, let me first quickly recap the consensus goal we want to achieve. All of these public blockchain protocols like Bitcoin, Ethereum, or those PBFT style protocols, they want to reach the state measure application notion or say they want to have honest notes agree on the linearly ordered log. To be more specific, we want to have both consistency and liveness. But consistency would mean that all of the honest notes should agree on the same log and by liveness would mean that any transaction that appeared in the network should be confirmed within short time. So now let's take a look at a very simple voting protocol that work in synchronous network. The protocol run with N nodes, one of them is a proposer and the other nodes here are the superheroes of voters. Some of these nodes can be crapped, like your locusts are crapped. And when some transaction comes, the proposer first signs the transaction with a sequence number and proposes this transaction to the voters. Unseen the proposal, the voters will vote for this proposal. The important thing here is the honest node will only vote for one transaction for each sequence number. And on collecting enough number of votes for the same transaction, the proposer used this votes to form a notarization for the transaction and send the notarization back to the voters. Unseen the notarization of a transaction, node thinks the transaction is confirmed. So how many votes are enough to confirm a transaction? If we assume that less than one half of voters are crapped, then we need to collect at least three quarters of votes to confirm a transaction. The consistency proof is just a simple pigeonhole principle map and I will not go to the details of it, but it only relies on honest majority assumption. However, because now we need to wait for three quarters of votes, honest majority assumption is not enough for liveness. If more than one quarter of nodes are crapped, or if the proposer is crapped and they just keep silence, the protocol can stuck. So the challenge here is how to achieve liveness with just honest majority assumption. Here we make use of a slow chain. We use this voting process as fast path and if something bad happens, the fast path stops, people will detect it and fall back to a slow chain which can guarantee both consistency and liveness with honest majority assumption such as Bitcoin or Ethereum. When falling back, one of the challenges that different node might have different view of the fast path log. So here people need to reach agreement on the fast path log on the slow chain so they are required to post all of their confirmed transaction onto the slow chain. After they reaching the agreement, they can always reelect the proposer or the voters to restart the fast path. So now we have a protocol with responsiveness. With honest majority assumption, now we can guarantee both consistency and liveness because we rely on a slow chain. And if the condition is good enough, we can actually have a protocol that can confirm a transaction with one round of voting. However, as I said, sorry, actually the protocol I described here is a simplified version of Cinderella by Raphael Passand-Leonchi published in Eurogroup then 2018. It is a peer-reviewed consensus protocol with rigorous mathematical proofs. However, as I said before, I am going to describe a scenario in which with this protocol, a confirmed transaction can somehow be undone by the network, even if none of the node in the network is malicious. So in this scenario, a transaction comes, the proposer proposes it and voters vote for it forms notarization and send notarization back to voters. But right after sending the notarization to Coinbase node, the proposer drops offline. So at this time point, the Coinbase node becomes the only one who sees notarization. The Coinbase node thinks this transaction is confirmed and it tells user saying that, hey, this transaction is confirmed, someone want to buy a Ferrari car. And the user think, okay, I received the money, so I deliver my car. But unfortunately, right after telling the user about the confirmation, the Coinbase node also drops offline. And now, all of the other nodes detect that the fast pass stopped for a long time, so they decide to fall back to slow chain. As mentioned before, when falling back, every node are supposed to post all of their confirmed transaction onto a slow chain. And the Coinbase node is also supposed to do so, but because it is offline, it fails to post this transaction. After a while, when the Coinbase node comes back online, all of the other nodes have already re-bootstrapped a new fast path. And that transaction is not included in anyone else's log. So in this case, the transaction is actually being undone by the rest of network and the user lose both car and money. It sounds horrible, right? What I think has been confirmed can be undone by the network, even if I didn't do anything wrong, or perhaps I don't even know that I am offline because I'm de-dust. So how can a provably secure protocol allow this kind of faulty behavior? That is because the protocol use synchronous assumption. So what is assumed in a synchronous network? In a synchronous network, the messages between honest nodes are required to be delivered within delta rounds. If any node fails to satisfy these requirements, itself is considered dishonest and the protocol never promises any consensus for dishonest node. But actually this assumption is not practical in real world, especially if you want your protocol to run for a long time. Like in 10 years, even Google or Facebook server can fail several times. So how can we fix this problem? This concern is not a new concern and actually people have solution for it, which is another timing model has been studied for more than 30 years, partial synchrony. So in partial synchronous network, the message delay between the honest node can be arbitrary long. Or actually there's no upper bound assumption on the message delay. So the short term outage of coin based node will just be considered as a long message delay rather than the node itself is dishonest. So any protocol that's working partial synchronous network, inherently tolerate this kind of short term outage or say short term offline or say network partition. So why don't we just switch to a partial synchronous protocol? Because if we want to get this good partition tolerance property in partial synchronous network, we have to give up resilience. The impossibility result in partial synchronous network says that any protocol working partial synchrony cannot tolerate one third of corruption. On the contrary, there are well known practical and theoretical protocols in synchronous network can work with honest majority assumption. And furthermore, if you don't care about the running time or the message complexity, you can even have protocol in that in synchronous network that can tolerate arbitrary number of corruptions. So a natural question come up here as can we achieve the best of both worlds? Can we have both resilience and prediction tolerance? At first glance, the answer seems to be no, it's impossible. Because to circumvent the impossibility result in partial synchronous network, we have to critically rely on the timing assumption in synchronous network. But if we think about this statement a little bit more, the question actually becomes who says that the synchrony of a network must be a binary choice? Who says that a network must be either fully synchronous or not synchronous at all? Can we find some way to describe the network connection status more accurately and find some place in between to take advantage of both worlds? To be more specific about the question we want to answer, let's first take a look at the network in real world. So in your network, there are actually three kind of nodes. There are some green nodes, they are honest and their network connection is very good. The messages between them can be delivered within delta rounds. But there are also some gray nodes, they are also honest. They want to follow the protocol description but their network connection is unstable. The message delay for them can be long or they might even lose messages. And there are some corrupt nodes whose behavior can be arbitrary. So one important thing I want to point out here is that any honest node might actually at some time point experience unstable connection or long message delay and they can recover from the bad connection later to be online again. So the honest nodes can actually jump between the green and gray set. So let's take a look at the two classical time model in this graph. The classical synchronous network, the protocol only care about those nodes who are forever green. If any honest node that ever drops offline joined the gray set, they will be considered as corrupt node and no consensus is guaranteed for them. And the classical partial synchronous network, the protocol does not take advantage of the good connection between green nodes. So it cannot tolerate more than one third of corruption. So what we want to do is to actually build a new model to see if we can achieve consensus for both green and gray nodes while we still leverage the good connection between green nodes to get better resilience than one third. To build this new model, the first step is to actually quantify on the network connection status. So here we introduce a new notion to describe this green set. We call this set honest and online set. As I mentioned before, the green set can change from round to round. So here we use O with subscript R to denote the honest and online set in round R. So now we have a notation to describe it, but here we still need to be clear about what we actually mean by saying a node is online. When we are talking about a node is online or offline, we are actually talking about the ability of the node to send or receive the message within bounded time. So here comes our formal assumption about this honest and online set. If some node is online in round R and it multicasts some messages in this round, then this message will reach all of the nodes who are online in some round T for T larger than or equal to R plus delta as soon as they are online. So even if the first node drops offline right after it sends the message, the nodes online later are guaranteed to receive them within bounded time. So a natural question here is if we assume the honest and online set is large enough, what can we achieve? Can we have better results than in the classical synchronous and classical partial synchronous? So here comes our new model. If we assume, sorry, so the message delivery of the network is actually controlled by the adversary. So here we say an adversary respects Chi week synchrony if in every round, the size of the honest and online set is larger than flow of Chi times N plus one. I want to emphasize again that in this model we do not require any specific single node to be forever online. The node can come back online and offline. The only assumption is that at any time point this set is large enough. So what we can achieve with this new model? Our answer consists of majorly two parts. If Chi is too small, like if the honest and online set is not larger than half of the protocol, then it is impossible to have a protocol that can reach consensus for both green and gray set. The impossibility proof is intuitive. For the sake of contradiction, if we assume the existence of such a protocol, we can easily force two small partitions in the network to reach agreement on different output within bounded time. But on the other side, if Chi is large enough, larger than one half, then the answer is yes. And actually we can fix the protocol I described earlier to make it guarantee consensus for both green and gray nodes. Because one half is the best we can achieve, we call this property best possible position tolerance. So now I'm going to give a fix to the previous protocol to make it best possible position tolerance. That protocol consists of two routines, the fast path and the slow chain. To make the whole protocol position tolerant, we need to have both parts best possible position tolerant. The fix to the slow chain is a little bit more complicated. So as time is limited today, I'm not going to talk about the details. But the hell of idea is that it makes use of best possible position tolerant business agreement as a building block. Although I'm not going to the detail, but I want to point out here is that it is technically non-trivial, not only because we need to fix the construction, but also because we need to rethink how to define the security property in the new timing model. For example, right now we cannot ask an offline node to output something when it is still offline and without enough evidence. So I will leave the fix to the slow chain to the paper and here I will only talk about the easier part, how to fix the fast path. The fast path is one round of voting. So now let's assume that honest node will only vote for a new transaction after all of the previous transaction have been notarized. So if we think this is a notarized sequence, then instead of confirming all of the notarized transaction, now we chop off the last notarized transaction and confirm only on the prefix. And when falling back to the slow chain, we still post all of the notarized transaction onto the slow chain. So why does this simple fix work in fast path? The high level idea is that if we assume at any time point there are more than half of nodes that are honest and aligned, then this set of honest and aligned nodes must intersect with the column who vote for the last transaction. Because people will only vote for last transaction after they have seen the notarization for all of the prefix and they are aligned when they are falling back to the slow chain, the nodes in their intersection will guarantee that these transactions in the prefix will appear on the slow chain. So like if Coinbase knows these jobs are flying, but it has seen the notarization for the last transaction, it is guaranteed that all of previous transaction will be posted onto the slow chain by some other online nodes. So this is the fix to the fast path. And this is all I want to talk about the protocol. And finally at last I want to talk about two observations we found during we were investigating the classical synchronous model. The first one is that any protocol that is best possible position tolerant is definitely secure in classical synchronous model with honest majority assumption. But the reverse is not true. Actually all of the existing protocols we investigated are not best possible position tolerant. So our new notion or say this new property is actually a strict refinement of classical synchrony with better robustness and position tolerance. And the second thing is that the classical synchronous network can somehow be misleading. Because in classical synchronous network people attempt to think that the protocol that tolerates more corruptions like the protocol can work with dishonest majority. They are strictly more robust than the protocol that can work with less corruption like the protocol can only work with honest majority. But as I shown in the impossibility result if we want to tolerate dishonest majority we inherently give up the position tolerance property. So it is actually a trade off between these two properties rather than like one side is strictly better than the other one. So this is all I want to talk about our work today and the proof and the details of constructions, the proof and more results like the MPC protocol that work in this new timing model can be found in our paper. And thank you very much. We have time for questions. There are microphones on both aisles. Please step up to them to be heard. We appear to have no questions at this time. Let's thank the speaker again. Thank you.


So good morning and welcome back to the course on Classics in Total Synthesis Part 1. So in the last lecture we talked about synthetic utility of radical cyclization in total synthesis of trichonanes and where we talked about synthesis of 2 linear trichonanes namely Hirsutin and Capnallin, these 2 were reported by Dennis Courant and today we will continue our discussion on the applications of radical cyclization to 2 more trichonanes. One is an angular trichonane, other one is a propylene type, okay. So the first one, the angular trichonane which we will talk about today is called Silphi Perfolin. So this we already discussed by a different method but here what Courant has done is if you look at the linear synthesis where he has made a cyclopentene first then he tried to have a side chain, he tried to have a side chain with a radical and that will undergo 2-phi-exoradical cyclization. So for this angular trichonane again he wants to have only 1-phi-ampered ring that is cyclopentene, only the position of the 2 side chain differs. So if you look at the left hand side it remains same, okay. However, this side chain comes to here, okay. So now if you look at this carefully, the 5-exoradical cyclization onto this double bond followed by another 5-exoradical cyclization will give you the angular trichonane. So this was the key strategy which he wanted to use in the synthesis of Silphi Perfolin, okay. Let us see his retrosynthesis and his idea is to have this vinyl bromide, this vinyl bromide should in principle undergo 2 successive 5-exoradical cyclization whereas in the case of capnoline and Hirsutine which are linear angular trichonanes he has used 5-exoradical trich followed by 5-exoradical cyclization here it is 2 consecutive 5-exoradical cyclization. So this can be obtained from this particular cyclopentenone. So if you look at this carefully, first you can do 2 alkylation, okay. One with methyl, the other one with this allyl halide substituted allyl halide then followed by the Grignard addition of 4 carbon unit onto this ketone and hydrolysis will give this precursor, okay. So the synthesis actually started with 3 etoxycyclopentenone which is very easy to make from cyclopentene 1,3-dione by treatment with ethanol and HCl. One can prepare this in large quantity. Now you do the alkylation first with methyl iodide so you can introduce a methyl group at alpha carbon then again another alkylation with this substituted allyl bromide. So you could introduce 2 alkyl groups alpha to the carbonate, okay. Now what you need is you need to add a Grignard reagent. So the Grignard reagent is made from bromobutene. So the butenal magnesium bromide was added to this ketone in a 1,2 fashion to get this allylic tertiary alcohol. Now this upon protonation, okay, once you protonate you get this positive charge. Now the lone pair on this etoxy group will come and then pushes this water molecule out so you get the corresponding cyclopentene. So this is the key precursor for the radical cyclization. So it took this compound and one problem with this is this is the Michael accepter, okay. If you do a radical cyclization, first 5 exotrack radical cyclization will work however the second exoradical cyclization may not work. So that is why it is better to protect the carbonyl group. So the carbonyl group was protected as ethylene ketol by treating with ethylene glycol and acid. So then he carried out the key tandem radical cyclization. So the tandem radical cyclization worked well to give a mixture of two diastereomers. So this is the required isomer but he also got the unwanted isomer in the ratio 3 is to 1 in favour of the required isomer, okay. So now what is required is you have to remove the ketol as well as remove the ketone. So the ketol was removed using treatment with acid and the keto group was removed using Wolf-Kristener reduction. So that is how you could complete the totals in this is of sylphi portfolio that the epimer also was you know made where the ketol was removed and Wolf-Kristener reduction gave the corresponding epi sylphi portfolio. So in summary if you look at this synthesis, Dennis Courant who reported this synthesis in 1987 started with the cyclopentane 1,3-dione and used like in the case of Hirsutine as well as in Capitoline, he used the tandem 5-exotric radical cyclization to accomplish the total synthesis of sylphi portfolio. Overall it took about 7 linear steps with a yield of 6.4 percent. So now from linear to angular to we will go to propylene trichunates. How propylene trichunates can be synthesized using radical cyclization? So these are some of the propylene trichunates and the basic one is called modiphane and there are some oxygenated modiphanes, 13-acetoxy modiphane, modiphane epoxide and pulley carol. So this modiphane, first let us look at the modiphane. So you can call this as 3-3 propylene system, 3-carbon, 3-carbon, 3-carbon all 3-carbon atoms are joined together, so that is why this is called 3-3-3 propylene system and it was isolated from the Goldenrod plan and which was well known for its toxicity to cattle and sheep and from the synthetic point of view, particularly from Dennis Curran's radical cyclization strategy point of view, he wanted to extend the same you know tandem radical cyclization. So however in this synthesis he faced quite a bit of problems, one there are 3 contiguous quaternary center in modiphane, 1, 2 and 3. There are 3 contiguous quaternary centers, so it is not that easy to form 3 contiguous quaternary centers using tandem radical cyclization, this is a big challenge. Then you also have equal number of chiral centers, 1, 2, 3, 3 chiral centers are there and particularly the chiral center with a methyl group that is not that easy to fix. And the molecular architecture of modiphane is such a way that it does not allow the tandem radical cyclization to take place. So he has to do stepwise radical cyclization to achieve the total synthesis of modiphane. So let us see how he achieved the total synthesis of modiphane. So he thought about 4 different strategies okay, so let us not go into the details of how these 4 different strategies he wanted to use, he wanted to make first without this methyl group. So to check his strategy, so that is synthesis of death methyl modiphane. So he started with cyclohexane 1, 3-dione and then if you treat with NBS, you can introduce the bromine at this carbon, then you treat with methanol PTSA, so that will form the corresponding enol ether. So once you have this enol ether, then again you add this 4-bitenyl magnesium bromide. What we have done for the synthesis of sylphyperfoline followed by hydrolysis, you get the 3-homo allyl 2-bromocyclopentenol, 3-homo allyl 2-bromocyclopentenol. So now you reduce the enol with sodium boroyalate cerium chloride under Lucia reduction condition to get the corresponding allylic alcohol. So once you have this allylic alcohol, then treat with isobutric anhydride okay. So when you treat with isobutric anhydride, it forms the corresponding ester. The idea is once you have this ester, he wanted to carry out a glycine rearrangement, intramolecular glycine rearrangement. So for that he has to treat with LDA and TMS chloride which in situ generate this enol TMS followed by glycine rearrangement, island ester glycine rearrangement to give this carboxylic acid okay. So now if you see you have that dimethyl group, it is a quaternary carbon and there is another quaternary carbon. So two quaternary carbons are made. Now what you need to do is to introduce the third quaternary carbon followed by cyclization. So the carboxylic acid was esterified with diazomethane to get the corresponding ester. Then he tried to cyclize this okay using radical cyclization. You treat with tributyltrinhydride and AABN. So here when you want to do radical cyclization, you can use stoichiometric amount of tributyltrinhydride and catalytic amount of AABN or one can also use catalytic amount of tributyltrinhydride, catalytic amount of AABN. So what does it mean that is the tributyltrinhydride which is formed can be further reduced with sodium cyanoborohydride or sodium borohydride. So that is how one can use tributyltrinhydride in catalytic amount okay. So now this reaction works well as you can see here 3 is to 1 ratio of the cyclized product and then simple reduced product and here the stereochemistry what he got was 5 is to 1 in ratio where the required isomer alpha is the major isomer okay. So successfully he could carry out the first radical cyclization okay successfully he could carry out the first radical cyclization. Now what he has to do is he has to connect here these 2 carbon, connect these 2 carbon to form the third ring okay. So for that what he did he reduced the ester to alcohol. So once you have the alcohol you oxidize to aldehyde and then treatment with triphenyl phosphine and CBR4 will give you corresponding dibromolkene okay. So he wanted to use this dibromolkene as the radical precursor okay. So you can see you have 2 bromines okay and if it cyclizes here so that will give you the corresponding molecule. So when he did this reaction with 1.1 equivalent of tributyltin hydride and ABM. So between these 2 bromides we should know which one will form radical first obviously so this is more exposed or least ended is not it. So that will form the radical quickly. So that radical was formed and if this radical is formed then this cannot cyclize. So what it will happen it will take up the hydrogen and it will simply reduce and this also does not isomerize okay this does not isomerize. So he thought this will isomerize to the trans compound and the trans compound can undergo the 5xO trig radical cyclization but the isomerization did not take place with 1.1 equivalent of tributyltin hydride and ABM only the less hindered bromine was replaced okay that only was productively removed okay the exchange did not take place. So what he thought so instead of using 1.1 equivalent of tributyltin hydride he thought he will use catalytic amount of tributyltin hydride and excess sodium cyanoboride okay and here the idea is first anyhow only this bromide is reduced okay. So let it reduce afterwards if you add excess sodium cyanoboride which will in turn generate more tributyltin hydride then this bromine will be replaced by radical and that can undergo cyclization. So with this he tried this reaction and as expected first the least hindered bromide was reductively removed then followed by further heating under the same condition the trans radical was formed and which underwent further cyclization to give death methyl modiculate. So if you look at the modiculant structure you need 1 extra methyl group here okay. So based on this he wanted to extend the same strategy to the synthesis of modiculate. So for that he started with this type methyl tin derivative okay. This time with the tin derivative what he did if you treat with LDA if you treat with LDA you can generate anion here okay that anion will come like this and then it will attack this cordon that is a primary halide so alkylation will take place at the primary halide and the secondary halide will not be affected. So that will give you this. This idea was now if you can generate radical here okay that radical can undergo cyclization 5XO and when it comes back the trimethyl tin radical will come out that way you have the double bond still intact. So with this he treated with tributythene hydride in the presence of ABN so he got exclusively this product. How did he get? The tributythene hydride first generates the tributythene radical okay and it is the exchanges with bromine so you get the secondary radical okay. So when I talked about radical cyclization the stereochemical outcome of radical cyclization particularly for 5XO radical cyclization can be done by drawing a chair like conformation. So exactly if you see this we have drawn a chair like conformation. So the first step is the addition of the radical to the double bond 5XO trig so that should give you this combo okay. I will leave it for few seconds so that now you can understand this. So this will undergo 5XO radical cyclization to give this radical. Now this radical will come like this and then eliminate the tributythene tin radical. So you can write like this yeah okay. So that is how the cyclization takes place and the methyl group which is alpha it is because here the methyl group was put in equatorial position. So that is how you know the chair like conformation will help in establishing the stereochemistry of the methyl group which is formed here okay. So once you have this bicyclic system the next step is you have to convert this ester convert this ester into a dimethyl group and then CH2.  So now what he did was he tried a saccharolyte reaction where the allyl TMS okay the allyl TMS was treated with this acid chloride in the presence of titanium tetrachloride to add this bromolyl group directly to the carbonyl group. So now if you look at this so you have the vinyl bromide which on treatment with tributythene hydrate should generate the radical and that radical should add here to form the third phibomb buttering otherwise that will give that is core structure of modified. So when you did this reaction yes the reaction worked well and then you could get the propylene structure. So now what is required is convert this carbonyl group. The carbonyl group should be converted into dimethyl group okay. So if you look at the radical cyclization first the radical cyclization took place followed by the migration of the double bond internal double bond instead of external double bond you get internal double bond that is because you have a ketone after radical cyclization because normally radical cyclization you do it at high temperature. So the double bond exocyclic double bond migrated to alpha beta unsaturated ketone. So what he did to introduce the two methyl groups first he treated with methyl lithium to get the corresponding tertiary alcohol. This tertiary alcohols are known if you treat with you know titanium tetrachloride and dimethyl zinc okay it is known well known in the literature that tertiary alcohol can be converted into quaternary by treatment with titanium tetrachloride and dimethyl zinc. So basically you know the Lewis acid, Lewis acid will coordinate with OH to make it as a good leaving group and dimethyl zinc will deliver the methyl group. One can also do the same thing by treating with dimethyl zinc titanium chloride in the presence of TMS bromide okay. So effectively what you are doing is you are converting the tertiary alcohol into quaternary. So this is what was the expected product but what he got was another product that can be easily explained when this OH goes as a leaving group the methyl group can attack this carbon or the double bond can migrate the double bond can migrate the tertiary carbocation followed by methyl group attacking here. So he got a mixture of two methyl groups okay two gem dimethyl group here as well as here. So he thought okay this is not a good method so he wanted to introduce the gem dimethyl group first. So for that what he did you take ester and then convert into the tertiary alcohol. So now you see two gem dimethyl groups are introduced first itself at the right place. Now you have to homologate. So what he did he treated with TMS bromide to get the corresponding bromide. Now he wanted that vinyl group so he treated with titanium tetrachloride and then bromolil trimethyl silate. When he did this reaction he got again a mixture of two compounds and that again was obtained by rearrangement. So now when you use titanium tetrachloride this will go as a leaving group when it goes as a leaving group okay instead of this allyl TMS attacking this carbon either this bond of the five number ring or this bond can migrate. When the right hand side bond migrates you get this product when the left hand side migrates you get this bond what happens once this migrates then this allyl TMS this will attack the double bond and the double bond will come here to neutralize a positive charge. So ring expansion takes place okay. So instead of three five number ring fused you get one five number ring and one six number ring fused and you get a vinyl bromide also okay. So again you could not get what the precursor he was looking for to synthesize the modified okay. So what he went back to the ester hydrolyzed the ester and converted that into acid chloride. So now what he did he introduced a triple bond he added a triple bond to the acid chloride. So for that he followed Negishi's procedure. So peridium catalyst coupling reaction to introduce a triple bond. So his idea is later he wanted to convert this carbonyl into gem dimethyl group. Let us see how ester then TMS group was removed which is not required with fluoride source potassium fluoride TMS you can remove the TMS to get the alkynyl ketone okay. So once you have this alkynyl ketone now you have to introduce the radical precursor that is corresponding bromide or iodide vinyl bromide or vinyl iodide. So the treatment with TMS iodide so the TMS iodide it is again developed by you know Kishi. So it undergoes a 1, 4 addition to give transiodic compound okay the trans vinyl iodide okay. The trans vinyl iodide is required as you know for the radicalization to take place you need the trans iodic compound. So once you have this trans iodic compound then tributyten iodide reaction works very well to get the modifying that is the propylene skeleton. So once you have this propylene skeleton now what is required is converting this ketone into dimethyl group okay earlier he failed in converting this ketone into dimethyl group and when he started with dimethyl group then cyclization did not go okay. So how he did was when you have the ketone with the double bond that is cyclopentenome you add methyl grignard or methyl lithium to get the corresponding tertiary alcohol. Once you have this tertiary alcohol then next step is the oxidative transposition oxidative transposition of allylic tertiary alcohol. So this was reported by William Dobbin using PCC. So PCC that is pyridinium chlorochromate is well known for the oxidative transposition of allylic tertiary alcohol to corresponding enome. So here he used Jones reagent Jones reagent is nothing but chromium dioxide and sulfuric acid in acetone. So that oxidation gave the transpositioned enome once you have this enome then for the introduction of one more methyl group you normally use Gilman's reagent. So that way he could introduce now the gem dimethyl group okay. What is required is convert this into a methyl group. So treatment with vitic salt then you can get the corresponding exocyclic double bond but for modifying what you need is the endo double bond. So the exocyclic double bond on heating with para toluene sulfonic acid gave the modification. So he has successfully used not the tandem radical cyclization but two radical cyclization to form two five umber drinks he also started with one five umber drink and two more five umber drinks were added based on the radical cyclization. His synthesis started with cyclopentane 1,3-dion and he also used an intermediate cyclic vinyl stand in for the successful synthesis of modifying and overall this synthesis took little longer than the other two. So it took about 14 steps but the yield is quite good so 14 steps with 18% overall yield with complete control of stereochemistry is one of the key aspects of the total synthesis of modifying reported by correct. So it is a resemic synthesis it was one of the classical synthesis of typhonine okay with this I will stop and we will see more discussion on synthesis of typhonines in the next class. Thank you.


In the pool tonight, Bemidji hosting Park Rapids for a Tuesday dual meet in the 50 yard freestyle. A tight finish but Abbey Yarts touches at 25-80 for the win. Moving on to diving, Bemidji takes 1-2 in first place. Maddie Schmidt with a score of 176-25. Nice dive here to finish her day. And in the 100 yard butterfly, Ellie Ulvin with a dominating performance for Park Rapids. She wins by 5 seconds. One of two individual wins for her. But Bemidji wins the meet 99-86.


A UI design language is simply it's a consistent set of elements that as a designer you will use when you go into a big company. You know it's not even big companies anymore it's just a company that has a like more than one website then you're gonna you're gonna have to use a UI language and it's not a bad thing it's actually a good thing in many ways so a UI language consists of things like buttons they all look at typography it'll have like things like tables and all the elements that you use when you design the website and at first like I remember if I would have had this when I came into the industry I would have been a bit frustrated and been like I can't put my own spin on things but the reason why I've changed my mind over my career and I think UI language is a good now because I've seen companies who have like 30 different websites and they all look completely different because you'll get every every designer you know wants to put their own spin on things but when you're in a big company it's actually a hell of a lot of wasted work really because across all these websites you think about a UI designer website you have a development team maybe there's five or six developers and other people they have to then make what you design and they implement it and then it's not reusable and that's the key word here reusable and that means money for companies at the end of the day so if I have a design language now and I've got 20 or 30 sites or maybe even two or three if I do the work up front and design the button design the logo design the icons then they can be reused in perpetuity like no matter like forever and ever no matter who comes in and it's a good thing because then if you make an update it can be applied across all of your designs and you can all keep to the same design ethos but that's why I've kind of changed my mind on it and also when you work in tools like figmar sketch adobe xd they've got really good ways of creating a design system and you know if there's 10 designers you all share the same files and the reason why it's not as frustrating as it might first appear is because it actually allows you as a designer it gives you a bit of freedom actually from thinking about elements and it lets you think about the bigger picture and this is always the most important because when you don't spend time producing producing producing like buttons text the same things over and over again you actually think about different things so it's the 20 percent that you think about but that's the important 20 percent and it really makes a difference but we'll talk about a couple of other things but that's just an introduction to what a UI language is and you'll probably come across it in your career you'll either make one for smaller companies or you will use one for bigger companies and that's fine it creates consistency creates usability and it just ensures that everything's a bit more just a bit more even but what I want to talk about now is what is actually more important than the 20 percent is hierarchy so this is by far the most important thing that I've learned over my career as a designer that you should think about and it's the hierarchy of how you place things on a website so this is a bit of mix of UX thinking and UI together and I know a lot of people are hybrids and mixtures and we all like to think about different things because we're not cheap but when I talk about hierarchy it's every page that you design whether it be an app whether it be a watch design or whether it's a website there's something that you want someone to do on that page and that's not manipulation it's just you wouldn't have made the page if there wasn't an action for someone to perform at the end otherwise it's a waste of time for everybody so really think about when you create a page what the action is you want someone to do and put that front and center and then build the whole page around telling someone why they should perform that action so if you wanted there's someone to click sign up to do a contact form or something put that button at the top and you know what I'm not scared of big chunky buttons make things big so people can see them I've sat in enough user tests to know that things are too small on the internet and we need to cater you know people I think people when you see something simple it makes you feel relaxed because I've seen designs sometimes and you know what there's like a table and like 40 things on it it makes me feel overwhelmed but when there's two or three things and it's neatly laid out I feel more relaxed and I'm certainly more inclined to perform the action that you want me to and it's not a bad thing because I might want to perform that action as well at least I have the relevant information up front to know what I'm getting into before I do that so really think about hierarchy think about your titles your descriptions where things go and think about having a primary call to action so a cta is a button that's what we call it a call to action have that at the top and then further on down the page it should be supplementary call to actions which will reinforce the main big idea so the person the user might not be ready to commit at first but as they read down more information the same call to action should be repeated you can use different words but maybe contact now contact us do you want more information you know it could all point to the same thing and that's why you really need to think about hierarchy it's super important and because now you have a design language you can actually think about some of the things that actually emotionally have an effect on people it's really important really really important so sorry I've got my little book down here so I'm just taking some notes the next thing I want to talk about yeah so I've already talked about like sizing and creating emphasis on a page and this can be done in a couple of ways so when you create a website you have different hierarchies of text so you'll have big titles smaller titles and then you'll have body copy and things like this and what I don't want you to be scared of is making things big like I've just talked about big chunky buttons whenever I make a website I literally make the biggest button I can because I know more people are going to click on that than not I mean this is something you can test as well like there's a great website called ifttt if they stand there and for years and years I've loved their website because it's just simple it's just big text on a white background with some colors to emphasize what I'm actually doing it makes me feel calm it makes complex because a very complex website because you're combining things together and you do you actually perform in a task but because it's simple really don't be scared to think about simplicity as a as a UI designer because it just makes people feel better don't think you need the biggest the flashiest the most dynamic text on the website because none of that stuff matters because people are coming to your website not as a piece of art but as a piece of functionality and that's the reason why books are so popular you know people still read books even though there's films even though it's just text because it's the story that you're trying to get across at the end of the day and as a designer really try and strip that back and try and just show the most like simple information you can and you'll go very far in your designs so the next thing we're going to talk about is um along with sizing you need to think about responsiveness as well and a lot of this will come inside the actual design language so you might not need to think about it so much but if you're creating one so we work on three different main screen sizes now and you know there's about a million billion different devices but whenever people design websites you can have a design mobile first where you start with the smaller screen and work up or you can design desktop first start on the biggest one and work down because the the information will be laid out differently on the different devices so you might have like a horizontal it's called a hero at the top of the page it's like an image with some text on it but that will look dramatically different on a phone than it will on your on your desktop because it will go more vertical on the phone and that's how things tend to do if you have three things next to each other on a desktop website they tend to stack vertically on a phone so phone pages are super long whereas work desktop pages are wide so you need to think about some of these things but what the most important thing is is that you view them on the device because sometimes you'll design something in your screen app and you'll think it looks because there's so many so I have a 5k iMac and it's like I can see really small text but then when I get on a phone or something it looks too small so make sure you check it on a device think about responsive design and because you know a lot of people are using mobiles now even more than using the desktop and you know you'll hear a lot of people like so many people have said this to me over my career they go you should design mobile first but I'm just gonna say what I think it's the uncool opinion but I've always started desktop first and you know it's never it's never bothered me it's never hindered how I design I design desktop first and then I stack everything for mobile and then check it and there's like philosophies about these things but just ignore it and just do whatever feels right to you don't let other people change the way you design because at the end of the day it's just opinions there's no right or wrong so you know at desktop first and it doesn't really matter whatever you want to do if you want to start with mobile you start with mobile it's it's perfectly fine the next thing we just need to quickly talk touches it's like accessibility so whenever you design something on the web um there's a lot there's a lot a lot a lot of people who have disabilities who use the internet and there's things in the user interface that will affect people with disabilities so I've seen this so you know in London when you go on the tube if you've ever seen it there's like a tube map and there's a there's six different lines and they're all just lines and originally I think don't quote me on this but say they're all different colors yeah but someone who's colorblind will come up to that and they'll look at it and they might not be able to distinguish between red and brown for example and when those lines are over cross or they get jumbled up the actual map is really really inaccessible to them and and it's quite important because they don't know where they're going and and this could be on the screen design as well there's there's websites where you can check accessible colors and you can put the hex code which is the actual mathematical value of your color into it and it will tell you whether it's a website font which means it's accessible but the way the London Underground got around this is they put dashed lines they put like horizontal dashed lines they put solid lines they put double lines so they give each line a different actual stroke as well as a color and then it looks like for people who have normal vision or can see all the colors it looked it looked even better because they could distinguish by two different things so really think about accessibility especially if you design a big website like I've done some websites for like the BBC which has a billion people look at it here so you've really got to think about some of these things because it might not be so important if you design like a boutique website but when you design the big one there's so many people that you need to cater for something that you definitely should think about so the next thing we're going to talk about is typography so this is fun like you can do a whole course in typography but when you design a website there's you don't need to know too much about typography because there's basically two types of typography there's sans serif and serif so serif fonts have a little it's like it's like a decorative touch on the letters and it's a bit more old-fashioned you'll see it in books like Times New Robin so you'll have an s and it'll be like you'll have little things on it and then you've got sans serif which means without a thing I don't know what the actual Latin is but it means without and it's a lot more modern it comes from like a like a movement in swiss design and there you two main type of fonts and you can combine them on the website sometimes you look at fashion magazines and they'll have serif fonts everywhere so they're tight a little look old fashion and then you'll have more modern type throughout it so just understand the two basic things what do you want to be designing something maybe you're a lawyer or a solicitor then you'll want to go with a serif font it looks just a bit more traditional and professional but then if you're a designer like me I'll just have sans serif fonts all over my website because it's a bit more I get you know it's modern but like it comes from like a hundred years ago so that's kind of how things work now very very slowly over time so there are two types of fonts and you know think about your colours to a certain extent so whenever you have black on white it's actually quite harsh and I did lots and lots of research in this one I was working for Wired magazine we was out for the iPad and we actually tried we actually tried different colours of black so you can have black you can have dark gray dark gray and we found the best colour was 60 60 60 in RGB values and it's slightly dark gray but it looks a lot better than black it's not as harsh and it looks good so maybe just experiment with the you can have different shades of black um or 50 shades of gray so um yeah experiment with them try and and see what you think but this type of and don't use too many fonts so um maybe use like one or two fonts on a lot of websites I just used one so you can use like a website a font called Gotham and there's Gotham light there's Gotham italic Gotham bold and as long as it's all in the same like a family of fonts it will look great so don't do times do roman and comic sans together it's just the blending of the two fonts they have different meanings and different feelings and it's not great so try and keep them in one or two font families for some of the things that you're trying to create the next thing yeah let's talk about colour this is this is a good one I've actually got a full video on a colour theory for designers so you could talk for 25 minutes about this colour affects people emotionally it affects how they feel about things and there's some great resources if you're thinking about putting colour together for a website so adobe have a website and what you can do is you can go on there and there's lots of different um people have already made them you can go through the explore section and see the different colour palettes that people have put together so maybe you'll use five colours on a website you need to think about how they blend together think about the overall emotion you're trying to do so if you're doing a bank maybe you'll use blues and greens because that's a bit more peaceful it's a bit more professional people think about money when they have those colours if you're doing maybe like a crazy surfing website you might have bright yellows bright reds and a blue for the sea so you'll try and recreate the sunset but think about those check out adobe colour because you might have a look at the trending ones that yeah you can have colours out trending so you might look at the trending ones see what other people have created and you might find one that just works for you so really think about colour and think about each colour has an emotion so check out colour theory it's really interesting if you're interested in this but each each each colour gives someone an emotion and it means different things in different cultures so yellow means happiness in some cultures but in Greece it means sadness so really think about where you're doing the colour for and find the nice colour scheme that matches so the next thing we're going to talk about are so the last two things are images and illustration so these are things that you can apply to your user interface so you've got a nice simple site you've got nice fonts you've got a simple colour scheme then this is where the magic happens I guess because you should see how like amazing a website is transformed by a good show a good so it's called art direction when you choose a photography don't need to be a great photographer an illustrator I like the magazines and you work with a lot of you work with the people who go into photography and the people who go into illustration your job is to choose the best that matches your overall style and put it in so I'm going to give you a couple of resources so the first one is unsplash.com whenever you put photography on your website you need to be a million percent sure they're using royalty free images you can't go to google and copy and paste images because a lot of them are copyright and you just don't want to get into any legal trouble you want things to be done a certain way don't go on don't go on these stock photography websites I've seen people copy them and then like there's a watermark over and go on photoshop and change it just don't do any of that it's it's not respectful to the person who's talking because it's their business and unsplash.com everything is licensed you can use it wherever you want it's all super high quality you can download these massive files so the problem with ripping other people's images is they're all low res anyway so they're not great but check out unsplash.com it's the world's best place or not the world but it's my favorite place for getting them royalty free images and there's so many that you can choose from to make your website amazing so check out unsplash.com and then the next thing we're going to talk about illustration so very similar undraw.com is another place undraw.com is a place very similar to unsplash where you can get amazing royalty free illustrations designed by a great designer there's so like I look at technology ones and there's so many hundreds to choose from and you can get them get the illustrator file you can change them a little bit I've seen websites where they change the color slightly on them but yeah the key is choose like you can even pay for them they'll be have a great stock image portfolio if you have some budget a lot of people don't that's why I advise going to unsplash but just be aware that a lot of other people will use the same images if you use an unsplash or undraw and it might look the same as those websites so if you've gotten money go on over to adobe stock and purchase some great photography it'll be a lot less used and more unique to what you're doing but these two things bring your website alive and you can even apply like filters to your photography so there's a design trend at the moment called duoterm where you're only using black and white and one or two colors and a lot of people say you use an orange as your color you'll apply like an orange filter across the whole image so even that the images all look different they blend in with the style of your photography on the website you might like the matrix you saw the green hue over the images you know it had that kind of film grain vibe so think about maybe you could apply this film if you want i don't i just use them raw or or think about like there's decent things when you use images so a lot of people have a hero like we talked about at the top which is image text so you can't just have text on top of the image it doesn't really work sometimes you need to put like a black in between it like a 50 black so it deepens the the country looking for contrast between your texts in the image you can do it sometimes say you add like just a sky like a blue sky with a little sun in it you could put white text on it so this is the bit that like gets everyone on stock is text over image especially when you're working responsively so you're going down to a mobile the tech like the image crops at different spots and the text will stack so that's why i advise you to put like just i'm not one of these people for fancy things i don't like a blur or anything just put a black and just put like a 50 percent opacity on it it'll look great play around with the opacity and it'll make things better for you so they're all the principles i've got written down i hope this lesson or this introduction to ui language or ui design has given you like a taste for it so just think about it you know it's all about reusability simplicity accessibility fonts colors images emotion bring all those things together don't make it too complex make sure your hierarchy's right i'd say that's the number one thing make sure it's simple make sure it's readable elegant and you know you can create a lot of great designs by being simple and allow your artistic flares to come out of other things like post-it design or things where people aren't really using them but they're again a bit more emotion from them so until next time guys keep designing and keep things simple


Now, something that I've mentioned several times when talking about data science, and I'll do it again in this conclusion, is that it's important to give people next steps. So I'm going to do that for you right now. If you're wondering what to do after having watched this very general overview course, I can give you a few ideas. Number one, maybe you want to start trying to do some coding in R or Python, we have courses for those. You might want to try doing some data visualization, one of the most important things that you can do. You may want to brush up on statistics and maybe some math that goes along with it. And you may want to try your hand at machine learning. All of these will get you up and rolling in the practice of data science. You can also try looking at data sourcing find the information that you're going to do. But no matter what happens, try to keep it in context. So for instance, data science going to be applied to marketing and sports and health and education and the arts and really a huge number of other things. And we will have courses here at data lab.cc that talk about all of those. You may also want to start getting involved in the community of data science. One of the best conferences that you can go to is O'Reilly Strata, which means several times a year around the globe. There's also predictive analytics world again, several times a year around the world. Then there's much smaller conferences I love tapestry or tapestry conference.com, which is about storytelling in data science. And extract a one day conference about data stories that's put on by import IO, one of the great data sourcing applications that's available for scraping web data. If you want to start working with actual data, a great choice is to go to Kaggle.com. And they sponsored data science competitions, which actually have cash rewards. But there's also wonderful data sets you can work with there to find out how they work and compare your results to those of other people. And once you're feeling comfortable with that, you may actually try turning around and doing some service data kind.org is the premier organization for data science as humanitarian service. They do major projects around the world. I love their examples. There are other things you can do. There's an annual event called do good data. And then data lab CC will be sponsoring twice a year data lab surets, which are opportunities for people in the Utah area to work with local nonprofits on their data. But above all of this, I want you to remember this one thing data science is fundamentally democratic. It's something that everybody needs to learn to do in some way shape or form. The ability to work with data is a fundamental ability. And everybody would be better off by learning to work with data intelligently and sensitively. Or to put it another way, data science needs you. Thanks so much for joining me for this introductory course. I hope it's been good. And I look forward to seeing you in the other courses here at data lab dot CC.


Hey guys, today's video is on how do you write a proper business plan for your restaurant. So many times when I open up my email, this is what people are asking for, how do you write a proper business plan? Do you have a template for it? Yes, I have a template. So make sure you guys stay until the end and I'm going to share the template with you on how do you use this template to raise funds, to find partners, to have clarity on your business. But before we do that, we need to understand why is writing a business plan super, super important and essential for your success. The number one reason why you should have a business plan is for you to be able to raise funds. And what I mean by that is you need to have a plan to show banks, you need to show government, you need to show investors, angel investors, this plan, so then that way they would be able to see how you plan on succeeding in the next one year, three year, five, ten years. And this is why they need to always ask you for a business plan because they need to understand you, understand what you're talking about. The second reason why you should always have a business plan is so then that way you can attract the right partners in your business. A lot of people are looking for partners, they're looking for people who are talented that hustles as much as they do and they want someone to be able to share the workload with them. So they're trying to look for a partner, they're trying to show them and communicate their own vision to their partners. But a lot of times it's very, very difficult to translate what you have in here into your partner's eyes and for them to be able to see it, which is the reason why having a business plan is super important for you to be able to attract the right partners. And lastly it is to have clarity for your business. So many people get into business without writing a business plan and what does that do? It exposes them to what they don't know and what that means is that you would end up getting and hitting all these pitfalls which can be avoided if only you plan for it. If only you watched this video and did the work. We talked about why we need a business plan and why it's essential for your success. Now we're going to be talking about how you're going to write that business plan so that now you can raise your funds, you can find the right partners and have clarity for your business. Let's dive right in. Guys, just a side note before we talk about the different elements, everything that I'm sharing with you are just basic elements that is essential for your business plan. They are not, I repeat, they're not the only type of things that we want to consider. The terminology might be different depending on where you are, which country you're in, which is the reason why I only use this as a reference and tailor it specifically to your area and your needs. So the first element that you should definitely consider is concept and what I mean by concept is what concept are you trying to bring to the world? What concept are you trying to offer your customers? In this video, we talk about the four different types of concepts for your business and you should be able to identify the type of business and the type of concept that you're trying to bring to the world and what problem it solves in the marketplace and why you are the one that is going to solve this problem, why you are uniquely capable of solving this problem and why your customers should be buying from you. This concept is super important and it should be only a page long and it cuts right to the chase because when your investors, when your partners are reading this, they only have, I would say, two, three minutes to be able to capture their attention. So if your concept is like a 10 page long essay, they're not going to read it. It's going to be boring. So you just need to identify where you see an opportunity, why you're suitable and how you're going to be able to fulfill and close that gap. So for example, if I were to rewrite the business plan for 720 Suites, our ice cream shop, we would identify this as a fast-paced food concept, something that requires minimal investment because we don't need structural changes. We don't need to install a hooded fan, which is something that a full-scale restaurant would need.  That itself may be suitable for one investor, might not be suitable for another investor because of the potential revenue that it can bring. Now to build on the concept, what problem am I trying to solve? Well, with 720 Suites, we are located at an area that does not have a lot of novel place to hang out for younger adults, which is the reason why we created our shop in this particular area. So then that way we can fulfill that gap. And why is it that we have the ability to solve this problem? It is because of my background from being able to travel across Asia, seeing different recipes and seeing different presentations and bringing it back to Vancouver. Bringing it back to this location to offer it to the world, to offer it to university kids who find this stuff very intriguing and find it very appealing for them to consume. So this is what I would write if I were to redo this business plan. The second element that you need in your business plan is your sample menu. Your sample menu should consist of things that you propose to serve your customers and why is that the case? Why is it that you're offering this specific item? What need does it fulfill and what cost does it take and how much are you planning to retail it for? And you're going to build this whole menu out. So then that way you have an idea and you can understand what type of offering that you're serving your customer and what needs you're fulfilling. And by you doing that, you have a very clear idea whether this menu is going to work or not. Because with this menu, you can actually go out there and survey people that are around the block, survey whether this would fit their profile, survey whether this is something they need and if it is something that they want. And then you can also include the cost of the item and how much you plan on retailing it for. So then that way you can see what margins you can hit. In this video, we talk about the golden metrics, the golden metrics of how you want to plan out your numbers. So at the end of the day, it is super important for us to even propose a menu because without proposing a menu, we wouldn't know the numbers. We wouldn't know whether our customers want it. For 720 Suites, our ice cream shop, we actually went out to survey people around our area three months before we opened. We actually asked them what kind of flavor they're looking for. We actually asked them how much they're spending. And we actually went around our neighborhood to see the different types of dessert shops and how much they're charging. And in turn, we're able to put everything that we've learned and compiled it and put it into our proposed menu based upon the research that we have done in our neighborhood. So if you're going to start up in a restaurant or a food and beverage, you definitely need a sample menu. The third element that you need in your business plan is your management team.  What kind of resources you have? What are some of your backgrounds? Which is a reason why you would need to identify your background specifically. So, for example, my partner Tim, he is running one of the biggest wholesaler for bubble tea supplies in Western Canada. So when we put his name down and we show his background, it instantly adds credibility to the banks that we're raising funds from. Or if we're raising funds from angels or just venture capitalists, it becomes a really big selling point because we have a supplier who is part of our partner team, who is part of us. And in turn, we know and people who are reading this knows that you have the background and the ability and the resources that a lot of other people don't have. So for you, if you don't have much background, it is still OK. And you still need to try your best to write down what is it that makes you different? What is it that makes you have a competitive edge? And you're trying to wow them because the more they get wowed, the more money and the more chances that you're going to be approved for your loan or the more chances that you're going to be able to attract the right team and the right talent. Once again, for seven to 20 suites, our background, I've been doing business for the last 10 years. I put that in there. I put all my words in there as well because I want to be able to showcase and flex in front of them and show them that I know what I'm doing. I also put my partner Tim, who has been running the biggest wholesaler in Western Canada in there as well, which is which adds a lot of credibility to our investors, to the partners that we're trying to partner with. And this itself acts as a really, really great positioning piece for your business. The fourth element that you need in your business plan is design. And what I mean by design is because the whole point of creating this business plan is to be able to show your vision to the people and share this vision to the people you're raising funds from, to the people that you want to join your team. And the more that you're able to do that, the more they can see your vision and the more money they're going to give you, the more chances they'll join your team, the more chances you're going to get your funding. So that's why design is super, super important and you need to be super meticulous with your ability to be able to transfer what you have and what you see to these different types of people. If you have the ability and the resource to hire a drafting firm or interior design firm, they're going to be able to generate all these designs for you. They're going to talk to you about your vision. They're going to ask you what type of material they want you want to use, what kind of feeling you want to transpire and what kind of experience you want to give your customers. And in turn, they're going to be able to create renders of how it looks like inside. They're going to be able to create these different pictures and designs to showcase to you how it's going to look like and to bring your vision into reality. Now, not a lot of people have the ability. Some people actually don't have the ability and the budget to hire an internal designer at draft, which is the reason why you may want to consider resources like Upwork or Fiber. And these are online job, I guess, contracting sites, which you can employ different types of talent to be able to do this for you. OK, and this is much more reasonable and much cheaper. However, you need to have much more control. You need to have much more coordination with these people to get out the renders, to get out the image that you want to portray. For us, 720 suites, this is the number one thing that we relied on when we're building out franchises, when we're selling franchises is to create very, very beautiful designs to show our franchisees, to show our investors what potentially can look like the new place would be like. And in turn, we're able to secure a few different resources and a few different rounds of funding because we have amazing designs. You can check it out right here. Beautiful designs. The fifth element for your business plan is the target market. You need to be able to identify who is it specifically, that one person you try to serve, you need to be able to profile them. Why is it that they want to shop from your place? What problem are you trying to solve? Are you trying to serve that 30 year old that's hustling in their job and they're just trying to get something quick to go and to eat and something healthy? Well, if you're offering something that is going to take 40 minutes to make, that is unhealthy, that's difficult to eat on the go, then unfortunately, that doesn't meet that criteria, that doesn't make that job and fulfill that job that needs to be done, which is a reason why you need to identify very, very specifically who is it that you're trying to serve?  By you doing that, you can now cater the whole experience and you're going to solve that one problem. A very, very big misconception is the fact that, hey, Wilson, what if I only offer everything to this one customer that you're talking to? Wouldn't I be cutting out the rest of the people? The answer is no. Just because you're offering and catering your experience so there's one demographic that doesn't cut out everyone else. People will still consume from you. People will still understand what you're trying to offer.  People are seeing exactly, you have clarity what you're trying to offer and people are able to see that because you have identified that one person you're trying to solve. You don't want to be vanilla in this trade. You want to be very, very specific and you want to solve that need. And by you doing that, you can now stand out from the crowd. And that's the reason why you need to identify your target demographic. So, for example, with 720 Suites, I always, always see this with all my other videos. It is so important for us to identify our target demographic. And for us at 720 Suites, it is Michelle. We're serving Michelle. Michelle is an 18 year old that goes to UBC University. She values the goodness of life. She loves social media. She loves experiencing the world and she has a purpose to what she wants to do in life. Her disposable income is around eight thousand to ten thousand dollars. And she's in her second year of university. She loves experiencing food with her friends. And she loves innovative items, trendy items. And that's our target demographic, exactly who I just profile. And by us doing that, we're actually able to attract a bunch of Michelle's to purchase from us. And in turn, we were able to gain a lot of traction because we're so specific with the experience that we're trying to deliver. So for your food and beverage concept, identify the target demographic. The next element of your business plan is the location. You have to identify the type of location that is the most suitable for your food concept. And why is that the case? There's a big difference with a destination location versus a high traffic location. And this is what I talk about in this video. Okay. The difference in the two is the number of people that walk by and also the rent, which is something that you should definitely consider when choosing a location for your concept. A lot of people don't include this because they're like, Hey, you know what, I'll just walk around and choose any type of location that fits. That has a lot of people. Well, unfortunately, in an ideal, in the real world out there, budget is always a constraint, which is a reason why we need to identify the location that is best suited for our offering. So it could be something that is super accessible because of the fact that we're catering to high school kids, or it could be a destination and only accessible by vehicle. And if we had choose those locations, then we know we're catering more towards the adult demographic, the more of the higher end demographic that drives, that doesn't take public transit. We need to identify the location of the type of crime ring. How much is crime that is happening around that area? Would it scare off our potential customers? And the more specific that we can identify the location, the easier it is for the people that are reading it to understand the concept that you're trying to bring to the world. Because if it's confusing, then most likely you're not going to get your funding. Most likely you're not going to get that partner. But you identifying specifically the location and the characteristics of this location, you have now been able to bring that vision one step closer to reality. And that's the reason why with 720 Suites, we've chosen a location which is 15 minutes away from the university by bus. And on top of that, our location is actually right in front of a bus stop. Location is around four to 500 square feet, which makes it super affordable for rent. And around our area, there is a lot of food establishment, but not a lot of dessert. That's the reason why we chose that location and we have identified specifically that location even before we found that location. So for your concept, make sure you are very specific with what you're looking for and put that into your business plan. The next element to consider in your business plan is a SWOT analysis. I know a lot of people talk about SWOT analysis and it may seem like a cliche. However, it is super important for us to put the SWOT analysis now because we do not want to be blindsided. We don't want to have any exposure exposure. So what is SWOT analysis for some swallow out analysis stands for strength, weakness, opportunity and threats. Now, what do they mean? Well, strength wise, what is it that your company has strength over other people? Do you have a partner that is supplying ingredients to you, which ensures that your cost of good souls are always at cost and super low? Or have you been studying the vegan industry for the last 10 years and you have this crazy recipe that no one has? These are your strength that you have over your competitors need to identify that. Another example for weakness, what makes you weaker than other competitors? For example, you could be offering a vegan recipe to the world. However, is vegan super popular out in the marketplace? It might not be the mainstream item that people are ordering. So that really limits your type of people that is attracted to your business and it limits your potential for revenue because your offering is also limited to a certain amount of customer demographic. Just because it is a weakness doesn't mean you should take that away from your plan. Your investors, your partners should know that you are living in the real world, that you understand what your weaknesses are. And just because you have weakness doesn't mean that you're weak. Just means that it's something to be aware of. OK, opportunity. So what is an opportunity in the food market nowadays? Well, for example, if you're offering vegan, you can tell people and you can show people that, you know what, consumption of vegan items are on the rise on a rise like this. This also can become your opportunity because you're on the forefront of a trend that's picking up like crazy. So that becomes an opportunity for what you're trying to offer and threats. What are some of the threats? If you're in an industry that is going down, if you're offering like fatty foods that's super unhealthy, that becomes a threat in the marketplace because the trend is going towards healthy offerings. So these are some of the items that you want to consider when you're creating your swat analysis, the more thorough and the more descriptive they are, the better because it shows your investors that you are very analytical and that you're considering the whole perspective and that you don't leave anything unturned. And in turn, it shows that you're much more sophisticated and it shows that you're much more prepared to handle what is to come. The next element to consider in your business plan is marketing. How do you plan on bringing your brand, your offering to the market? Do you plan on partnering up with food delivery services? Or do you plan on collaborating with different clubs and offering discounts for them to bring in loads of people into your restaurant? Whatever your marketing plan is, you need to have an identify this plan. So then that way, your investors and your partners would know how you're going to become successful. How do you plan on getting people through the doors? Are you going to be leaving brochures at office restaurants or office buildings all the time? Well, are you going to be planning on running Facebook ads? What is your marketing plan? What specific things are you going to be doing to bring your business to the next level? For example, with 720 Suites, a big, big, big part of our marketing comes down to collaboration because we understand that our target demographic, the Michelle's, they're looking for something new all the time. They want to be the first ones to show their friends and tell their friends the latest trends, which is the reason why collaboration with new companies all the time allows them to tell their friends, allows them to show their friends all the good stuff that's happening. And in turn, allows our brand to be exposed to them over and over and over again. Some of the collaborations that we did, just the latest one is with Nespresso. This became such a big talking point with our customers because this really hits into what they're needing. Our customers are wanting to share these things. And this is a great marketing channel specifically for us. So you need to understand and identify what types of marketing do you plan on doing to bring your restaurant to the next level? And if you want to learn more about marketing, check out this video. We talked about the top 10 marketing hacks, tricks and strategies that are timeless for your restaurant business. Make sure you guys check it out. Last but not least, this is something that is crucial for your success. And that's financials. Never ever leave this part out in your business plan. Something that is super important and something that shows your investors, your partners that you know what you're talking about. Just because you don't know the financials, just because you don't know how your performance is going to be, does not mean you shouldn't budget, does not mean you shouldn't project. The more different line items you can account for and the more you can actually project, the more thorough you are, the better it is for you to be able to raise funds. The easier it is for you to be able to justify that. Now, how do you even come up with numbers to project when you even haven't opened up your restaurant? Sometimes we can become very optimistic. Sometimes we're very pessimistic. So what where we've been able to draw these numbers from? And the answer is in the survey and doing your homework. Now, what do you mean by that?  Every time someone walks in, you click and you count how many people are walking in. And every time people order, see what they're offering, see what they are ordering and jot down how much that item is, jot down or they ordering a drink with it or they ordering dessert. Now, after you've done that multiple of times, now you can get an average of how much revenue that this place is generating on an hourly basis.  Now you have a very clear idea of how they're performing on a weekly basis. Now, from that, you can project that if and when you can perform as well as this company and as well as this restaurant, then your numbers would look like that and use those projections into your own projections and with that projection, you can now project how you're going to be doing in the first year, the next three years, the next five years. Once again, this is all projections. Does not mean that you need to have these numbers before you can project them.  How impressed would they be if you told them that you went to your competitor's restaurant and you sat there for a week just to get these numbers?  And they understand that these are not real numbers, but it shows that that you're willing to do your homework and you're willing to prove how this business would become successful when you put everything in place. Now, the first part is about projection for your business. And the second part is you need to consider what your start up cost is. You need to identify what you're purchasing. You need to identify the equipment that you're purchasing, the renovation costs, the design costs, the buildout costs. You need to identify everything into this plan. So then that way your people, your investors would know how much money you need and why is it that you're asking for to educate? Why is it and how are you planning on using this money? Well, you've identified what your startup cost is and they understand exactly where you're spending your money. You're going to have money for an emergency fund. You're going to have money for equipment. You're going to have money for renovations. And these are things that you're actually considering. And the more you're considering, the more homework you're doing, the more it shows that you're actually doing homework. And that's what investors like. That's what partners like.  That's going to be able to allow you to raise funds find partners and have clarity in your own business. And as a side note, if you're still super confused on how do you do projections and other resources to ask your accountant for templates, ask your accountant and what are some of the causes to consider? If your accountants are not that helpful, then ask your peers. Ask other entrepreneurs who are in the trade and ask them how their numbers are looking like. This is how I was able to get a lot of insight by asking different people, asking different professionals to allow me to gain all these insights to consider before diving into my business and before engaging into the business. Now I'm going into this business with my eyes open. I'm not blindly swimming away, not knowing where I'm going. So there you go. These are the elements you would want to consider when building out your business plan for your restaurant. It is super imperative for you to create this business plan. It is so important, not just because you want to raise funds with it, not just because you want to find partners with it, but it is so important for you to have clarity in how you want to build your business throughout this whole journey. It is so difficult and there's so many different moving parts. If you don't have anything to reference back to see what you're in vision and what you have planned out right from the beginning, you're going to get lost throughout the way and it's going to be very tough for you to bank track. And you don't understand and you won't know where you're going if you don't have a map, which is the reason why you need this business plan. You're going to have milestones. You're going to have identified what you're trying to create right from the get go and to have that clarity is going to be priceless for your own experience. Nonetheless, I really hope you've enjoyed this video. If you want to learn more about how to build a successful food and beverage restaurant, make sure you check out the link below because that's where I put everything that I've learned in the last 10 years in this business all into the course. And hopefully you can be able to find it useful. If you're not ready, completely fine as well. Smash the like button. Continue to subscribe for weekly videos and resources on how do you build a successful food and beverage restaurant? Until then, I'll see you next week.


Well we're here in in Prince George for a very important announcement with respect to safer transportation options for Highway 16. Really excited to be here for two reasons. Well on the one hand we we have announced an additional two million dollars of funding to go towards the five-point action plan that we have for Highway 16 that's a that that brings the total investment available to five million dollars and secondly we we've made tremendous progress in beginning to implement the plan. We're going to be able to provide transit service now connecting every single community along Highway 16 from Prince Rupert to Prince George. That's because 16 local governments have stepped up and have signed memorandums of understanding with BC Transit to provide that service. That's 2.4 million dollars of transit expansion that will connect all of these communities. When I stop to pick up to pick somebody up because I'm afraid for their safety and their vulnerability I then become vulnerable right and I ask I ask who women so why why are you hitchhiking and their their answer usually is I need to get to the doctor I need to get to court I need to get my baby some milk I need you know and things like that and and so it'll it will mitigate some of that vulnerability along the highway. Nothing can be done that addresses the the deep and profound sense of loss and pain that so many families on this corridor have experienced through the loss of loved ones. We really believe that this plan is is going to go a long ways to ensuring that this corridor is as safe as it possibly can be for everyone who lives and works through this corridor in the months and years ahead.


The study found that vaccinations could prevent up to 1.8 million deaths and 46 million disability-adjusted life years, dailies, due to antibiotic-resistant bacteria in 2019. This suggests that increased coverage of existing vaccines and development of new vaccines can be used as an effective measure to reduce antibiotic-resistant bacteria. This article was authored by Marianne Home, Isabelle Frost, Clujah Abbas, and others.