text: By Agamoni Ghosh May 6 (Reuters) - Latin American stocks and currencies fell on Monday on a global equities rout after U.S. President Donald Trump threatened to raise tariffs on billions of dollars worth of Chinese goods over a so-far elusive trade agreement. China's foreign ministry said it still hoped the United States would meet China halfway and said a Chinese delegation was preparing to go to the United States. MSCI world equity index, which tracks shares in 47 countries, fell half a percent, with MSCI's index of Latin American stocks and currencies falling 0.8 percent and 0.6 percent respectively, as prospects of an end to the trade war anytime soon looked uncertain. "Trump may be emboldened by the strength of the U.S. economy, and firm U.S. equities and the threats could amount to a negotiating ploy," said Mitul Kotecha, a senior emerging markets strategist at TD Securities in a note. "But failure to agree on a deal could have bigger ramifications on China and the global economy." Sao Paulo-traded stocks dropped 1 percent with Banco Bradesco, the country's second-largest private bank, at bottom of the index after agreeing to pay $500 million to acquire Florida Bank . Adding to the grim mood, data showed Brazil's services sector activity shrank in April, marking the first contraction since September last year. Mexican stocks slid for a tenth straight session while the peso fell 0.4 percent. Mexico's telecom regulator has opened an anti-trust probe into "relative monopolistic practices" in the sector, sparking speculation on whether the government is targeting America Movil , which dominates the fixed line and mobile phone business in the country. Shares in America Movil were down more than 2 percent. Chile's peso slid 0.7 percent while stocks on the IPSA index fell to their lowest levels so far this year. Annual inflation in Chile is expected to creep up slowly to 2.9 percent, according to a monthly poll of 61 traders published by the bank, a slight uptick over previous predictions despite sluggish growth. Key Latin American stock indexes and currencies at 1425 GMT Stock indexes daily % YTD % Latest change change MSCI Emerging Markets 1061.09 -2 12.13 MSCI LatAm 2696.28 -1.43 6.6 Brazil Bovespa 94829.63 -1.23 7.90 Mexico IPC 43920.67 -0.81 5.48 Chile IPSA 5108.09 -0.47 -0.47 Argentina MerVal 32014.56 -1.23 5.68 Colombia IGBC 12521.02 -0.42 12.36 Currencies daily % YTD % change change Latest Brazil real 3.9619 -0.59 -16.37 Mexico peso 18.9930 -0.41 3.72 Chile peso 681.7 -0.57 -9.84 Colombia peso 3256.24 -0.65 -8.42 Peru sol 3.311 -0.39 -2.23 Argentina peso 44.9600 -1.02 -58.63 (interbank) (Reporting by Agamoni Ghosh in Bengaluru Editing by Susan Thomas)


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Golf and alcohol don't mixOn the cover Owl City's Ocean Eyes album isn't a yacht as I thought instead it's a building on the sea. I can hit the replay button on this album few times in a day and yet never get bored of the songs. The songs always feel fresh every time I listen to it again. The lyrics are really meaningful, deep and witty. "Meteor Shower" is the shortest song in the album but it has really deep lyrics. Another song, "Vanilla Twilight" seems to tug at my heartstrings. I can relate to "The Saltwater Room" too, beautiful song.
And that's why I don't drink and drive
Because good grief, I'd knock out my teeth
And have to kiss my smile goodbye
-Adam Young/Owl City, Dental Care
"The Bird and The Worm" and "Dental Care" can make you laugh while listening to it. There are other upbeat/positive songs in this album like "Fireflies", "The Tip of the Iceberg" and "Cave In" that makes you look at the bright side and smile :)
A lot of people said that it takes time to warm up to Owl City's music but somehow I feel that his music draws me in and I feel so at home. The man behind Owl City has great musical talent and I look forward to listening to more of Owl City in the future.
Be his fan on Facebook, you'll like his witty wordplay on his status updates which is oh-so humorous at times.
By the way, I finished Mr. Siao Mandarin Class Season 1 and also watched Blood Diamonds yesterday. After watching Blood Diamond, you'll never look at diamonds the same way again. Ever. You won't want to call them your best friend.
"In America, it's bling bling. But out here it's bling blang." Danny Archer, Blood Diamond

subset: commoncrawl


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Netflix have bought distribution rights to Zac Efron's forthcoming Ted Bundy movie.
We have good news for Netflix subscribers who have found themselves enthralled by the recent true crime docu-series, Conversations with a Killer: The Ted Bundy Tapes.
The Hollywood Reporter has revealed that the forthcoming feature film, Extremely Wicked, Shockingly Evil, and Vile, about Bundy's infamous killing spree in the late seventies, will also be heading to the subscription platform.
The movie starring Zac Efron and featuring Metallica's James Hetfield in his acting debut, recently premiered at The Sundance Festival and Netflix is said to have picked up the distribution rights for around $9 million dollars beating more traditional studios like STX and Lionsgate in the process and it's also reported that they intend their give the movie an awards season-based theatrical run later this year, with Efron's 'charismatic and creepy' portrayal of the predator gaining positive reviews after its Sundance premiere.
Benjamin Lee of The Guardian said of his performance, "As Bundy, he ruthlessly weaponises the boyish charm that's propelled much of his career, slyly convincing us of the spell he cast, not only on Liz but the many other women who were fighting his corner, sure of his innocence. It's the career-changing moment he was clearly seeking."
The Hollywood Reporter's Todd McCarthy wrote, "Efron flies higher than ever here, investing his character with an illusory confidence that's entertaining even when the character and legal charges fully live up to the film's title."
Netflix obviously saw the interest in the documentary and realized they could parlay that into a crossover selling point for the film which has had some backlash already from certain quarters in the concern that it may be seen to glamourise the man who is widely credited as one of America's first recognised serial killers, having murdered at least 30 women before his eventual capture and death penalty sentence in 1989.
Extremely Wicked… is told through the eyes of the killer's girlfriend Elizabeth Kloepfer, played by Lily Collins, who testified on his behalf at his trial and even said 'yes' when he proposed to her during that time.
A release date has yet to be announced.


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Recommended age: Birth +
Grroou, the Les Zazous lion doll is one of the sweetest lions that you will ever meet. Made of super soft golden fur and apricot coloured velour, Grroou has an impressive star shaped mane and a cute swishy tail, tipped in fur. Facial features are embroidered for safety.
Lion's long, gangling arms and legs make it easy for a young child to hold him and he is sure to become a much loved companion.
The Les Zazous lion doll comes in a sturdy, delightfully illustrated, cylindrical presentation box, making it a perfect gift for a newborn or young child.
Designed in France by Moulin Roty.
Length: 33 cm
Care instructions: Machine washable on a delicate cycle.


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TravelTech Headhunters
Aruba Executive Search are executive headhunters and specialise in the recruitment for senior appointments in Traveltech all over the UK and into Europe.
Traveltech is evolving at pace. The vast majority holidaymakers now book their holidays online and the Traveltech industry is booming with travellers frequently using digital tools to research their interests before their potential purchases.
Holiday conversion tools powered by artificial intelligence and machine learning technologies incentivise online customers, helping those selling travel and holidays to gain greater insight and secure greater control of the relationship with customers.
From seeing solutions such as a booking and management platforms to deliver centralised invoicing and simplified itinerary emails; to platforms that connect travellers and local hosts who provide authentic and immersive food experiences through to websites connecting charter companies to travellers worldwide. The opportunities and applications in Traveltech are endless.
The solutions and tech is varied and impressive, making it easier for consumers to access solutions they are looking for and give Traveltech businesses an edge in today's highly competitive market, by understanding their customers needs and wants.
Do you need to add high impact C-Suite, VPs or Directors to your Traveltech business?
Aruba Executive Search's headhunting team uses an Executive Talent Acquisition & Retention (ETAR) System to recruit high impact Leaders for Start-Up, Scale-Up, SMEs in Traveltech.
Come and discuss your Traveltech executive search and recruitment needs for your business, by calling +44 203 637 8350 email firstname.lastname@example.com or book a Free 30-Minute Vacancy Consultation and we can discuss how we can help you identify high impact business leaders.
If you would like to discuss a vacancy or you are looking for your next career move, get in touch – it would be great to hear from you
"Richard is clearly passionate about the recruitment industry and very professional in his dealings with both clients and candidates. I have used his service for myself as a candidate and a client and on both occasions he has delivered well."
"Richard is unusual as a recruiter in that he not only knows his subject matter but actually does as he says, he takes an open and collaborative approach and genuinely engages in a professional and effective manner, easy to deal with an honest broker."
The executive services provided by Richard and his team are second to none. Extremely diligent and thorough. A great shortlist provided for an executive role we were recruiting for. Timely communication throughout leading to a quick placement.
First class service all round. One of the best executive recruiters and experiences I have ever had leading to a successful placement of a superb candidate from an exceptional shortlist. Very pleased and will use again without fail
I was recommended to contact Aruba from an ex-colleague in my network who had worked with Richard, as we had a senior appointment to fill. The service provided was second to none, Richard quickly understood our requirements, challenged what we were looking for and delivered a very strong shortlist where all the candidates were serious prospects. All in all, a successful search campaign with our first choice candidate secured. I will certainly be using Richard and his team again.
"I would like to thank Richard Crossman, a senior director at Aruba Executive Search, he has provided superb mentoring in both development of my cv and in my approach to the next stage of my career. Further, he is passionate in wanting to help people succeed in their career and is willing to give the time to do this – now that counts".
"Richard has fantastic industry knowledge and builds great relationships with candidates quickly. He works hard to understand our business and our needs and generates high quality candidates quickly. Having Richard engaged on our recruitment activity has been a real game changer for us"
"From the first contact Aruba were very well engaged; Richard was available consistently and he understood both my background and my career plan. Richard provided valuable and usable guidance which I am certain improved my presentation and which ensured I could pitch my experience and skill set appropriately."
"Richard was one of a number of recruiters that I contacted at the start of my search for a new executive role. Richard's response and actions provided the greatest level of help and assistance to me at a very important period in my job-search. Of all the recruiters I contacted, Richard was the quickest to respond, listened carefully to understand my situation and aspirations and was very generous with his time and experience in guiding the necessary rewrites in my CV and my Linked-In profile. A number of my ex-colleagues have also used the structures and language that Richard gave to me so his positive impact has had an extended reach! I am grateful for the help and advice that Richard provided to me and I would recommend him to future clients."
"If, like me, you believe that clear timely communication is the cornerstone of effective recruitment, then I can strongly recommend the Services of Richard at Aruba."
"Richard is talented and energetic with a blatent passion for his work and an abundance of professional expertise. I am sure that Aruba Executive Search will continue to thrive as a result of Richard's unwaivering commitment to deliver outstanding customer service."
"Richard headed up our external resource service on a very high profile contract. He is highly professional at all times and can be counted on to deliver what he promises. He is very open, honest, trustworthy and works in a true partnership fashion with his customers."
"Richard is a hard working individual with lots of energy and passion for his business. He is an expert in his field and his level of professionalism and commitment to his end clients is second to none. I have no hesitation in recommending Richard."
"Richard Crossman is actually one of the best Recruitment agents out in the business. He is one individual who is committed to his job 100%. Richard has helped me massively and was great support in finding me my next career move."


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winter is here! goodness it's cold out there!
there are very few leaves left on trees and yet i feel in desperate need of color. so let's remember those last glorious days of autumn.
see you tomorrow with another colorful autumny photo. after all, i think we all need more color right now, don't we?


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Naked and Afraid has published a video of its crew members on an island off the coast of Panama being attacked by killer bees. They're scouting for locations two days before the survivalists arrive to begin the experiment.
The video is brief, but shows them fleeing, suffering from the effects of the bee stings (including throwing up), and being treated. The narrator identifies the insects as Africanized killer bees, and says the sting victims are "at risk of kidney failure and asphyxiation."
A person who's interviewed says, "the crew almost got killed and they're dressed." In other words, if a naked person was similarly stung, they could have died.
The video is labeled "5 Days Until Naked And Afraid," so this near-death experience is actually being used to promote the new season. The accompanying Facebook post says, "This one's for those who think the show isn't real."


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It was clear from this week's budget that the only way we are going to get our voices heard is if we are organised.
That is why the AUWU are conducting our first ever series of free National Trainings over the next week. These three training sessions will be held in Melbourne, Sydney and streamed online.
Please sign up to these trainings to learn how to get more involved in the AUWU. Remember, these trainings are open to everyone so be sure to come along if you are available. While these trainings are free, we would appreciate it if you could make a small donation on our website home page to help us cover the costs of running them.
Training #1: Volunteer Induction
Where: National Union of Workers, 833 Bourke Street Melbourne (and also online through crowd cast)
When: 5:30pm, Monday 8 April
RSVP: Please RSVP to the in-person training here. To RSVP for the online session, click here.
What: General information about upcoming campaigns and what volunteering with the AUWU looks like.
Training #2: Advocacy Training Day
Where: Unions NSW, 4/10 Goulburn Street, Sydney (and also online through crowd cast)
When: 1pm – 5pm, Monday April 15
RSVP: Please RSVP to the in-person training here. To RSVP for the online session, click here.
What: Information on how to run the AUWU's advocacy hotline and services.
Once you RSVP we will be in touch with details about how to attend, both in-person and online.
Look forward to seeing you there.
P.S The AUWU is a volunteer organisation with no paid staff. We rely on donations to pay our operational costs. Please donate on our website home page to help support our activities.


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Kapaas, Blue
Product Details
With a timeless, elegant colour palette, exquisitely fine detail and enhanced with glorious tassels, these fine-cotton runners are a top of the range table-accessory show stopper.
This design is a collaboration between our in-house design team and the artisan, before being hand-spun, hand-dyed and hand-woven with true expertise.
Size - 50cm x 100cm (10cm tassels at each end)
We recommend that our table runners are cleaned in a gentle 30 degree cycle in your washing machine.


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My Hero, My Dad Stamp Set
Price: $24.00
Sale Price: $5.00
Product ID : 2345
1. Stamp sentiments to create your own coordinating custom-made ribbons.
2. Use distressed geometric squares to create a background. Cut and pop a few out for
3. Use Copic Markers or colored pencils to color in the outlined fatherly titles.
4. Use embossing heat tools to create textured backgrounds and gloss with the text
background block.
5. The grunge Image is great for any masculine project or to give an aged appearance
on wood or paper.
6. Stamp outlined title sentiments in lighter inks and use smaller solid sentiments on top
to coordinate.
7. Create coordinating wrapping paper to match your card.
8. Use large sentiment stamps to decorate a picture frame as a gift for a loved one.
9. Experiment with bright colors to offset the natural feel of the distressed look and to add
a bit of boldness to your project.
10. Use repeatable images to create pattern strips or borders.
My Hero, My Dad Stamp Set
My Hero, My Dad is a stamp set that combines masculinity with sentiments of honor and respect. The design is perfect for creating projects that have a grungy edge or vintage distressed charm. This sentiment set focuses on grandfathers, sons and dads, making it so easy to create the perfect Father's Day cards, birthday cards and more. The term "hero" is also used repeatedly throughout the set making it appropriate for projects to encourage our troops and more. The meaningful words and bold titles are truly memorable, and will add so much to your stamp collection!
*This stamp set does include a CD case.
This set is divided between two 4x6 acetate sheets. The "background text block" measures 4 1/4" wide and 1 1/2" high. The distressed parenthesis measures 3/4" wide by 1 1/2" tall. The larger outlined "My Hero" sentiment measures 2 1/2" wide by 1/2" tall.
Coordinating Products
Related Products
Sale Price: $15.00 Sale Price: $3.00
Sale Price: $3.00 Sale Price: $2.00
Sale Price: $24.00 Sale Price: $5.00
Sale Price: $5.00 Sale Price: $1.00


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Price Alert
Naga Chroma
Part #
Tracking Method
Connection Type
Maximum DPI
Hand Orientation
Price History
- 15 points
- 19 months ago
from completed build Shadowfax
I have had this mouse for over a year now and it hasn't given me one problem. I play World of Warcraft and the 12 button come in very handy. I saw mixed reviews on this mouse, but bought it anyways, because i wanted 12 button and to know what it felt like to have a great gaming mouse. I was torn between Razer ad Corsair but liked the looks of the Razer products so opted for going all Razer and all of my Razer products haven't failed me. Some ppl who complain about things breaking, may be pounding on their products or something, because I am a heavy user on these products to when PVPing and have never had any malfunctions or have anything break on me???
- 14 points
- 21 months ago
from completed build First Computer Build
I have a Razer Naga for WoW. It makes using the UI so much easier. If you have not tried an MMO mouse with 12+ buttons, I highly recommend getting one as the synapse program makes life a breeze...when it works.
- 11 points
- 13 months ago
from completed build Core V1 Build
Originally got this for the extra buttons to play FF XIV, but don't play that anymore. Still a good mouse, though I'll probably get a wireless Naga or G Pro in the future. Got this on clearance for a nice price.
- 7 points
- 5 months ago
from completed build ***Streamin' Gamin' Multitaskin' Rainbow Demon***
Definitely spoiled off of this mouse. Incredibly convenient for switching weapons and other stuff while in-game.
- 6 points
- 18 months ago
from completed build First Ever Build.
Just a secondary mouse for the use of the programmable buttons on the side, the RGB but with a completely different software is okay.
- 3 points
- 42 months ago
from completed build 2017 Red/Black Build
Razer Synapse. 'Nuff said.
- 3 points
- 35 months ago
from completed build FPS Warrior
Love this mouse, easy keybinding ability.
- 2 points
- 18 months ago
from completed build Feels like the First Time
I refuse to buy any other mouse, I purchased mine for $60 when they still made this particular mouse. The hotkey's if you're a MOBA player is unparalleled, playing Tracer on Heroes of the Storm with this mouse if just phenomenal. The way it fits in your hand just makes you feel like you can take on anything in the gaming world. Takes a while to get used to the hotkeys, but the unique grooving and design on each number pad key helps muscle memory.
- 2 points
- 13 months ago
from completed build First Build
I've tried quite a few MMO mice, and this one is my favorite so far. The number pad grid has mechanical keys, which in addition to being more responsive makes the mouse feel a lot better. The mouse is comfortable, and it's not hard at all to find a specific button on the number grid. My only complaint was that I wish the overall mouse was longer (like the Deathadder).
- 1 point
- 36 months ago
from completed build Red and Black - First Build
Always freezes. DO NOT BUY THIS MOUSE
Spectrum - Custom PC, Custom Desk
- Intel Core i7-6700K (@4.5GHz)
- GeForce GTX 980 Ti (x2)
530 197
Gipsy Danger - Chloe's "pull-out" desk-PC
- AMD Ryzen 5 1500X (@3.8GHz)
- Radeon RX 580
383 124
- Intel Core i7-7700K (@4.8 GHz)
- GeForce GTX 1070
53 23


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Vanilla 1.1.2 is a product of Lussumo. More Information: Documentation, Community Support.
1 to 1 of 1
This protocol explains how to: calibrate ImagePro before using it to measure features.
Protocol revised: 8/5/2007
Protocol written by: Mike Neri
NOTE: This only needs to be done once when you open the program at a computer, unless it doesn't come up the next time you open ImagePro.
You must first have taken a picture of the scale bar using the correct objective (use the same magnification to photograph the scalebar that you used to photograph the image you want to measure) and saved it as a .tif file.
1) Go to "File" -> "Open" and open the .tif picture file that you took of the scale bar
2) Go to "Measure" -> "Calibration" -> "Spatial Calibration Wizard"
3) In the "Spatial Calibration Wizard" Box that pops up, select the "Calibrate the Active Image" under the "I would like to:" prompt and select "Next >"
4) Create a name for your calibration, set the units to microns (ums), and put a check in the "Create a Reference Calibration" box and the "Set as System Calibration" box (which will pop up when you check the first box) and click "Next >"
5) In the next window, click on the "Draw Reference Line" button
6) A green line will pop up on your picture as well as a "Scaling" box. In the scaling box, make sure the number under the "Represents how many units?" question is 200. Then draw a reference line as closely as you can to cover 20 units on the scale bar.
7) You can zoom in and out using the scroll button on your mouse to get it more exact. Once you have a line drawn that you are satisfied with, click "OK" in the scaling box.
8) Under the "Draw Reference Line" button, take a look at the "Calibration Report." This tells you how many microns will be represented per pixel. I always made sure that my calibrations were the same value, and that was 0.261053 um/pixel. You may want to try for this number, or at least keep it constant throughout your data as well as it will allow for more consistent results.
9) Once you are satisfied with you calibration, click "Finish" (you can redraw your calibration line if you are not happy with how it turned out). You can now close out of your calibration picture and you are ready to measure.
NOTE: When you open an image to measure, be sure to select the calibration you just completed from the "System Spatial Calibration" box and click "Apply."
1 to 1 of 1


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If someone would like to unsubscribe from text messaging they can reply "STOP" to the last text message they received. This will remove their phone number from text messaging. Additionally, a student can change their communication preferences from their profile settings. If the person would later like to subscribe to text messaging this may be done through the student's profile settings.
How does someone unsubscribe from text messaging? Print
Modified on: Mon, 27 Apr, 2015 at 12:37 PM
Did you find it helpful? Yes NoSend feedback
Sorry we couldn't be helpful. Help us improve this article with your feedback.


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Experienced Church Stained Glass Restoration Studio in Albuquerque
Today, numerous churches throughout the U.S. are facing issues with the deterioration of their historic stained glass. Historic churches that have been around for some time possess stained glass windows that are close to one hundred years old, which is usually the time they begin to fall apart. But finding a qualified repair stained glass restoration studio in Albuquerque or anywhere else is a difficult task.
Stained glass, as an art form, has been around for quite some time. However, since its beginnings, it has changed greatly and many of the old techniques use to create stained glass are no longer used by mass production companies. In fact, very few stained glass studios have the knowledge or experience required to repair delicate historic stained glass windows. Stained glass restoration is a time intensive process, and one that requires a certain level of skill.
Church Stained Glass Restoration is a reputable stained glass studio that offers repair and restoration services for churches in Albuquerque, New Mexico. With knowledge acquired from expert stained glass craftsmen in Glasgow, Scotland, we are well-versed in all forms of traditional glass making and are highly competent in our ability to execute repairs of all types.


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Baby, family, family photography, happiness, home, infant, innocence, kids, kiss, Love, mom, mother, motherhood, parenthood, parenting, red, son
21 Tuesday Jan 2014
Posted Family, People Along the Journeyin
06 Monday May 2013
Posted Family, People Along the Journey, Sportsin
13, boys, candid, Canon, children, family, family portraits, father, father and son, fatherhood, field, growing pains, growing up, kids, maturing, mother, motherhood, outdoors, parenting, parents, postaday, project 365, soccer, soccer game, teenagers, tween, youth, youth soccer
30 Tuesday Apr 2013
blue eyes, Canon, children, emotion, eye, family, family portraits, freckles, image, irish, kids, long eyelashes, mother, motherhood, outdoors, parenting, perception, photography, portraits, postaday, project 365, red, redhead, reflection, seasons, son, vision, visual, youth
Posted by ~Red | Filed under Family, People Along the Journey
27 Sunday Jan 2013
Posted Classic - Old & New, Familyin
accessories, big sister, children, clothes, comfortable, comfy, fashion, fashion sense, friends, girlie, girls, kids, laugh, life, little sister, Love, mom, mother, parenting, postaday, preschool, preschool age, project 365, Siblings, sisters, skirts, slippers
This little one is the cutest ever! Always sporting something completely "girlie" while keeping it totally comfortable in slippers – Love her!
In this shot her sequin bag is missing – darn. Strike a pose… ok, actually the hand on her hip (w/ fist) symbolizes : "I mean business!" … to her big sister – haha!
13 Sunday Jan 2013
Posted Classic - Old & New, Family, Naturein
cheerful, children, compassion, dad, emotion, expression of love, father, ginger, heart, heartfelt, kids, kindness, Love, love letter, love note, loving, mom, mother, parenthood, parenting, parents, photography, postaday, project 365, red, redheads, values
09 Sunday Dec 2012
adoption, babies, Baby, baby shower, children, children's photography, dream, dreaming, emotions, families, family, friends, girls, happy, infant, mom, mother, motherhood, newborn, photography, project 365, rest, sleep
07 Friday Dec 2012
16 Tuesday Oct 2012
Posted Familyin
18 Saturday Aug 2012
Posted Familyin
Air Force, Armed forces, army, brother, daughter, family, father, freedom, honor, Marines, military, mother, Navy, patriotism, photography, POW, pride, project 365, red-white-blue, sacrifice, sister, son, travel, USA, veteran, war, wife


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2020: Western Wonders (8510)
12 days from Los Angeles to San Francisco
From the gorgeous national parks to the thrilling cities, this western U.S. tour through California, Arizona, and Nevada features unique rock formations, scenic drives, deep canyons, and sparkling waterfalls and lakes-not to mention fun in some of the world's most famous cities. Your tour starts in Los Angeles, ends in San Francisco, and overnights along the way in Palm Springs, Scottsdale, Williams, Las Vegas, Tulare, Modesto, and San Francisco. You'll visit two of the West's most famous and beautiful national parks, Grand Canyon National Park in Arizona and Yosemite National Park in California. Stroll the Grand Canyon's South Rim and stand in awe as you witness the breathtaking scenery. In Yosemite National Park, have your camera ready for the giant granite domes, cascading waterfalls, lush forests, and more. But that's not all?you'll also witness spectacular scenery on your drives. Between Scottsdale and the Grand Canyon, you'll see Arizona's Oak Creek Canyon, known as one of America's most beautiful drives and home to brilliantly hued cliffs and rugged spires of sandstone, and you'll stop in Sedona, with the massive red-rock formations that make the area famous. Between Williams and Las Vegas, watch for Joshua trees, which can grow to be more than 40 feet tall. Between Las Vegas and Tulare, you'll witness the vast Mojave Desert. Enjoy sightseeing in Los Angeles, Phoenix, and San Francisco. Perhaps take a ride on San Francisco's historic cable cars or enjoy an optional outing to Alcatraz Prison, the federal penitentiary that once housed Al Capone and other notorious criminals-the choice is yours! Free time in each city-including Las Vegas-gives you time to explore on your own or to take optional excursions. Breathtaking scenery, exciting cities, scenic drives, and more?this western U.S. tour is a perfect vacation for savvy, value-minded travelers.
- Tour Operator
- Cosmos
- Offer
- Offer valid through 6/30/2020
- Duration
- 12 Days
- Escorted
- Escorted - Yes
|Day 1
|Los Angeles
|Welcome to Los Angeles! Your Tour Director is on hand late this afternoon to answer any questions.
|Day 2
|Los Angeles
|Begin the day with a sightseeing tour of Tinseltown. Drive through Hollywood and see the historic TCL Chinese Theatre. A historic gem, this world-famous cinema (formerly, Grauman's), has hosted some of the most exclusive movie premieres in Hollywood history. The Dolby Theater (formerly the Kodak Theater) is the first permanent home of the glamorous Academy Awards. See the Hollywood Walk of Fame where iconic terrazzo stars grace block after city block of Hollywood Boulevard and Street-air Farmers Market, with more than 140 shops and restaurants. The remainder of your day is at leisure; your Tour Director will have suggestions for further exploration of the city.
|Day 3
|Palm Springs
|Journey to the desert oasis of Palm Springs. Ever since Hollywood stars first came here in the 1930s, laying claim to ranch-style estates and holding up in elite hotels, the clean, dry air and sunshine have made Palm Springs irresistible.
|Day 4
|Travel through cacti-covered desert toward Old Town Scottsdale, where Western storefronts create an aura of the past. Afterward, enjoy free time to explore a taste of the Old West, with restaurants, shopping, and Western bars. With wooden beams, wagon wheels, and cowboy hats abundant, you'll feel like you've traveled back in time to the era of outlaws and saloons.
|Day 5
|Travel to Sedona, a thriving center for New Age arts set in Canyon Country. On to the weather-sculptured rock formations of Oak Creek Canyon. Travel alongside the San Francisco Mountains and beautiful pine forests to the South Rim of the GRAND CANYON. Time to stroll the canyon rim-or, for a once-in-a-lifetime experience, take an optional helicopter flightseeing excursion for incomparable views of flame-colored walls plunging 6,093 feet into the Colorado River. Overnight in Williams, a mountain town with Route 66 as the Main Street and the gateway to the Grand Canyon.
|Day 6
|Las Vegas
|Cross the old Mojave gold-strike country, which still has traces of century-old ghost towns set in natural desert beauty. Watch for Joshua trees, a species of the lily family that grows to more than 40 feet in height and can live up to 300 years. By late afternoon, reach Las Vegas, the fantastic city of feverish gambling, neon lights, bars, and glamorous shows. An orientation tour upon arrival shows off many of the themed casino resorts along the colorful 'Strip.' This evening, we highly recommend a night out to a dazzling stage show featuring top Vegas entertainment.
|Day 7
|Las Vegas
|The day is free to swim and sunbathe at the hotel pool or to explore the varied casinos and shopping plazas. Your Tour Director will have more suggestions. Consider a river float trip through the Black Canyon.
|Day 8
|Departing the neon lights of Las Vegas, we continue across the desert landscape of Nevada before crossing into California. You'll see the vast Mojave Desert, which covers one-fifth of California. Pass through the agricultural land and overnight in Tulare in the central San Joaquin Valley.
|Day 9
|This morning, we enter YOSEMITE NATIONAL PARK, a wonderland of spectacular lakes, giant granite domes, towering pinnacles, cascading waterfalls, and lush forests. Afterward, drive to Modesto. (CB)
|Day 10
|San Francisco
|This morning, we continue west to the 'Golden Gate City' of San Francisco, famous for its cable cars. Lunch in the pristine waterfront community of Sausalito. Free time to explore this quaint, Mediterranean-style village's shops, galleries, and breathtaking views. Afterward, included sightseeing takes in the spectacular Golden Gate Bridge. (CB)
|Day 11
|San Francisco
|The day is free for you to explore more of this fascinating city. Perhaps visit the notorious former prison of Alcatraz, which housed famous gangsters such as Al Capone, 'Machine Gun' Kelly, and Robert 'The Birdman' Stroud. Afterward, the day is yours to do some more exploring in the 'City by the Bay.' NOTE:Consider advance ticket purchase for Alcatraz Island with the National Park Service.
|Day 12
|San Francisco
|Your vacation ends this morning. Extend your vacation with extra nights and explore the 'City by the Bay' further with a variety of exciting optional activities.
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Gratuities for Tour Director and driver are available for pre-purchase.Prices are per person, based on double room occupancy.Single Room Supplement:$855Triple Room Reduction per person:$155Additional accommodations before or after your tour may be available.between you (the Traveler) and Cosmos, and represents your acceptance of the Terms & Conditions. Please ensure that you read carefully and understand the Terms & Conditions prior to booking. These Terms & Conditions cover Deposit & Final Payment information, Air-Inclusive Deposits & Final Payment, Revisions & Revision Fees, Air Arrangements, Participation, Travelers Who Need Special Assistance, Young Travelers, Smoking, Price Policy, Visas and Passports, Hotels & Accommodations, Baggage Allowance, Travel Documents, Not Included in the Land Price, Refunds, Service Inquires After the Vacation, Holidays, Safety, Photos & Pictures, Optional Excursions, and Responsibility.
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2020: Western Wonders (8510)
From $2,069.00 (USD)
From the gorgeous national parks to the thrilling cities, this western U.S.


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Kathmandu : Prime Minister KP Sharma Oli has said Prithvi Narayan Shah deserved credit for the glory and self-esteem of the people of independent and sovereign Nepal.
In a message of best wishes on the occasion of 297th Prithvi Jayanti today, Prime Minister Oli stressed the need to acknowledge the contributions of Shah.
"Prithvi's national unification drive was very timely and relevant. Nepal could not have stood as an independent, integral and sovereign modern country in the global arena had there been no success of the unification campaign spearheaded by Prithvi Narayan", the message reads.
"Our country could not be defended from the influence of colonial powers emerging across the globe if the mega campaign of the national unification was not succeeded in the then time", the message added.
"It was Prithvi Narayan Shah who took the leadership to sow the seed of glorious tradition of unity among diversity. Today, diversity in unity has become Nepal's identity", PM Oli said.
In the message the PM further stated that the contributions of Prithvi Narayan could in no way be ignored.


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Everywhere today you'll see all the players wearing #42 to pay tribute to Jackie Robinson, the first African American baseball player to break the color barrier and suit up for a Major League Baseball team.
Today if you're at Wrigley (or any ballpark), or watching on tv, you'll be reminded of him.
If you have children or are watching with someone who's unaware, they'll ask why everyone's wearing #42.
And you tell the story.
It keeps him alive, and that's the point.
Today the Cubs will suit up against the Pirates at Wrigley Field at 1:20.
Jake Arrieta vs Tyler Glasnow.
Be sure to turn it on and think about Jackie Robinson.


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I decided to create an animation to sit along side the campaign. Something that could sit on social media, in the doctors surgery or on the clients website. I wanted it to be short and to the point, nothing too complicated. I started by visualising the animation by creating an initial story board.
I wanted to keep the animation to about 20 seconds with little text on there to get the point over clearly. Using icons that I had already created for leaflets and posters so that it all ties in together. In the storyboard above I thought that by creating a heartbeat line which would write out the text in the animation. My initial attempt, is without the heart beat line writing the text, using aftereffects I drew up a new storyboard for the client presentation.
Below is my first attempt…….
However after an tutorial it was suggested that I use the heart which sits on the campaign ephemera. Also to have the text more punchy with ASK, YOUR PHARMACIST, YOUR HEALTH, YOUR MEDICINE, which would go along with a beating heart sound effect and the words pulsing to the beat.
After review this with my lecturer, I decided that the text needed to sit in a different order within the animation, to give a clearer message to the audience. After some more tweaking the finish product that I am going to presented to the client in our final presentation.


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The fast pace of technical development within the tourism industry creates a gap between technology and the resources and knowledge of many small business owners. By launching the Geomedia approach within the research field in tourism studies, we are building a bridge between technology and people and connecting media with a place-based perspective. This also influences our method.
In this paper we present a pilot study as part of an ongoing research project, where the purpose is to develop a method for site specific digital media productions. Taking our starting point in two specific tourist sites, one nature-based site and one cultural heritage site, we use the historical geography in a coordinated innovation process. We have been drawing on knowledge from various agents such as researchers, digital developers, the public sector, tourism business and users (visitors / locals). In this paper we will discuss the development of a place-based method.
This book introduces and develops the concept of geomedia studies as the name of a particular subfield of communication geography. Despite the accelerating societal relevance of 'geomedia' technologies for the production of various spaces, mobilities, and power-relations, and the unquestionable emergence of a vibrant research field that deals with questions pertaining to such topics, the term geomedia studies remains surprisingly unestablished. By addressing imperative questions about the implications of geomedia technologies for organizations, social groups and individuals (e.g. businesses profiting from geo-surveillance, refugees or migrants moving across national borders, or artists claiming their rights to public space) the book also aims to contribute to ongoing academic and societal debates in our increasingly mediatized world.
When Swedish artist Tove Styrke released her album Kiddo (2015) on Spotify, she mobilized her fans through an immersive marketing campaign that stretched across and beyond media platforms: an 8-bit game, Spotify, Facebook, Twitter, Dreamhack, and a major Swedish music festival were key campaign platforms. The campaign construction was hardly unique, but rather illustrative of current trends in cultural production, including transmedia marketing and the increasing reliance on fan labor.This paper argues that informed spatial approaches to fan labor, and business strategies aimed to cultivate such labor, are missing in the existing research on cultural production. While descriptions of our transmediatized culture often-times do include spatial metaphors, such as "flow", "stream", "fluid", and "liquid", our conviction is that a more serious engagement with geography is vital for understanding, mapping, and ultimately critiquing industry practices that potentially are exploitive, unethical, and even harmful.Therefore, this paper suggests a theoretical framework for exploring the geographies of fan labor and presents exemplifying cartographies of authentic music marketing campaigns. The framework is influenced by two recent 'turns' in media and communication studies: the labor turn and the spatial turn. From labor theory, we borrow the idea that consumer engagement can be read as labor that is typically unpaid, affective, and voluntarily given. Spatial theory, next, provides us with a conceptual toolbox to disentangle the spatiality of transmedia marketing, including the relationship between physical and virtual elements.The notion of 'transmediascape' is brought in to describe the embodiment of transmedia marketing – in mediated and non-mediated spaces and flows. Such transmediascapes, the paper argues, can be read as the perfect soil for fan labor since they mobilize consumers in more than one respect: they assemble fan affect and, at the same time, encourage physical as well as virtual fan movement. Due to its multifaceted connotation – pointing towards both affectivity and mobility – the term 'mobilization' fruitfully bridges labor theory and spatial theory and serves, ultimately, as a key concept for analyzing contemporary forms of cultural production.
When Swedish artist Tove Styrke released her album Kiddo (2015) on Spotify, she mobilized her fans through an immersive marketing campaign that stretched across and beyond media platforms: an 8-bit game, Spotify, Facebook, Twitter, Dreamhack, and a major Swedish music festival were key campaign platforms. The campaign construction was hardly unique, but rather illustrative of current trends in cultural production, including transmedia marketing and the increasing reliance on fan labor.This paper argues that informed spatial approaches to fan labor, and business strategies aimed to cultivate such labor, are missing in the existing research on cultural production. While descriptions of our transmediatized culture often-times do include spatial metaphors, such as "flow", "stream", "fluid", and "liquid", our conviction is that a more serious engagement with geography is vital for understanding, mapping, and ultimately critiquing industry practices that potentially are exploitive, unethical, and even harmful.Therefore, this paper suggests a theoretical framework for exploring the geographies of fan labor and presents exemplifying cartographies of authentic music marketing campaigns. The framework is influenced by two recent 'turns' in media and communication studies: the labor turn and the spatial turn. From labor theory, we borrow the idea that consumer engagement can be read as labor that is typically unpaid, affective, and voluntarily given. Spatial theory, next, provides us with a conceptual toolbox to disentangle the spatiality of transmedia marketing, including the relationship between physical and virtual elements.The notion of 'transmediascape' is brought in to describe the embodiment of transmedia marketing – in mediated and non-mediated spaces and flows. Such transmediascapes, the paper argues, can be read as the perfect soil for fan labor since they mobilize consumers in more than one respect: they assemble fan affect and, at the same time, encourage physical as well as virtual fan movement. Due to its multifaceted connotation – pointing towards both affectivity and mobility – the term 'mobilization' fruitfully bridges labor theory and spatial theory and serves, ultimately, as a key concept for analyzing contemporary forms of cultural production
When Swedish artist Tove Styrke released her album Kiddo on Spotify in 2015, she simultaneously released an 8-bit game for her fans to play on kiddogame.com. By sharing high scores, users could win merchandise especially put together by the artist. The game was also promoted by one of the most well-known Swedish gaming streamers, posting his own Kiddo Game competition to his followers. A week after the release, Tove performed at Dreamhack, which also shared the game on their website and on Twitter. Later that summer, a live version of the game was staged at a major Swedish music festival, where Tove also performed. The game was easily shared via Facebook and twitter, and while playing the game the album played via Spotify.Worldwide, the music industry struggles to come to terms with how to make profit in times of illegal downloading, streaming, and Spotifyication. One apparent strategy is to rely on consumer engagement. The Tove Styrke campaign could be read as a contemporary example of so called transmedia marketing; that is, as a "holistic content creation approach" (Zeiser, 2015: xv) that simultaneously involves multiple content platforms. The attraction of transmedia marketing lies in its potential to foster engaged consumers who are ready to "haunt" a brand experience across several content platforms. In this paper, we join with the burgeoning critical scholarship that interprets consumer "engagement" as a form of labor. Since much of this labor gets paid in affect rather than money, such labor has rightfully been recognized as a form of free labor.While both transmedia marketing and free labor has been subjected to many studies over the last decade, there is a lack of research initiatives that explicitly address the spatiality of both of these phenomena (though see e.g. Stork's [2014] engagement with the "transmedia geography" of the Glee franchise). What is more; if it is rare to talk about the geographies of transmediality in the first place, it is equally rare to talk about transmediality, at all, in relation to music. Perhaps not so surprisingly but all the more inaccurately, there seems to be a prevailing perception that transmedia productions are exclusive to, at least traditionally, more narrative-bound franchises such as television, film, game, or comic books. However, storytelling is becoming all the more important also to music brands. Consequently, we identify a need for studies that acknowledge that 1) the notion of transmediality is applicable also to music, and 2) that the spatiality of transmedia endeavors is worthy scholarly review. Our conviction is that just as work-places constitute obvious research objects in relation to other kinds of labor, so do the transmedia "social factories" warrant scholarly attention.As to compensate for the identified research lack then, this paper investigates several actual cases of transmedia marketing in the music industry – and the free labor that such marketing potentially engenders – by way of qualitative content analyses that employ a cross-disciplinary conceptual framework. The framework combines theoretical perspectives from the 'spatial turn' and the 'labor turn' in media studies and allows us to approach, and visually present, transmedia marketing as a landscape – what we call a transmediascape. Such transmediascapes, our results indicate, can be read as the perfect soil for free labor since they mobilize consumers in more than one respect: they assemble consumer affect and, at the same time, encourage physical as well as virtual fan movement. Thus, due to its multifaceted connotation, pointing towards both affectivity and mobility, we find that the term 'mobilization' serves as a fruitful link between spatial theory and labor theory and a key concept for analyzing the geographies of free labor.
The era of transmediatization is marked by increased reliance, in all the more societal spheres, on content that transcend singular media platforms and, accordingly, by new modes of media consumption. Much research has recognized, confirmed, and explored this transformation, and 'transmediality' has hitherto been subjected to relatively extensive theorization. Nonetheless, the spatiality of transmediality remains largely undertheorized. As to correct for this shortage, this paper proposes transmediascape as an analytical tool for discerning the complex topographies of media ownership, technologies, texts, meanings, and practices that constitute today's transmediatized culture. With inspiration from work in both the 'spatial turn' and 'labor turn' in media studies, we recognize the transmediascape as an arena of labour, where both paid and unpaid forms of work are carried out. Ultimately, we argue, the concept of transmediascape works as a tool for mapping geographies of free labour across institutional, technological, and textual levels. The present study illuminates current modes of 'transmediascaping' – or the practice of cultivating good "soil" for profitable consumer engagement – by focusing the transmedia marketing campaign that launched British/Irish boyband One Direction's album 'Made in the A.M', in 2015.
During the summer of 2013 the municipal public bus system, Karlstadbuss, installed television sets (BUSS-TV) on all city buses. These TV sets are airing user-generated content, and traffic information, weather forecasts as well as news from the hybrid commercial/public service broadcaster TV4. This paper addresses the phenomenon from the theoretical intersection of communication geography and journalism studies. This means understanding the city-buses, at once mobile and semi-public spaces, as decorated with a new "communicative texture" that is renegotiating the time-space nexus traditionally tied to news consumption. Furthermore, it potentially implies that a basic news diet become more or less dispersed amongst commuters across the city, and across previous class-demarcations that would engender divergent news diets. This constitutes a potential challenge to the notion of the fragmented news audience and related worries over the increased number of "news avoiders". From previous research we know that news consumption, even accidental, is linked with political and civic engagement. In an era where media consumption is increasingly fragmented or even avoided, the buss-news reinstalls the almost inescapable news of the 1970's albeit in a highly situated and limited context. Nevertheless, this new space of 'news on the move' is yet to be explored theoretically and empirically. Thus, we ask about the role of Karlstadbuss as a carrier of omnibus news in the media ecology. The paper uses data derived from representative surveys (Värmlands-SOM) conducted before (2010) and after (2014) the introduction of BUSS-TV to study the impact of travelling with the city-buses on political interest and civic engagement as well as general news interest and consumption.
In the last decade, museums have explored and developed digital productions to evoke audience engagement, often with the intention of enhancing visitors' experiences. However, theoretical understandings of audiences in relation to space (museums), artifacts and digitally produced experiences are less developed.In this paper we applyKendall J. Walton's (1990)theory about mimesis as make-believeona concept that was previously developed by parts of our researchteam for anopen-air museum, Långban's mining village in Värmland, Sweden. Heredigital media wereused to create enhancedexperiences mixingthe past with the present, a project for which Walton's theory in hindsight seems highly relevant. According to him, "Joint fantasizing allows people to pool their imaginative resources. Together they may be able to think of more exciting things to imagine than they could come up with separately, or more interesting or satisfying ones"(ibid. 18).We believe that adding the potentials of collective imagining to the combination ofdigital media and the narrative frames provided by the physical placewill result in not only a higherlevel of immersion but alsoa more memorable experience. Interestingly, further supportis found in currenttheories about the so-called re-enchantment of the world(or the modern world actually having remained enchanted, despite Weber's classical idea about disenchantment as a part of modernity). These theories are all basedon the view that secular modernity contains attractive dimensions of the magical, often understood as playfulness and a temporary escape from the rational (e g Bennett 2001; 2Saler 2012).Similar ideas are also found in parts of postmodern theory, in particular regarding aspects of consumption as pleasurable experiences related to fairs, amusement parks, and tourism in general (Featherstone 2007; Rojek 2000; Urry and Larsen 2011). As Waltonand others argue, play and playfulness is not only something for children: on thecontrary, it is also fundamental for every human as beings, regardless of age. In Walton's words, "Most imaginings are in one way or another dependent on or aimed at or anchored in the real world" (1990:21).He suggests thatreal thingshavethree major rolesin our imaginative experiences, as they promptimaginings; they are objectsof imaginings; and as "props" they generate what he calls "fictional truths", namely truths that are valid in a particular narrative. Importantly:when applied to a non-fictional setting such as a museum, a "fictional truth" can be regarded as a statement about the real world that includes a dimension of imagination and fantasy. Thisquality of as ifdoes not distort or transform facts to fiction,but rather adds a layer of playfulness and enchantment torational thinking (Saler 2012). When regarded through this theoretical lens, the work done in cooperationwith the Långban museumcombinedphysical objectsanddigital technology asprompters andprops, and historical representationsas objects of imaginings,in order to involvevisitors and their imaginative capacitiesas co-creatorsofboth emotionally and intellectually captivating narrative experiences.Published in the early 1990's,Walton's book does not take digital media into account. Nevertheless, as his theoretical framework has been fruitful to apply on this case study, this suggests that it deserves to be further developed in order to provide guidelines for creative work on digital experiences in the museum/heritage sector.
To have expanded social and professional networks and media-related skills are considered valuable assets in today's globalized society. It is sometimes suggested that individuals may interconnect their networks to facilitate global connectivity and thus a global market, independent of location. This is often referred to as network capital that then may be transformed into economic-material capital. However this study seek to problematize how both networks and network capital enfold in relation to local place-specific conditions – here referred to as a local cultural ecosystem. The study explores how the local cultural ecosystem plays into possibilities of global connectivity within creative communities in rural areas of Europe, using the music community as a case. The point of departure is local established networks amongst semi-professional and professional musicians and stakeholders in the region of Värmland (Sweden) and Hedmark (Norway). The two networks exist on each side of the countries shared boarder, thus placed within different local cultural ecosystem. However common activities, geographical closeness and digital networks also interconnect them. These networks are mapped through personal interviews and focus groups with musicians and stakeholders, and by participatory observations at local networking events. This is a work in progress, however the intention is to identify prerequisites and barriers within these local cultural ecosystems and use these findings to specify measures to support and strengthen a creative community within a rural area such as inner Scandinavia.
Digital media technologies are becoming increasingly and extensively integrated into our way of living. We communicate, inform and entertain ourselves through media technologies in disparate spaces. When digital technology is integrated into our everyday environment, the border between media interfaces and physical environments is blurred. Traditional divisions of spaces dissolve and are rearranged, complicating the linkages between private and public spheres.
The key phenomenon shaping these experiences with digital media technologies is interactivity. Interactivity intersects these spaces allowing users of mediated content to be affected by the actual, and vice versa. This study has emerged through the need for further research focusing on the term interactivity in today's media practices, contributing with more targeted research and theoretical work concerning the interconnection between space and digital technologies. The study pursues interactivity by taking on a different perspective than earlier research, staging a qualitative study from a grounded theory perspective complemented by phenomenological theory. In this way interactivity is approached from diverse angles, moving away from earlier fixations on technology and placing it within social and spatial contexts.
The study uses three contemporary Scandinavian interactive art installations, 'Colour by Numbers', 'Emotional Cities' and 'Climate on the Wall', to explore how interactivity plays into the relation between humans, technology and social space. The integration of interactive art installations in public space raises issues regarding humans' sense of space and human relations vis-à-vis interactions with such artworks. The study finds evidence that interactive art installations can shift humans' perceptions of space, allowing them to have social experiences and feel locally connected or anchored. Humans do not necessarily become placeless due to interactive technology. It may as well enhance space by converging with existing spatial references. The mediated and the actual may re-enforce each other expanding and transcending diverse spaces.
In this paper, we present and discuss methodological aspects of studying engagement in promotional online campaigns within the music industry. We draw on learnings from exploring innovative methods and digital methods in two studies on transmedia marketing campaigns. Based on our method, we discuss researchers' premises when conducting digital data collection, the complexity of analyzing and comparing qualitative and quantitative data sets of different formats, and how to present and handle data in an ethical way. We contribute with innovative methods for studying how engagement is commercially produced, and move between the offline and online in the contemporary platform-based media landscape.
On August 21, 2017, American superstar Taylor Swift launched an immersive marketing campaign for her upcoming album "Reputation". Her first action consisted in a 10 second black and white film clip of a rattling snake. The clip was posted simultaneously on her personal Facebook and Instagram accounts and, generated massive response from her fans, who immediately started to speculate about Swift's intentions with the video footage. The clip was the first of several efforts to invite consumers to participate in the album's transmedia marketing campaign. The rattling snake video was followed by an international social media campaign effectively interconnecting diverse digital media platforms (Instagram, Facebook, Twitter, YouTube, Tumblr). The campaign involved very few traditional media appearances, but relied all the more on fan-based content and fan-initiated events. The fan base was anticipated to co-create content and take part in different joint events, not only online but also offline through for example pop-up museums, home-visits, and pop-up stores.
The music industry utilizes transmedia marketing due to its potential to foster fan engagement, or, as we understand it in this paper – fan labour. Fans produce and circulate content and facilitate the engineering of targeted marketing initiatives. The Swift campaign is thus an up-to-date example of how contemporary transmedia marketingemploy offline and online spaces to mobilize fans across and beyond media platforms. Buthow do fans responds to transmedia marketing and how do they navigate, act and perform across these online and offline spaces?
This study investigates fan labour through a digital multi-method approach to the Swifttransmedia campaign. By collecting data from the artist's social media accounts and hashtags specified by the campaign, we capture fan responses, actions, interactions and productions related to 'laid out' trails between the campaign's online and offline spaces. The quantitative material allows us to map how fans move in the marketing time-space. Furthermore, the quantitative method guides us to places where more advanced forms of fan labour occur. As to deepen our understanding of how fan labour is performed within the Swiftmarketing universe, we complement the big data sampling with qualitative studies of specific transmedia places of engagement.
Our results show that Swift fans (or 'Swifties') follow the paths prepared by the marketers. By placing events in different campaign milieus and by taking full advantage of technological affordances, fans are encouraged to migrate between campaign places. We identify different forms of labour in these places; notably, fans produce and share content with campaign producers as well as within their own networks, thus giving the campaign access to their social media networks and their productions. However, our study also detects instances of fan resistance. Fans use their voice to question specific campaign activities or if they feel sidestepped. Ultimately, our paper scrutinizes the blurry interplay between industry and fan engagement in transmedia spaces and offer – much needed – spatial perspectives on fan labour.
Marknadsföring av musik och artister blir i dagens medielandskap en aktivitet allt mer knuten till konsumenten. Konsumenter ombeds dela innehåll i sina nätverk, skapa eget innehåll som blir till marknadsföringsmaterial och besöka vissa specifika platser, både fysiska och digitala. Denna kvalitativa studie av 15 marknadsföringskampanjer åskådliggör hur konsumenternas engagemang blir värdeskapande för musikbranschen och hur konsumenternas aktiviteter kan ses som en form av (gratis)arbete. Studien visar också hur kampanjerna blir till vad vi har valt att benämna 'transmedielandskap' där konsumenter mobiliseras för att röra sig över detta landskap. Landskapsmetaforer hjälper oss att identifiera hur konsumenter uppmanas att följa tydligt utstakade stigar till olika fysiska och digitala platser (medieplattformar, events, konserter etc.) för att utföra väl specificerade uppgifter, och på så vis kultivera transmedielandskapet. Det synliggörs också hur samarbeten byggs mellan olika kommersiella aktörer för att mobilisera konsumenter där olika aktiviteter knyts till både tid och rum och ger ett kontinuerligt flöde i en kampanj. Genom denna studie bidrar vi till teoriutveckling kring konsumentengagemang som arbete och visa på engagemangets spatiala och temporala aspekter genom att teckna fram transmedielanskapets geografi.
When the band One Direction released their sixth album "Made in the A.M." they marketed it through several joint events within different digital platforms. They used google streetview to create a fictional room, in which fans discovered new material and share it within their social networks using #MadeintheAM. In a joint event with Twitter they launched a 24-hour competition, asking which "country" loves One Direction the most. The 10 countries that were able to mobilize the most Twitter-activity on their country's hashtag during a set period of time were rewarded with their own One Direction emoji. Just before the album release One Direction joined with Apple Music to stage an international competition that ran across several social media platforms and offered fans the chance to win tickets to an exclusive performance by the band. Connecting the music industry with media platforms combining social media happenings and live events, the campaign mobilized fans be part of the marketing of the album.
Recently the music industry has struggled with how to make profit in times of illegal downloading, streaming, and Spotifycation. One overarching strategy developed in response is to rely on consumer engagement, making the One Direction campaign a contemporary example of transmedia marketing involving multiple platforms simultaneously. The willingness of the music industry to use transmedia marketing is related to its potential to foster consumers' engagement in brand experiences across several content platforms (cf. Jenkins, 2006). Like other actors in the entertainment industries, labels and artists are increasingly interested in exploring the potentials of transmedia entertainment and how consumers – without payment – contribute to the production and circulation of content across and beyond media platforms. In this paper, we understand online consumer engagement as a form of labor that reconfigures users as digital publics. Since much of this labor is paid for in affect rather than money, such labor has been recognized as a form of free labor (se for example Andrejevic, 2008; Baym 2009; Fuchs, 2014; Fast, 2012).
But the One Direction campaign also illustrates the spatial qualities of such campaigns through the diversity of initiatives taken to mobilize consumers to perform different actions and move between different media platforms. While both transmedia marketing and free labor have been subjected to many studies very few studies address the spatiality of both of these phenomena (though see e.g. Stork's [2014] "transmedia geography" and "performance space" of the Glee franchise). Spatial metaphors offer both a way to represent and visualize the movements of the consumers, as well as to understand how marketing campaigns construct immersive worlds where free labor is promoted and exploited. Using spatial metaphors also enables a methodological approach to transmedia marketing, positioning actions and actors in relation to each other in time and space. We develop the concept of transmediascape to refer to such contexts, a term directly inspired by Appadurai's (1996: 35) 'scape'-metaphor, which accentuates the global flows of people, technology, capital, media content, discourses, and ideas. Indeed, we suggest that the music industry purposely constructs digital narratives that spill over from one media platform to another forming transmediascapes.
This paper explores how music consumers perform and act within music marketing campaigns, posing the question: How do music consumers navigate across the transmediascapes constituted by marketing campaigns? In this study we follow the music audience movement within the promotional campaign of one internationally known artist, capturing the audiences' actions and interactions by using the artist's hashtag and additional hashtags specified by the campaign. A network analysis allows us to map how the audience moves through the campaign in time and space, and how the prepared trails guide the consumer to various media platforms (e.g. from the official website, to Instagram, to Spotify, etc.) It is important to note that the analysis includes the trails that run from online to offline spaces, or from virtual to physical places (e.g. from Facebook to festival site, or vice versa). However, we also seek to understand users engagement in the production of content, and how this content is then recirculates within the campaign. Thus we have chosen a nethnographic approach to the campaign material. The quantitative material guides us to instances where content production occurs, allowing a close study of these specific events. Thus this is an exploratory study, following the case study approach (Yin, 2003), to approach one specific campaign in depth by adopting a multi-method approach rooted in digital methods (se for example Kozinets 2009; Hjort & Sharp 2014).
Our preliminary results indicate that consumers within the music industry are mobilized as they assemble consumer affect and promote physical as well as virtual fan movement. The consumer follows a path constructed by the marketing campaign, making consumers migrating between various spaces located in different platforms. We identify audience engagement in these events and how audiences both produce and share content with the campaign as well as within their own networks – thus giving the campaign access to their social media networks and their productions. We also detect instances of resistance, where the audience use the hashtag or distributed material in a way that was not intended by the campaign. Finally, our paper also contributes with methodological development where acknowledging the spatial dimensions of free labor and transmedia marketing provide an analytical approach to media consumers within the contemporary transmediascapes.
To have the resources and the ability to travel, to have experienced foreign cultures, to have expanded social and professional networks, and to possess media-related skills, are valuable assets in today's globalized society. Individuals may expand and interconnect their networks, thereby facilitating global connectivity and a global market, independent of location. This network capital can then be converted into economic-material capital. This paper, however, demonstrates that local circumstances play into how network capital may be beneficial and converted into economic-material resources. This study builds upon individual interviews with artists and craftpeople with a mobile life history in possession of national, and international networks and moving into or returning to the provincial municipality Arvika, Sweden. They experience themselves as integrated into, and valuable to, local cultural life. However, they are prohibited from converting their network capital into local assets due to politico-economic structures and traditions built into the local cultural ecosystem. Thus even though local and regional culture life could benefit from their network capital, our findings show that local cultural ecosystem may resist and distance itself from possibilities to engage in and make use of accessible networks. This problematizes the relation between network capital as a "currency", and, the local place-specific cultural ecosystem.
Idag ser många landsbygdskommuner behovet av att aktivt arbeta med att locka till sig turister och nyinflyttade tillika behålla sin befolkning i kommunen. En del i detta arbete är att finna specifika värden och fokusområden som kan definiera olika lokala satsningar. Denna studie är en del i Arvika kommuns arbete med att identifiera och utveckla det unika i just deras kommun, vilket ligger inom kultursektorn. Studien tar därför utgångspunkt i kommunens kulturliv för att närmare förstå och identifiera de förutsättningar och barriärer som finns för att bygga starka lokala nätverk för utveckling av kulturella och kreativa näringar. På så sätt blir Arvika kommun till ett slags mikrokosmos där dynamiker liknande de som präglar samhället i stort går att studera. Det handlar om interaktionen mellan centrum och periferi (stad/land), liksom om spänningsfälten inom det kulturella fältet (olika kulturutövare och producenter). Via längre intervjuer har studien sökt fånga dels hur detta kulturella ekosystem ser ut, dels hur användningen av olika slags (ny) medieteknik påverkar och formas av detta system. Resultaten har betydelse inte bara ur ett akademiskt perspektiv utan också för utvecklingen av kulturpolitiska strategier på lokal/regional nivå.
This paper presents the finding and learning outcomes from a practice-based exploratory study investigating how immersive experiences in Virtual Reality (VR) environments can communicate awareness of structural gender inequality. Studies within organizational change show that working with real life stories in familiar situations is more likely to make individuals understand and change their attitude towards gender inequality. However, most organizations lack time, knowledge, and experience in conducting such work. We also know that for long-term organizational change, these issues need to be addressed over time, rather as one-time events. This suggests that to boost awareness and change attitudes to gender inequality in organizations, there is a need to explore different forms of representations that can emotionally engage individuals, represent subtle everyday situations and be used over time.
Virtual Reality has the potential to offer engagement as they are immersive: individuals react to virtual situations and events as if they were real. Studies show that VR environments can evoke emotional responses from users even though the visual representation is not an exact copy of a real environment. Features that allow for experiences of immersion are: presence (being within the represented space), interactivity (responding to the actions by the user) and plausibility (representations are reasonable in relation to what is conveyed). Even though VR-technology has this potential the design of the interface is essential. This raises the following research questions: What types of stories function within such environments? How should stories be represented to evoke engagement in Virtual Reality? In addition, if a person feels intimidated or forced into a situation, they are less likely learn. What type of design allow users to feel immersed without overstepping their personal boundaries? To examine these issues, we put together an interdisciplinary team of interactive storytellers, VR-developers and researchers to develop and test an immersive VR-environment.
The material used in the VR-environment originates from a research based method developed specifically to work with issues of gender inequality in work places. It uses real life scenarios of gendered work life dilemmas abstracted from anonymous qualitative research interviews. Three different scenarios were developed to be able to investigate experience in relation to immersion, emotion, presence, interactivity and plausibility. The VR-environment was then tested by educated discussants with extended experiences in the method, followed by individual interviews and a group discussion. The study show that the scenarios conveyed plausibility and that users felt immersed and present, especially when addressed by someone in the environment and when using real film-footage. Interactivity ad to the experience of immersion when relating to body movement, however frustrating and insufficient when users are to be engaged in the scenario. However, a central learning outcome was that limitations of interactivity, experience of presence and plausibility can be beneficial. Using these limitations within the design can effectively convey frustration, go beyond stereotypical settings and ensure not to trespass personal boundaries.


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School bus service from Pennant Hills Station to Normanhurst Station. Transdev has advised that Bus 9010 will leave Pennant Hills Station promptly at 3.45pm as timetabled.
In the past this bus service has waited for late buses to arrive at Pennant Hills Station, but is no longer in a position to accommodate late services.


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CMMI Level 3 Company
With accelerating businesses and enterprises aiming at digital excellence, Dell Boomi migration services offer a host of benefits. We help the customers migrate to the preferred cloud or SaaS platform along with overall integrity of data and processes.
Raybiztech has a team of skilled Dell Boomi migration professionals who help their clients across a number of domains and business lines. Our on-shore/off-shore model ensures success for the client by virtue of best practices concerning hybrid as well as cloud-to-cloud models.
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Another great review from Mike McVittie up in Alaska! In full:
Some people just have to go against the grain. You know who you are. Like, people who have no turkey on Thanksgiving, for example. Well, if you're one of those, I have a spectacular red blend that's right up your alley. Called the Arsonist, it's super dark, thick and sappy, with just a touch of herb and black pepper. The secret here is the Arsonist's 52 percent Petit Verdot content, a massively bold red that in conjunction with equal amounts of Cabernet and Merlot makes a sinfully rich Cabernet-style wine.


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Every once in a while on Official Star Wars Costumes, we like to take two characters we never got the chance to see fight and drop them in an arena. We've done it previously with Darth Vader and Qui-Gon Jinn, and we now see fit to do it once more with two dangerous enemies: Mace Windu vs. Darth Maul! We'll take a look at each character's strengths and weaknesses, and see how they match up.
Mace Windu, High Jedi General and one time Grand Master of the Jedi Order, was a formidable opponent. He created his own unique style of lightsaber combat, called Vaapad, and was the only person to master it. It was said that only Count Dooku and Master Yoda could outduel him. Windu revealed that the secret to Vaapad was its path through the "penumbra" of the dark side, utilizing aggression and a desire to win. Known for its power and dangerous technique, the user would accept the fury of the opponent, and required a constant stream of Force from the use.
Windu had many other powers as well: Extensive force mastery, including knowledge of the dark side and a strong resistance to it. He could utilize the force to enhance his body's abilities, as well as the force wave, and even some darker powers, including the force grip and force crush. Finally, he had the strange ability he called shatterpoint, which helped him find the weaknesses in opponents, objects, and even events.
Mace Windu fully accepted that his greatest weakness was his enjoyment of fighting. This was a dangerous trait for a Jedi due to the nature of the dark side.
Mace Windu had ferocity, but Darth Maul was unmatched in that category. He was highly trained in Juyo, the sister style to Vaapad, similarly vicious and aggressive. He was a skilled practitioner in Niman, the sixth style of combat, which possesses no outright strengths but also no glaring weaknesses, as well as Jar'Kai, dual lightsaber combat. Finally, he was a masterful user of the double-bladed lightsaber, something that not many Jedi had fought. He had incredible hand-to-hand combat skills, and was a tactical master during fights.
Additional powers and abilities include telekinesis, resistance to force attacks, mechanics, able to withstand immense physical pain, and weaponry.
Maul was only truly in his element while fight hand-to-hand or with melee weapons such as the lightsaber, and he disliked using his force techniques while in combat. Maul was prone to furious actions that would leave him open to a counterattack.
The Battle:
A battle between a Vaapad master and a skilled Juyo practitioner would be a sight to behold. Both Windu and Maul would be going up against a talented opponent. However, Mace Windu has several advantages. First, while Darth Maul was extremely gifted in combat, WIndu's use of the Vaapad style made a difficult fight more interesting for Windu, prompting his desire to win and a surge of strength. Windu also had much stronger force abilities, as well as the shatterpoint technique. Darth Maul's tactical strength would have made the fight more difficult than simply overpowering him with abilities, and he had his own version of shatterpoint: an ability to discern weaknesses in an opponent's fighting style, which he made use of fighting against Qui-Gon Jinn and Obi-Wan Kenobi.
Darth could, potentially, have the advantage physically, but Mace Windu's other abilities make up for it. In the battle of Mace Windu vs. Darth Maul, Mace Windu would win perhaps 65-70 percent of the time, though Darth Maul does have a chance. We would love to hear your thoughts, what two Star Wars Characters should battle next?


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With all the pressure to achieve and measure up in this world, it's no surprise that many of us have forgotten what it's like to have JOY. Instead, we have lots of regret, disappointment and a laundry list of not measuring up.
Living with a performance mentality will do that to you. Maybe most days you wake up with a sick feeling of being inadequate. Like you somehow know whatever it is you do today it will not be enough.
That's the voice of scarcity. Scarcity comes to steal away the JOY that God has already given us. Scarcity convinces us that we will have to fight for, or earn, what Jesus says is already ours!
John 15:7–11 (ESV) If you abide in me, and my words abide in you, ask whatever you wish, and it will be done for you. By this my Father is glorified, that you bear much fruit and so prove to be my disciples. As the Father has loved me, so have I loved you. Abide in my love. If you keep my commandments, you will abide in my love, just as I have kept my Father's commandments and abide in his love. 11 These things I have spoken to you, that my joy may be in you, and that your joy may be full.
There it is "…abide in my love…abide in me…that your JOY may be complete!"
Whatever the voice in your head is saying today, choose to fill your mind with God's words about you.
"I am enough, because He is enough."
"What I've been given today is enough, because my portion comes from the Lord."
"My JOY is in the Lord, and I am in the Lord."
"I choose to live in the love of the father and experience JOY like never before!"
– Pastor David and Pastor Jennifer


text: Subscribe to our newsletter This thingy has to be empti pwieshh Oct 4, 2019 Speaking the same language... Revue People take pride in work. A piece of that is the label we get for a job well done - the job title. O Katrina's Letter Of The Week October 4 · Issue #79 · View online Every week, I'll write you a letter. A letter about anything, really. My goal is just to make you think. Then, I handpick 3 ideas and posts you'll love (and learn from). People take pride in work. A piece of that is the label we get for a job well done - the job title. Our ego, blood, sweat, and tears want people to get it right. Ego most of all. Those same people get shitty with you when you get their job title wrong. To me, an office assistant and an administrative assistant are the same things. To someone who has the job, I'm an asshole. Of course, it's an honest mistake. I don't know their life or operate in their world. I surely don't know their career path. In my world, people go from associate to manager, director to VP, and then you're the boss. Then, "you can tell people what to do," at least that's what I was told. But that's not how most career paths work anymore. People move sideways, up, and down. A career can look more like the green line of a heart monitor than anything linear, especially if you're comparing job titles that don't have the same meaning from different companies. Oh, and most people are just making this shit up. Chief Ninja of Happiness job, anyone? As a former ninja, I can't talk too much shit, but I do want to point out this. No one over the age of 7 thinks they will grow up to be a ninja (unless they are on that American Ninja Warrior show). Implied - that also means they're not on Indeed searching for ninja jobs in Dallas, Texas. The same goes for your typical job titles. HR Business Partner and Human Resources Business Partner don't get the same search results. But would you believe that one gets almost 50% more traffic? Do you know which one? You can find out. I blogged about tools that can help you figure that out this week. I'm also sharing my upcoming course, where I will help you rewrite your job post live and a quick title tutorial for anyone who wants to learn more. Have a great week - Katrina KibbenCEO, Three Ears Media 3 Must-Have Free SEO Tools For Recruiters katrinakibben.com – Share Knowing what candidates are googling can only help you recruit them. The post 3 Must-Have Free SEO Tools For Recruiters appeared first on Katrina Kibben. How To Write a Job Posting: Live Class www.threeearsmedia.com – Share This class covers everything from the request to the hire, and while we've banned bullets from most job posts - you can see a few here that will show you what we'll cover. What's In A Name?: How To Research Job Titles katrinakibben.com – Share Our Three Ears Media 3-minute tutorial video will show you how to research job titles and find the one that qualified candidates search (and click on) most often. Did you enjoy this issue? If you don't want these updates anymore, please unsubscribe here. If you were forwarded this newsletter and you like it, you can subscribe here. Powered by Revue United States Share Share to Twitter Share to Facebook Subscribe to our newsletter This thingy has to be empti pwieshh


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Climbing Gym Hours
Climbing Gym
Date: Apr 16, 2019
The Climbing Wall is open from:
9:00 am to 10:00 pm Monday to Friday
9:00 am to 9:00 pm Saturday and Sunday
For more information on the climbing gym click here.
Today's Climbing Wall Event Schedule:
Are you planning your climbing visit based on when your favorite part of the gym is available? Here is what is happening on this day in the climbing gym:
4:00 pm—5:30 pm Scheduled program (12 climbers) Bouldering area only
4:30 pm—6:30 pm Canmore Indoor Climbing Society training (11 athetes) No closed areas
5:00 pm—7:30 pm Canmore Indoor Climbing Society training (16 athetes) No closed areas