Case Study Check One Two V7
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Ent-Social-Intelligence-Report.Pdf
Contents 1.0.0 EXECUTIVE SUMMARY ................................................................................. 3 2.0.0 INTRODUCTION ............................................................................................. 4 2.1. Social Intelligence for the Social Business ....................................................................... 5 2.2. Risks of an “All-in-One” Solution ....................................................................................... 5 3.0.0 THE SOCIAL INTELLIGENCE STACK .......................................................... 7 3.1.0 Brandwatch Social Intelligence Model ............................................................................. 8 3.2.0 Social Listening ................................................................................................................. 9 3.3.0 Data Management ............................................................................................................ 10 3.3.1 Data Management: Automation ..................................................................................... 10 3.3.2 Data Management: Workflow ......................................................................................... 10 3.3.3 Data Management: Dashboards .................................................................................... 11 3.4.0 Advanced Analytics ......................................................................................................... 11 3.4.1 Advanced Analytics: Advanced Boolean ...................................................................... -
What Is a Rate Limit?
What is a Rate Limit? When you add a content source to a monitor, in order for the monitor to collect data from that content source, it needs to make a call to the content source on your behalf. Some content sources put a limit on how many calls for data you can make over a period of time; this is called a rate limit. These rate limits are set by the content source, not by Crimson Hexagon. Specifically, Instagram and Facebook set limits on how much data you can pull from those sites, and Twitter sets a limit on how much data you can export from a monitor using the Bulk Export function. Instagram Rate Limit Instagram sets a limit of 200 calls per Instagram account per hour, the number of calls to be made depends on how much data a hashtag/account has. Please note: Due to Instagram access changes, Instagram Social Account Monitors are only available to the Instagram account owners. For more information, please see the article Instagram Social Account Monitor Update. Facebook Rate Limit Facebook’s rate limit is set per Facebook account over a period of time.. Facebook allowance tends to be heavily sourced by the amount of users. Therefore, it is always advised to add as many Facebook credentials to your team as you can. Twitter Rate Limit Twitter sets a rate limit on how many posts you can export from an analysis monitor per Twitter account per day, which is 50,000 posts. For guidance on adding social account credentials to a team, please refer to the article Social Account Credentials: Overview. -
Samantha Saltzman Resume
3569 Broadway, Apt 4E, New York, NY 10031 - (781) 354-0402 - [email protected] www.samanthasaltzman.com Broadway/Off-Broadway/Touring The King & I Directed by Shelley Butler 2nd National Tour Assistant Director Based on original direction by Bartlett Sher • Participated in character conversations with new principals and taught blocking in preparation for rehearsals with the director • Assisted in the recreation of original staging and dramaturgy from prompt book and documentation • Coached child actors on acting intention, review of blocking, and accent reinforcement • Trained understudies and stand-by principals and ran their rehearsals and put-ins • Sent out at regular intervals to check on and maintain the production and performances Lady in the Dark Directed by Ted Sperling New York City Center Associate Director • Oversaw and advised on Tech process and implementation, including scheduling and prioritizing creative needs in limited time frame • Responsible for taking and distributing notes to creative team and actors • Advised script adaptation and oversaw collation and implementation of changes Matilda the Musical Directed by Matthew Warchus 1st National Tour Resident Director • Traveled with the show for six months • Trained over 40 understudies and new cast members and ran rehearsals and put-ins for new cast • Regularly maintained child cast with notes and brush up rehearsals • Responsible for show coverage, including Matildas’ pre-show warm-ups and delivery of notes between shows and in rehearsals to full company Assistant -
Creating a 'Democracy for Everyone' 3 Foreword
Creating a ‘Democracy for everyone’ Jim Macnamara PhD, FAMEC, FAMI, CPM, FPRIA Strategies for increasing listening and engagement by government © Copyright 2017 The London School of Economics and Political Science, Houghton St, London, WC2A 2AE, UK University of Technology Sydney, PO Box 123, Broadway, NSW, 2007, Australia Foreword: Professor Nick Couldry PhD The London School of Economics and Political Science, Media and Communications Department Author: Professor Jim Macnamara PhD, FAMEC, FAMI, CPM, FPRIA Professor of Public Communication, University of Technology Sydney Visiting Professor, The London School of Economics and Political Science E-mail: [email protected] Citation: APA: Macnamara, J. (2017). Creating a ‘democracy for everyone’: Strategies for increasing listening and engagement by government. London, UK and Sydney, NSW: The London School of Economics and Political Science and University of Technology Sydney. Harvard: Macnamara, J. 2017, ‘Creating a ‘democracy for everyone’: Strategies for increasing listening and engagement by government’, The London School of Economics and Political Science and University of Technology Sydney, London and Sydney. Acknowledgements: This is an independent report. The conclusions and views expressed are those of the author and do not necessarily reflect the views of the organisations that supported or participated in this research. Support for this research was provided by the UK Government Communication Service (GCS), which is headquartered in the Prime Minister’s Office and the Cabinet -
Cast Biographies Chris Mann
CAST BIOGRAPHIES CHRIS MANN (The Phantom) rose to fame as Christina Aguilera’s finalist on NBC’s The Voice. Since then, his debut album, Roads, hit #1 on Billboard's Heatseekers Chart and he starred in his own PBS television special: A Mann For All Seasons. Chris has performed with the National Symphony for President Obama, at Christmas in Rockefeller Center and headlined his own symphony tour across the country. From Wichita, KS, Mann holds a Vocal Performance degree from Vanderbilt University and is honored to join this cast in his dream role. Love to the fam, friends and Laura. TV: Ellen, Today, Conan, Jay Leno, Glee. ChrisMannMusic.com. Twitter: @iamchrismann Facebook.com/ChrisMannMusic KATIE TRAVIS (Christine Daaé) is honored to be a member of this company in a role she has always dreamed of playing. Previous theater credits: The Most Happy Fella (Rosabella), Titanic (Kate McGowan), The Mikado (Yum- Yum), Jekyll and Hyde (Emma Carew), Wonderful Town (Eileen Sherwood). She recently performed the role of Cosette in Les Misérables at the St. Louis MUNY alongside Norm Lewis and Hugh Panero. Katie is a recent winner of the Lys Symonette award for her performance at the 2014 Lotte Lenya Competition. Thanks to her family, friends, The Mine and Tara Rubin Casting. katietravis.com STORM LINEBERGER (Raoul, Vicomte de Chagny) is honored to be joining this new spectacular production of The Phantom of the Opera. His favorite credits include: Lyric Theatre of Oklahoma: Disney’s The Little Mermaid (Prince Eric), Les Misérables (Feuilly). New London Barn Playhouse: Les Misérables (Enjolras), Singin’ in the Rain (Roscoe Dexter), The Music Man (Jacey Squires, Quartet), The Student Prince (Karl Franz u/s). -
Comment Submitted by David Crawley Comment View Document
Comment Submitted by David Crawley Comment View document: The notion that my social media identifier should have anything to do with entering the country is a shockingly Nazi like rule. The only thing that this could facilitate anyway is trial by association - something that is known to ensnare innocent people, and not work. What is more this type of thing is repugnant to a free society. The fact that it is optional doesn't help - as we know that this "optional" thing will soon become not-optional. If your intent was to keep it optional - why even bother? Most importantly the rules that we adopt will tend to get adopted by other countries and frankly I don't trust China, India, Turkey or even France all countries that I regularly travel to from the US with this information. We instead should be a beacon for freedom - and we fail in our duty when we try this sort of thing. Asking for social media identifier should not be allowed here or anywhere. Comment Submitted by David Cain Comment View document: I am firmly OPPOSED to the inclusion of a request - even a voluntary one - for social media profiles on the I-94 form. The government should NOT be allowed to dip into users' social media activity, absent probable cause to suspect a crime has been committed. Bad actors are not likely to honor the request. Honest citizens are likely to fill it in out of inertia. This means that the pool of data that is built and retained will serve as a fishing pond for a government looking to control and exploit regular citizens. -
329 Hill Street San Francisco CA 94114 O
Conservatory of Vocal Arts and Music Theater American Conservatory Theater San Francisco Conservatory of Music ! " # " $ % & ' " ( # ) * " Peter Maleitzke has recently completed a ten year residence at the American Conservatory Theater as Associate Artist and Music Director. This past year he continued on to Music Direct the first San Francisco performances of Adam Guettel's Myths and Hymns and as the Master Singing Teacher in the M.F.A. program. Recent projects: composing an original score for The Gamester, winning the Bay Area Theater Critics Circle Award for best Original Score, work-shopping Far From The Maddening Crowd, directing a cabaret production of Pippin, arranger and composer for The Three Sisters; musical direction for Carey Perloff's The Colossus of Rhodes; Brecht’s and Weill’s Happy End (featuring Betty Buckley); and the Gershwin's Of Thee I Sing (performed in three cities to sold out houses), world-premiere A.C.T. productions of The Difficulty of Crossing a Field ( Featuring Julia Migenes and Kronos) and Blitzstein's No for an Answer, A.C.T.'s The Threepenny Opera featuring Bebe Neuworth, Nancy Dusault, Lisa Vroman and Anika Noni Rose (Mr Maleitzke won the Bay Area Theatre Critics' Circle Award and BackStageWest Garland Award for this production). He was the conductor of the first national production of The Phantom of the Opera. His regional credits include Gypsy (Dean Goodman Award), A Little Night Music, Rags, and The Most Happy Fella and Closer Than Ever. Mr Maleitzke has worked extensively as a vocal coach, studio recording pianist and producer for most of the major networks and studios of Los Angeles, most notibly the series: Taken: Executive Producer: Steven Spielberg. -
Engage! a Lawyer's Guide to Social Media Marketing © Attorney at Work
SSOOCIAIAAL MMEDIAMEDIEDEDIAA Engage! A Lawyer’s Guide to Social Media Marketing Online Profiles: Presenting the Best Version of Yourself | 36 By Sally J. Schmidt Contents Lawyers and LinkedIn Skills and Endorsements | 39 By Nancy Myrland Editor’s Note | 2 Using LinkedIn to Reach Your Goals | 43 By Sayre Happich Attorney at Work Social Media Survey Highlights | 3 TURBOCHARGING TWITTER RETHINKING SOCIAL MEDIA What Top Lawyers Do on Twitter | 46 Word-of-Mouth Marketing, Plus | 7 By Susan Kostal By Dan Lear Anatomy of a Tweet | 47 Assess Your Online Image | 9 By Derek Bolen By Merrilyn Astin Tarlton The Hashtagger’s Guide to the Galaxy | 50 Use Social Media Like Social Media Didn’t Exist | 11 By Jared Correia By Gyi Tsakalakis Five Ways to Use Twitter Lists | 53 Crushin’ It: 10 Social Media Misconceptions, Revised | 13 By Andrea Cannavina By Jared Correia Twitter Made Me a Better Lawyer | 54 SOCIAL 2.0 BEST PRACTICES By Dennis Garcia A Roaring Sea of Noise — and How to Rise Above It | 17 Getting My Wings: How I Used Twitter By Kevin Iredell to Promote Social Change | 56 By Olga V. Mack Increasing Your Visibility With the Press | 19 By John J. Buchanan FANNING OUT: FACEBOOK, INSTAGRAM & VIDEO Storytelling: Bring Your Message Alive! | 22 Paid and Organic Facebook Strategy for Your Law Firm | 59 By Drew Keller By Tim Baran and Mike Miceli Does Your Online Reputation Need Tending? | 24 Using Facebook to Drive Traffic to Your Website | 63 By Helen Bertelli By Mike Ramsey Copyright Concerns and Social Media | 26 Why Your Law Firm Needs an Instagram -
Brandwatch Report/ an Analysisofretail Brandsthrough Retail Report the Lensofsocialmedia/2015
Brandwatch Report/ Retail Report: An analysis of retail brands through the lens of social media/ 2015 / 2015 Report/ Retail Report Brandwatch Report Retail Report/ 2015 Why read this? Contents Retail businesses, exceptionally vulnerable to shifts A Primer on Retail in public preferences, face the important challenge of Retail Industry Social Performance nurturing strong online communities. Acknowledging the Facebook Channel Insights the following report examines the performance, capabilities Twitter Channel Insights and social media applications of leading retailers. Twitter Customer Service Experiment “ The possibilities for effectively engaging consumers are limited only / 2015 by imagination, and each advance in new technology brings excitement Social Presence and anticipation of a brighter future for the retail industry. ” / 2015 / 2015 Argos: A Digital Rollout Mark Larson KPMG US and Global Sector Leader, Retail Social Media Use-Cases Report/ Retail Report Thank You 2 Book a demo with us brandwatch.com/demo Retail Report A Primer on the Retail Industry Today’s consumers are greatly empowered. Technology has propagated a vast amount of information as well as the means to easily access it. Through online websites, reviews, blogs and social platforms, savvy consumers can derive an informed perception of any product, business or idea well before they commit to it. For brands, maintaining a holistic awareness of the online The following report examines the social media performance landscape and being properly equipped to react against or capitalize on shifting opinions is paramount. This is shortcomings and use-cases. The aim is for retail brands perhaps truest for the retail industry, where social favor to gain insight on their own performance as well as on toward a brand’s identity can have dramatic effects on some of the ways social listening can promote their a business’ success. -
Historical Data
Product Guide/ Historical Data ©Product Brandwatch.com Guide/ Historical Data © Brandwatch.com | 1 Contents 1.0 Introduction ����������������������������������������������������������������������������������������������������������������������3 1.1 The Value of Historical Data ...........................................................................................3 1.2 A New Landscape ...........................................................................................................4 2.0 Historical Data In Action ................................................................................................5 2.1 Five Ws of Research .......................................................................................................5 2.2 Consumer Insight ...........................................................................................................5 2.3 Campaign Measurement .............................................................................................10 2.4 Competitor Intelligence ...............................................................................................12 2.5 Product Development ...................................................................................................14 3.0 The Future for Historical Research Using Social Data ........................................ 16 3.1 How Brandwatch Can Help ..........................................................................................16 3.2 Listen, Analyze and Act with Confidence .....................................................................16 -
Brandwatch Report/ Fashion Book a Demowith Us in Particularthe‘Bigfour’Fashionweeks
Brandwatch Report/ Fashion /2012 Social media and the Fashion Sector. A report into online discussion surrounding the fashion sector, in particular the ‘big four’ fashion weeks. on trend! /2012 Report/ Fashion Book a demo with us brandwatch.com/demo Brandwatch Report Fashion /2012 Why read this... Contents If you work in fashion and you’re not yet tapping into online conversations, you’re missing a big brand and market 3 Introduction opportunity... and it’s time to get out front and centre. 4 Key Insights Consumer fashionistas take to the social web in droves, 5 Conversation Analysis market perception of your brand, which can have real sales impact. 10 Case study/ London Fashion Week So in honour of 2012 Fashion Week, we decided to dig into events to glean exactly what makes fashion enthusiasts and buyers tick. /2012 The results reveal trends and insights that can help fashion brands market smarter and achieve broader mass reach. Intrigued? Let’s take a look at what we uncovered... Report/ Fashion 2 Book a demo with us brandwatch.com/demo Fashion /2012 Introduction/ The fashion industry is loved and hated in equal measure, but there is no denying that fashion is big business. This is never more evident than during the ‘big four’ fashion shows held biannually in the major fashion capitals of the world – New York, to the cities to see the next big trends. As the great Coco Chanel said: Fashion is discussed online on a daily basis – whether it be a blog about a new designer, a ‘must have’ designer handbag or “Fashion is not something that exists in dresses only. -
Harris, Neil Patrick (B
Harris, Neil Patrick (b. 1973) by Linda Rapp Encyclopedia Copyright © 2015, glbtq, Inc. Neil Patrick Harris in Entry Copyright © 2009 glbtq, Inc. 2008. Reprinted from http://www.glbtq.com Photograph by Kristin Dos Santos. Image appears under the Neil Patrick Harris earned celebrity as a teen-ager for his starring role in the television Creative Commons series Doogie Howser, M.D. Unlike many child actors, he has made a successful Attribution ShareAlike transition to mature roles, showcasing his singing and dancing abilities along the way. 2.0 License. Since coming out publicly in 2006, he has also spoken out on behalf of glbtq causes. Harris was born in Albuquerque, New Mexico on June 15, 1973. His parents, Ron and Sheila Harris, are both lawyers, and his mother is also a writer. As a fourteen-year-old, Harris attended a drama camp at New Mexico State University, where he met writer Mark Medoff, who was working on a project that became the film Clara's Heart (1988), directed by Robert Mulligan. Soon Harris began his professional acting career with roles in Linda Shayne's Purple People Eater (1988) and Mulligan's Clara's Heart. His performance in the latter won him a Golden Globe nomination in the category of Supporting Actor. In 1989 he became the star of the television "dramedy" series Doogie Howser, M.D., which was about a precocious youngster who had become a doctor at the age of fourteen. In the opening episode, sixteen- year-old Doogie interrupted the road test for his driver's license to attend to an accident victim.