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Crystals, rocks, forms without form, organic, stone and earth, flesh and spirit, living cells, moon, sun and planetary landscapes, jungles, forests, lonely caves, peaceful lakes, waterfalls sprouting from other spaces... light sparks arising magically from the void, leaves dispersing into the wind, shadows in the night of timeless times... It is not poetry, neither a conceptual experiment... these sacred spaces for meditation are deeply rooted visual sounds, melodies and chords sprinkling each page with different tones, harmonics or even dissonances... The first 22 meditations are mostly centered on life cells and the inner pulse of life, each of them has a related meditation sound which you can listen to (soon to be uploaded as individual meditations) The 105 additional meditations are inspired on outer sacred spaces, mountains, rivers, caves, lakes, jungles, forests, waterfalls, starscapes, planets... which also act as reflection of our inner worlds and most secret surroundings... I sincerely hope you will enjoy this adventure of the mind and wish you all the best in your spiritual journey. Many blessings of Love, Light and Consciousness. Fractal Music Track "A Hint of the Future" composed by Caroline Carlin with Raymond Lull's Ars Magna Software: *******lullianarts****/downloads.htm
22 Jun 2007
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*******www.aviationvids**** This amazing Quicktime movie shows the same flight path visualization as the National Airspace Depiction video, above, but plots the individual aircraft as individual points.
25 Jun 2007
1365
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16:59
Les 20 ans de Caroline. Diaporama de photos en musique : Arroro (berceuse de Majorque) + Litanei, de Franz Schubert (version arrangée pour choeur, voix solo, piano & orchestre symphonique). Diaporama de photos, avec musique : - Arroro (berceuse de Majorque), pour voix solo (ténor) + choeur mixte - Litanei, de Franz Schubert (1797–1828), en version arrangée pour choeur, voix solo, piano et orchestre symphonique. Litanei demeure assurément l’un des plus émouvants et accomplis, émanant du génie mélodique & harmonique de Franz Schubert ! La synergie musicale spirituelle particulièrement aigue, délicate et la symbiose élégiaque ne peuvent qu’aller droit au cœur. This beautiful song was composed by Franz Schubert in 1818 (last of the Jacobi songs) for the celebration of All Saint's Day and then subsequently arranged for solo voice, male choir, piano & symphonic orchestra. Of a deep devotional nature, this Lied shows an exquisite example of humble affection. Each verse ends with the refrain: - Alle Seelen, Ruhn in Frieden - All Souls rest in peace Franz Schubert Franz Schubert Franz Seraphicus Peter Schubert (January 31, 1797 – November 19, 1828) was an Austrian composer. He wrote some 600 Lieder, seven completed symphonies, the famous "Unfinished Symphony", liturgical music, operas, and a large body of chamber and solo piano music. He is particularly noted for his original melodic and harmonic writing. While Schubert had a close circle of friends and associates who admired his work (including his teacher Antonio Salieri, and the prominent singer Johann Michael Vogl), wider appreciation of his music during his lifetime was limited at best. He was never able to secure adequate permanent employment, and for most of his career he relied on the support of friends and family. Interest in Schubert's work increased dramatically following his death. Biography Early life and education Schubert was born in Vienna, Austria on January 31, 1797. His father Franz Theodor Florian, the son of a Moravian peasant, was a parish schoolmaster; his mother Elizabeth Vietz was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of the Schuberts' fifteen children (one illegitimate child was born in 1789), ten died in infancy; only four survived. Their father Franz Theodor was a well-known teacher, and his school on the Himmelpfortgrund was well attended.[citation needed] He was not a famous musician, but he taught his son what he could of music. At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at the Himmelpfortgrund school. His formal musical education also began around the same time. His father continued to teach him the basics of the violin. At seven, Schubert was placed under the instruction of Michael Holzer. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration[1] and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he was given the opportunity to practice on better instruments. The unsatisfactory nature of Schubert's early training was even more pronounced during his time given that composers could expect little chance of success unless they were also able to appeal to the public as performers. To this end, Schubert's meager musical education was never entirely sufficient. In October 1808, he was received as a pupil at the Stadtkonvikt (Imperial religious boarding school) through a choir scholarship. It was at the Stadtkonvikt that Schubert was introduced to the overtures and symphonies of Mozart. His exposure to these pieces as well as various lighter compositions combined with his occasional visits to the opera set the foundation for his greater musical knowledge. Franz Schubert aged 16, drawn by Leopold KupelweiserMeanwhile, his genius was already beginning to show itself in his compositions. Antonio Salieri, a leading composer of the period, became aware of the talented young man and decided to train him in musical composition and music theory. Schubert's early essay in chamber music is noticeable, since we learn that at the time a regular quartet-party was established at his home "on Sundays and holidays," in which his two brothers played the violin, his father the cello and Franz himself the viola. It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal more chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D.31) and Salve Regina (D.27), an octet for wind instruments (D.72/72a) - said to commemorate the death of his mother, which took place in 1812 - a cantata (D.110), words and music, for his father's name-day in 1813, and the closing work of his school-life, his first symphony (D.82). Teacher at his father's school At the end of 1813 he left the Stadtkonvikt and entered his father's school as teacher of the lowest class. In the meantime, his father remarried, this time to Anna Kleyenboeck, the daughter of a silk dealer from the suburb Gumpendorf. For over two years the young man endured the drudgery of the work, which he performed with very indifferent success. There were, however, other interests to compensate. He received private lessons in composition from Salieri, who did more for Schubert’s training than any of his other teachers. Supported by friends As 1815 was the most prolific period of Schubert's life, 1816 saw the first real change in his fortunes. Somewhere about the turn of the year Spaun surprised him in the composition of Erlkönig (D.328, published as Op.1) — Goethe's poem propped among a heap of exercise books, and the boy at white-heat of inspiration "hurling" the notes on the music-paper. A few weeks later Franz von Schober, a student of good family and some means, who had heard some of Schubert's songs at Spaun's house, came to pay a visit to the composer and proposed to carry him off from school-life and give him freedom to practice his art in peace. The proposal was particularly opportune, for Schubert had just made an unsuccessful application for the post of Kapellmeister at Laibach (the German name for Ljubljana), and was feeling more acutely than ever the slavery of the classroom. His father's consent was readily given, and before the end of the spring he was installed as a guest in Schober's lodgings. For a time he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. "I write all day," he said later to an inquiring visitor, "and when I have finished one piece I begin another." All this time his circle of friends was steadily widening. Mayrhofer introduced him to Johann Michael Vogl, a famous baritone, who did him good service by performing his songs in the salons of Vienna; Anselm Hüttenbrenner and his brother Joseph ranged themselves among his most devoted admirers; Joseph von Gahy, an excellent pianist, played his sonatas and fantasias; the Sonnleithners, a burgher family whose eldest son had been at the Stadtkonvikt, gave him free access to their home, and organized in his honor musical parties which soon assumed the name of Schubertiaden. The material needs of life were supplied without much difficulty. No doubt Schubert was entirely penniless, for he had given up teaching, he could earn nothing by public performance, and, as yet, no publisher would take his music at a gift; but his friends came to his aid with true Bohemian generosity — one found him lodging, another found him appliances, they took their meals together and the man who had any money paid the score. Schubert was always the leader of the party, but more often than not, was penniless. Though he was known by half a dozen affectionate nicknames, the most characteristic was kann er 'was? ("Is he able?") or more colloquially, "Can he pay?" (for the food and drink), his usual question when a new acquaintance was introduced. Another nickname was "The Little Mushroom" as Schubert was only five feet, one and one-half inches tall (1.56 m), and tended to corpulence. The compositions of 1820 are remarkable, and show a marked advance in development and maturity of style. The unfinished oratorio "Lazarus" (D.689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D.706), the Gesang der Geister (D.705/714), the Quartettsatz in C minor (D.703), and the "Wanderer Fantasy" for piano (D.760). But of almost more biographical interest is the fact that in this year two of Schubert's operas appeared at the Kärntnerthor Theater, Die Zwillingsbrüder (D.647) on June 14, and Die Zauberharfe (D.644) on August 19. Hitherto his larger compositions (apart from Masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position and address a wider public. Still, however, publishers remained obstinately aloof, and it was not until his friend Vogl had sung Erlkönig at a concert (Feb. 8, 1821) that Anton Diabelli hesitatingly agreed to print some of his works on commission. The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meagre pittances which were all that the great publishing houses ever accorded to him. Much has been written about the neglect from which he suffered during his lifetime. It was not the fault of his friends, it was only indirectly the fault of the Viennese public; the persons most to blame were the cautious intermediaries who stinted and hindered him from publication. The production of his two dramatic pieces turned Schubert's attention more firmly than ever in the direction of the stage; and towards the end of 1821 he set himself on a course which for nearly three years brought him continuous mortification and disappointment. Alfonso und Estrella was refused, and so was Fierabras (D.796); Die Verschworenen (D.787) was prohibited by the censor (apparently on the ground of its title); Rosamunde (D.797) was withdrawn after two nights, owing to the poor quality of its libretto. Of these works the two former are written on a scale which would make their performances exceedingly difficult (Fierabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822 he made the acquaintance both of Weber and of Beethoven, but little came of it in either case, though Beethoven cordially acknowledged his genius, the quote attributed to Beethoven being: "Truly, the spark of divine genius resides in this Schubert!" Schober was away from Vienna; new friends appeared of a less desirable character; on the whole these were the darkest years of his life. In 1994 musicologist Rita Steblin discovered Schubert's brother Karl's marriage petition on the attic floor of the Lichtental church. The composer's own wish to marry Therese Grob was hindered by Metternich's harsh marriage consent law of 1815, as Schubert's heart-rending cry in his diary of September 1816 makes clear. Last years and masterworks In 1823 appeared Schubert's first song cycle, Die schöne Müllerin (D.795), after poems by Wilhelm Müller. This work, together with the later cycle "Winterreise" (D.911; also written to texts of Müller) is widely considered one of the pinnacles of Schubert's work and of the German Lied in general. The piece "Du bist die Ruh" ("My sweet repose") was also composed during this year. In the spring of 1824 he wrote the Octet in F (D.803), "A Sketch for a Grand Symphony"; and in the summer went back to Želiezovce, when he became attracted by Hungarian idiom, and wrote the Divertissement a l'Hongroise (D.818) and the String Quartet in A minor (D.804). He held a hopeless passion for his pupil Countess Karoline Eszterházy; but whatever may be said about this romance, its details are not presently known. Despite his preoccupation with the stage and later with his official duties, he found time during these years for a good deal of miscellaneous composition. The Mass in A flat (D.678) was completed and the "Unfinished Symphony" (Symphony No. 8 in B minor, D.759) begun in 1822. The question of why the symphony was "unfinished" has been debated endlessly and is still unresolved. To 1824, beside the works mentioned above, belong the variations for flute and piano on Trockne Blumen, from the cycle Die schöne Müllerin. There is also a sonata for piano and arpeggione (D.821). This music is nowadays usually played by either cello or viola and piano, although a number of other arrangements have been made. The mishaps of the recent years were compensated by the prosperity and happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; in the summer there was a pleasant holiday in Upper Austria, where Schubert was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". This cycle contains his famous and beloved Ellens dritter Gesang (D.839). This is today more popularly, though mistakenly, referred to as "Schubert's Ave Maria"; while he had set it to Adam Storck's German translation of Scott's hymn from The Lady of the Lake that happens to open with the greeting Ave Maria and also has it for its refrain, subsequently the entire Scott/Storck text in Schubert's song came to be substituted with the complete Latin text of the traditional Ave Maria prayer; and it is in this adaptation that this song of Schubert's is commonly sung today. During this time he also wrote the Piano Sonata in A minor (D.845, Op. 42) and the Symphony No. 9 (D.944), which is believed to have been completed the following year, in 1826. From 1826 to 1828 Schubert resided continuously in Vienna, except for a brief visit to Graz in 1827. The history of his life during these three years is little more than a record of his compositions. The only events worth notice are that in 1826 he dedicated a symphony to the Gesellschaft der Musikfreunde and received an honorarium in return. In the spring of 1828 he gave, for the first and only time in his career, a public concert of his own works which was very well received. But the compositions themselves are a sufficient biography. The String Quartet in D minor (D.810), with the variations on Death and the Maiden, was written during the winter of 1825-1826, and first played on January 25, 1826. Later in the year came the String Quartet in G major, the "Rondeau brilliant" for piano and violin (D.895, Op.70), and the Piano Sonata in G (D.894, Op.78) (first published under the title "Fantasia in G"). To these should be added the three Shakespearian songs, of which "Hark! Hark! the Lark" (D.889) and "Who is Sylvia?" (D.891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening. In 1827 Schubert wrote the song cycle Winterreise (D.911), a colossal peak of the art of art-song, the Fantasia for piano and violin in C (D.934), and the two piano trios (B flat, D.898; and E flat, D.929): in 1828 the Song of Miriam, the Mass in E-flat (D.950), the Tantum Ergo (D.962) in the same key, the String Quintet in C (D.956), the second Benedictus to the Mass in C, the last three piano sonatas, and the collection of songs published posthumously under the fanciful name of Schwanengesang ("Swan-song", D.957), which whilst not a true song cycle, retains a unity of style amongst the individual songs, touching unwonted depths of tragedy and the morbidly supernatural. Six of these are to words by Heinrich Heine, whose Buch der Lieder appeared in the autumn. The Symphony No. 9 (D.944) is dated 1828, and many modern Schubert scholars (including Brian Newbould) believe that this symphony, written in 1825-6, was revised for performance in 1828 (a fairly unusual practice for Schubert, for whom publication, let alone performance, was rarely contemplated for many of his larger-scale works during his lifetime). In the last weeks of his life he began to sketch three movements for a new Symphony in D (D.936A). The works of his last two years reveal a composer increasingly meditating on the darker side of the human psyche and human relationships, and with a deeper sense of spiritual awareness and conception of the 'beyond', reaching extraordinary depths in several chillingly dark songs of this period, especially in the larger cycles, (the song Der Doppelgaenger reaching an extraordinary climax, conveying madness at the realization of rejection and imminent death, and yet able to touch repose and communion with the infinite in the almost timeless ebb and flow of the String Quintet). Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint. Death Schubert's grave in the Zentralfriedhof, Vienna.In the midst of this creative activity, his health deteriorated. He had battled syphilis since 1822. The final illness may have been typhoid fever, though other causes have been proposed; some of his final symptoms match those of mercury poisoning (mercury was a common treatment for syphilis in the early 19th century). At any rate, insufficient evidence remains to make a definitive diagnosis. His solace in his final illness was reading, and he had become a passionate fan of the writings of James Fenimore Cooper. He died aged 31 on Wednesday November 19, 1828 at the apartment of his brother Ferdinand in Vienna. At 3pm that afternoon "someone observed that he had ceased to breathe." By his own request, he was buried next to Beethoven, whom he had adored all his life, in the village cemetery of Währing. In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof, where they can now be found next to those of Johann Strauss II and Johannes Brahms. In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark. Souvenir souvenirs 20 ans an année années Villaz St-Pierre Suisse Switzerland Schweiz Svizzera Jean-Marie Annamarie Caroline Dévaud parcours bébé bébés bambin bambines bambina bambine enfant enfants enfance enfances adolescence famille familles familial familiaux mère père nono nona grand-mère grand-père chant chants chanteur chanteurs chœur chœurs orchestre piano cordes violon violons chanson chansons adolescent adolescents touchant touchants touchante touchantes émotion émotions célèbre célèbres mélodie mélodies connu connus connue connues mémorable mémorables inoubliable inoubliables berceuse berceuses nostalgie nostalgies nostalgique nostalgiques maman papa mamans papas anniversaire anniversaries célébration célébrations commemoration commemorations family families birthday 20 year years time times child children childhood childish baby babies daughter daughters girl girls parent parents mother mothers father fathers grand dad mum dads mums daddy daddies mummy mummies life birth naissance celebration bébé bambin gamin gamine enfance enfants enfant innocence pureté parent parents grands-parents papa maman progéniture progénitures famille family famiglia mamma nona nono Litany life birth
27 Jun 2007
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Results of a study conducted by an independent research firm provide new evidence that a beautiful white smile has a direct effect on successful interpersonal interactions, both socially and professionally. "The Impact of Whiter Teeth on Key First Impressions" study, commissioned by Crest Whitestrips, shows that a whiter smile substantially affects how others think of you when you first meet. According to the three part study, which included simulated job interviews, simulated first dates and a quantitative online survey; more than half of the study participants were more likely to be hired (58%) and received larger salary offers (53%) after their teeth had been whitened. The study also found that evaluators expressed a greater interest in continuing their interaction or "date" with more than half of the study participants (54%) after their teeth had been whitened. "This study provides some of the first findings that speak to the powerful benefits of having a whiter smile," says Dr. Dacher Keltner, smile psychologist and professor of psychology at the University of California at Berkeley. "Visible from 200 feet, it is the intense focus of what other people look at, and a sign of our warmth, confidence, and health." During the simulated job interviews, it was also found that a majority of the study participants were viewed to be more professional (65%) and more confident (61%) after their teeth had been whitened. And, on their simulated first dates, more than half of study participants were viewed to be more outgoing (59%) after their teeth had been whitened. The third part of the study, a quantitative online survey of 1,006 people, was consistent with the first two studies conducted, finding that individuals with whiter teeth have more positive attributes than individuals with stained teeth across the following variables: financial success, trustworthiness and professional success. Regardless of gender, age, income, education, employment or marital status, participants came to the same conclusion. Produced for Crest
26 Jun 2007
1456
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2:55
The Ramaswami Aiyar Foundation brings friendly dogs into schools to help children break through their shyness and speaking difficulties. Children with ADD, autism, dyslexia, and other social developmental disabilities find that talking to the dogs helps them improve their skills, and they enjoy talking easily and freely about the individual dogs. explore™ (*******explore****) is a multimedia organization that documents leaders around the world who have devoted their lives to extraordinary causes. Both educational and inspirational, explore creates a portal into the soul of humanity by championing the selfless acts of others. Distributed by TubeMogul.
27 Jun 2007
871
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2:55
This is the first video released from a hour long interview with the famous "Bike Tourist Podcast." The podcast consisted of the interviewer Gabriele in Puerto Rico and us (Tim and Cindie Travis) while we were passing through Canberra Australia. In this series of videos I isolated individual questions and put still pictures into corresponding parts of the interview. The question asked in this short video is: "How did the pictures you took in South America compare to what you saw first hand"?
29 Jun 2007
1832
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7:33
K12 Spotlight on the Morris Family- What do you do with a child who is highly figted in math but behind grade level in reading and writing? Allow him to soar where he is gifted while engaging him effectively where he has deficits through the individualized approach K12 provides! K12 provides public charter school options, homeschooling curriculum, classroom solutions for elementary and high school students.
3 Jul 2007
689
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10:04
Short stop-motion animation resembling a screen, using 600 containers filled with water and color. Each container is individually painted.
10 Jul 2007
876
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3:59
Cultures, religions and individuals throughout history have questioned the meaning of life and the nature of existence. Author Philip Gardiner reveals the ways technology and science are changing how the question is asked and the answers interpreted. Through exploration of the self, Gardiner believes we can better understand the world around us, which, in turn, will have an impact on future generations.
10 Jul 2007
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3:37
Following in the footsteps of the revolutionary Motorola RAZER phone, the new ultra-sleek Motorola K1 introduces a new standard of stunning style and innovation. The Motorola K1Gold edition lets you show off your style in the most unmistakable way! Sharp and sophisticated with a luxurious finish and detailed craftsmanship, the Motorola K1Gold edition is the definitive mobile for individuals who have an appreciation for cutting edge designs and flashy looks. Within the Motorola K1phone's striking form lies remarkable functionality, with first-class multimedia and entertainment capabilities, global connectivity and more - all designed to give you an elite, unparalleled wireless experience. Get the gold standard in ultra slim mobile technology get the Motorola K1Gold Unlocked Cell Phone.
11 Jul 2007
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2:52
In this part we teach you about the importence of talking it up on the field. A strong 'team' will beat a group of individuals any time
12 Jul 2007
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5:18
Could you be CHEATING on your swinger friends without even knowing it? While most think that the swinging lifestyle is without boundaries and restrictions, it's critical to set expectations up front just as you would in an individual relationship. Otherwise, feelings may get hurt. Watch this video about a couple who found themselves in this exact situation - accused of cheating!
14 Jul 2007
7108
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1:00
AA&E's exclusive protocol with individualized, 3x daily one-on-one therapy, helps our patients overcome addiction and co-occurring disorders. Along with our luxurious and naturally therapeutic setting, AA&E's exclusive treatment protocol is the reason we have one of the highest success rates for attaining sustained recovery.
15 Jul 2007
820
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2:04
The average vehicle in the U.S. is driven between 15,000 and 20,000 miles a year. Most insurance companies use that average to set their rates. This means a driver who only puts 10,000 miles a year on their vehicle actually ends up paying more per mile for insurance than someone driving twice as much. But now a partnership between GMAC Auto Insurance will offer a low mileage discount using the in-vehicle communication technology offered by OnStar. Miles driven is one of the primary determinants of an insurance rate, according to GMAC. In the past, however, it has been very difficult to track accurately because most factors were only estimates. With the OnStar program, the technology measures miles driven and produces rates that are tied specifically to actual miles driven by an individual. The ability to communicate with the vehicle allows the program to take the odometer reading out of the car, pass the information to GMAC Insurance, who then can offer customers a special discount. Discounts can be significant, from 25 percent for driving 10,000 miles or less, to 40 percent for driving less than 5,000. Produced for OnStar
18 Jul 2007
686
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1:57
Jessica is a beautiful young woman who comes to Paris from the provinces and lands a job waiting tables at a chic bistro on fabled Avenue Montaigne. She ends up catering to celebrated individuals within the art, theater, music, and fashion world.
19 Jul 2007
895
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0:30
The Finish Line, Inc. (NASDAQ: FINL), an Indianapolis-based athletic specialty retailer, today announced the launch of a new brand campaign entitled BE HEARD!. This integrated campaign will launch simultaneously in nearly 700 Finish Line stores, online at www.finishline**** and will be supported by television and digital advertising. BE HEARD! is a call to action that encourages customers to make a statement about who they are through their shoes. The campaign is an extension of Finish Line's selection message. At Finish Line, customers can express their individuality by choosing from over 5,000 styles and brands. Shoes speak, and Finish Line, with its wide selection and exclusive styles, helps customers say what they want to say. BE HEARD! Your Voice. Your Choice.
23 Jul 2007
1355
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