Sporty Fashion at the Olympics

The euphoria of recent Olympic victories has not only slithered into the thumping heartbeats of athletes and coaches but has also crept into the steady admiration of fans, supporters, enthusiasts and viewers worldwide. The Beijing Olympics is an event that everyone, in some way, has creatively identified with. The global sporting extravaganza brought out drawn awareness in people not normally predisposed to national pride and levels of sporting interest. The fact is that Olympic fever has a habit of creeping up in point-up corners and one such bend is the fashion world.

Olympics 2008 offered the best opportunity for visibility. The collaboration between fashion and sports, with joint ventures between athletes and labels other than Nike, Adidas, Converse, Puma, Asics, Reebok, Speedo, Diadora, Umbro, Fila, Spandex, and New Balance is nothing new. Fashion has the freedom of creativity, while sportswear has the knowledge of the best fabrics to make items functional. The upshot is greater sports awareness and participation, more creative expression and enthusiasm, quality training accessories and materials, enhanced pride and glory in achievements, as well as better opportunities for business, entrepreneurship and employment. It has become a global mission for sports and fashion to come together to do something good, despite the political drama surrounding the games.

Beijing Olympics showed the scope of these two worlds’ commingling in a number of guises, illustrating how far-reaching their mutual influence really is. From the realms of high fashion to the mainstream, fashion and sports have far more in common than you might assume. The relationship between contemporary fashion and global sportswear brands have been inspired by street style and have been working in closer collaboration in recent years. The link between fashion and sport is undeniable, even the fashion heavyweights such as Ralph Lauren, Polo, Lacoste, and Fred Perry have history in sporting activities of various types. If you think fashion and sport are unlikely teammates, Beijing Olympics Opening doubles as the sportiest catwalk on earth, the wisdom being that, in appealing to a huge, new audience, sports brand’s own label would reap the benefits. The link is even more noticeable in the street fashion scene with dominant sport's companies like Adidas and Nike pretty much owning the game with vintage re-releases and limited editions.

There’s no excuse for poor shapes and bad colors, they don’t make you run faster. Designing sportswear perceives no compromise; it should keep pushing till it gets the best results – just like Olympic athletes. What the athletes wear may not be quite as important as how fast they will run, but, with an unprecedented worldwide audience of more than four billion viewers, that’s a huge amount of brand exposure. Today, fashion needs sport and sport needs fashion. In an increasingly casual world, how many people wear couture? But the sportswear giants now face the opposite challenge: over-distribution has threatened to make their garments too ubiquitous – thus their need for an injection of style savvy. When you’re working out, you don’t have to look like rubbish. Fashion keeps the true sports performance there and complements its needs.

Fashion sense has played a role in sportswear today. Women athletes and delegates at the Beijing Olympics generally showed national pride in the modern or unique print. American Olympic team looked sporty and sophisticated, the image that they would like to voice out. Canada flashed modern sensuality. It’s true that Summer Olympics are all about running harder, jumping higher and swimming faster, but looking better is important, too. The business target is making sportswear fashionable as well as performance-friendly. Athleticism was not the only one on display at the Olympics. Outstanding personal, national and international qualities were carried on display from the bleachers to TV screens and newsprints around the world. Fashion in Sports kicks off the complexities in human undertakings into a more tangible, descriptive and gainful level.

Assuming you're not head to toe in made-to-order outfit and a pair of wingtips it's an almost certainty that you're wearing some kind of sportswear, unless of course you're reading this article naked. Check out the slideshow below and see for yourself the extent of sporty fashion at the 2008 Olympics:

Fashion And The Olympics

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GPS Insight: the best tracking system that offers much more

Managing successfully a vehicle-based business requires close monitoring. One should regularly verify to ensure that his business is operating efficiently and to the required standards. Equipments, activities, persons and service locations should be carefully checked in order that essential services are delivered within the shortest latency from unexpected obstructions. However, these intentions and processes remain intricately difficult to sustain even with popular communication facilities and this is especially so with service and trucking companies (long haul trucking, delivery vehicles, sales forces, HVAC, roofing, plumbing, construction, etc). Now, this uncertainty can be addressed with a more precise data-gathering technology that is universally encompassing. You can now closely and even remotely monitor your business operations and eventually effect cost-effective and sound management decisions based on accurate and reliable data. The GPS (Global Positioning System) is the answer. GPS provides numerous means of achieving efficiency, waste identification, and cost-reduction with its highly dependable data-gathering capability. Let’s have a short overture on GPS.

The Global Positioning System (GPS) is a radio-navigation system that uses a around 24 to 32 Medium Earth Orbit satellites that transmit precise microwave signals to GPS receivers and therefore provides reliable positioning, navigation, and timing services to civilian users in all weather, day and night, anywhere in the world. This brings about increased efficiencies and safety for vehicles using highways, streets, and mass transit systems. The number of problems associated with the routing and dispatch of commercial vehicles is considerably reduced or eradicated with the GPS assistance.
With a GPS tracking device, you can use GPS to establish the precise location of a vehicle, person, or other asset to which it is attached and to record the position of the asset at regular intervals. The recorded location data can be stored within the tracking unit, or it may be transmitted to a central location data base, or internet-connected computer, using a cellular (GPRS), radio, or satellite modem set in the unit. This allows the asset's location to be displayed against a map backdrop either in real-time or in post analysis, using customized software.

With your service or trucking business now on focus, GPS Insight Vehicle Tracking System, a hardware and web-software vehicle-tracking product, pooled together GPS, wireless networks (AT&T/T-Mobile), internet access and Google Earth to create at your convenience, detailed reports on vehicle locations, driver activities and driving habits. GPS Insight draws together some modern advances in 3D and satellite mapping with real-time updates in a Web-based configuration to generate reports on trip and stop times, as well as their averages and variances, which sustain operational scrutiny/exploration. Additional reports can also be generated quantifying who is speeding, how long vehicles are used during the day, vs. payroll hours, when vehicles are used outside of regular business hours, whether or not the prearranged route is taken, how many miles/hours are used-up driving in each state, etc.

It is really quite difficult to accurately monitor your business to success, but with GPS Insight you can rest with real-time assurance. Your purchase of such an avant-garde product also builds a gainful partnership with GPS Insight. You will be equipped with the finest and most accurate tool to gear up your business, whether you are working with vehicles or working in the field to make business happen. GPS Insight provides for synchronization and operational efficiency because accuracy and timing are essential to every economic activity everywhere. Moreover, expansions on complimentary data warehousing and data mining service are underway to facilitate clients’ filtering of relevant data. GPS Insight reduces uncertainty on many quantities efficiently; it qualifies as a very practical measurement tool and thus, renders this vehicle-tracking mechanism absolutely necessary for your vehicle-based business.

With your convenience as the top priority, the GPS Insight website comes very friendly with its online offer of vehicle-tracking product which are equally friendly and easy to use. GPS Insight support wiki for customers provides support information, helpful tips, and general information about the GPS Insight product. The excellent customer service you obtain when you call with questions or concerns renders the entire package acceptably friendlier. Purchased units will get to you installed and running in less than 24 hours or as early as the next day! They deliver the same day when paying by credit card, and have adequate inventory. Other GPS providers will take up to 60 days to perform a credit check, program your units, set up your account, and so on. GPS Insight’s well-organized process provides customers the swift response they require to unravel problems with their convoy.

Overall, GPS Insight cost $1.50 - $2.00 per day per vehicle, and your company makes money on fuel savings, routing efficiencies, and streamlined vehicle maintenance, elimination of possible accidents, no more labor paid when people aren't really working, and more. And yes! For orders of $2,000 or more, (4 units, typically), GPS Insight offers lease at cutthroat rates with the paperwork accomplished within 3-4 days. For your advantage, GPS Insight provides a 30-day money back guarantee, and offers free trials for qualified companies. They do not bind you with long contracts, either

This topnotch hardware offers you more! GPS Insight is the only company which integrates engine diagnostics (engine light status/fault codes, real speeds, real odometer readings, real idling/RPM & actual fuel consumption/MPG) with its baseline product, no hidden fees, no commitment to a long contract, and the best mapping available. The Blog for GPS vehicle tracking provides detailed illustrations, feedback, reports and other relevant specifics to keep you on track and well-informed. Live demos can be gladly arranged for you in their offices, at your location, or via WebEx presentations.

GPS Insight as a fast evolving product, takes input and advice from customers to extend further the capabilities and functions of the product and its website which is being updated regularly. All of these requirements and enhancements, combined with the best in modern technology and 3D mapping, are what makes GPS Insight the best so far. Get hold now of this amazing product and seize a first-hand tang of distinctive quality in both product and support.

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Arundo Donax - How to turn a bog plant into a serenade

I began playing the clarinet when I was 11 years old, back in 1984, after many months of pestering my parents. Although I wasn't particularly good when I started, I loved the look and feel of the instrument and I persevered, and I finally ended up as a music student at Leeds University with the clarinet as my first instrument. I didn't find the notes that hard when I was a kid; I could produce a tune without too many tears, but my tunes just didn't sound very nice until I'd got to about grade 6. A lot of young players experience the same problem, and the problem is really twofold- 1) producing a beautiful sound takes lots of practice, and 2) producing a really beautiful sound depends on your reed.

What a Reed is All About

If you don't play a reed instrument you may well be wondering what I'm talking about, so I'll explain a little bit here. (For the already initiated, feel free to skip this bit!)

A clarinet is fundamentally a tube which is approximately 2 feet long; in fact it's the same length as a flute or an oboe. The flute has a small hole which you blow across. This makes the air inside the tube start vibrating, (like if you blow across the top of a bottle and hear a note). The oboe and the clarinet, however, use reeds. These are small bits of cane, (or sometimes plastic), which are attached to the top of the instrument. The cane goes in your mouth and you make it vibrate with your lips and jaw; this sets the column of air vibrating, and hey presto a note sounds. (It's very hard to describe how you actually do this because it all happens inside your closed mouth!) You can't play the clarinet (or the oboe or bassoon) unless you have a reed attached to the top, and these essential bits of kit have, unfortunately, quite a short life span. How long a reed lasts depends on lots of things, like how often you play, what brand you're using, and even what the weather's like. (It's a natural material so it's affected by the humidity of the atmosphere).

The Reed you really Need

So now you know you need a reed, off you pop down to your local music shop, or find one online. The first question they'll ask you is what kind of reed do you need? Narrowing it down to just "a clarinet reed" won't get you very far. You have to specify the strength of your reed. And choose a brand. And choose one of a range of reeds within that brand. And how many do you need to buy?

So how can a little bit of cane be so diverse and complicated? How can you possibly choose?! Let's take a look at the first dilemma: Strength.

Reeds are categorised by their thickness, and given a grading from 1 to 5, including half grades. Basically speaking, the thicker the reed, the more difficult it is to produce a note, but the nicer the note will sound. So, if you are a beginner, (and therefore in possession of relatively weak jaw muscles compared to a veteran), you should choose a low number, known as a "soft" reed. Around 1.5 would be good, but go for a 1 if the 1.5 is too difficult to blow on. As you get better, you'll gradually be able to progress to thicker reeds (known as "hard"). To get a decent sound, you need to be playing on a minimum 3.5, and most professionals will be playing on 4.5 to 5s. Personally, I play on a 3.5. OK, let's move on to brand and product:

In the UK there are mainly 2 companies battling it out in the clarinet reed field, and they are Vandoren and Rico. I'll try to make a comparison between them, since your basic purchasing decision will be between these two brands. Here's what Vandoren say about their standard B flat clarinet reeds:

"The most widely played reeds in the professional world."

And here's what Rico claim about their most similar product:

"The world's most popular reed." One thing you may be able to deduce from this is that Vandoren reeds are better and also more expensive. They produce a better tone for professionals, who are more picky about these things than amateurs. However, there are many more amateurs piping away in their bedrooms on a Sunday afternoon than there are professionals, and they tend to choose Rico, so they can't be all bad.

Here's how the prices compare from 2 reputable online firms, for a box of 10, (the normal number you get in a box).

>From www.myatt.co.uk Rico Reeds cost £8.50 and Vandoren cost £11.00

>From www.dawkes.co.uk Rico cost £6.25 and Vandoren cost £10.25

Rico are well ahead in the tasty price league, so why is it that all these professionals are choosing Vandoren? It really boils down to the sound that comes out when you blow, which to the professional is the only major issue. For us mere mortals though, there are another couple of points to consider- how many of these 10 newly purchased reeds actually work properly, and how long will one last before I have to change it? I've played on both these brands of reeds over the 20 and a bit years I've been playing this instrument, and I believe that Rico are more consistent in the strength grades they put in the box, and they last for the same length of time as Vandoren's, but whereas a box of Vandoren sometimes produces a really stunning beautiful reed, a box of Rico never does.

When you buy a box of reeds, it is quite normal to find that some of them just won't work. This is rather annoying, (especially if you're paying more than a pound a piece), but it's a fact of life. The cane is rigorously tested by both companies, and left to mature for a considerable time, but nothing can stop the cane from becoming slightly modified once it's been packaged up in its box. My personal average from Vandoren is 50% usable reeds per box, while Rico usually gives me 7 or 8 that are playable. So, in effect, they work out even cheaper than you'd bargained for. I think that Rico's testing technology is perhaps superior to Vandoren's, to produce these results. They are more effective at eliminating inferior cane earlier in the process, before it actually gets in the box. In my mind there is no doubt that Vandoren Reeds sound better, but the large difference in price is not justified by the small difference in sound. Going back to my earlier point about the quality of!

my early attempts at the clarinet, I should point out that playing on the correct strength of reed, (and one that isn't too old), will ensure an acceptable sound from anyone. So how to find the correct strength? Read on!


How Strong is your Jaw?

Rico Reeds come in strengths 1-5 (not all brands do). If you're a complete beginner, buy a 1, a 1.5 and a 2. (You can buy reeds singly, both online and in shops. Some shops let you try the reed out before you buy it just in case it's a duffer (see above), but not all of them.) Try the 2 first. If you produce a sound quite easily and without pain, congratulations! You've found the right strength. If you find it takes lots of breath to get a note and you can hear air escaping from the side of your mouth as you blow, the reed is too hard. Try the 1.5, and repeat the process. Remember that with clarinet reeds, the only way is up! When you have been playing on your 1.5 for some time, try the 2 from time to time. Don't play for too long, as your jaw will tire easily and you may bite into your bottom lip. If this happens, your mouth will be too sore to play until it's healed, and you'll have to start with a softer reed again. Gradually increase your playing time, until you can play on the 2 with no problems. Then move on to the 2.5, and repeat the process.

If you stick with a softer reed once your jaw muscles have become stronger, your sound will deteriorate. Playing on a soft reed produces a buzzy kind of tone and can sound flat. Higher notes on the instrument are more difficult to reach with a softer reed, which is another reason why you need to climb that reed ladder! Sometimes reeds are a little bit too hard or a little bit too soft, without being impossible to play on. You don't have to chuck them away in cases like this, you can "doctor" them slightly to make them more playable: if the reed is too soft, trim a VERY narrow (hair's breadth) strip from the tip of the reed with a sharp knife. Or push another reed between it and the mouthpiece of the instrument, pushing it away from the rectangular hole in the mouthpiece slightly. If the reed is too hard, you can sand it a little. Use a piece of 220-grain sandpaper. Rub just a little, then test the reed- a tiny rub can produce a large difference (which is why they don't always get it right in the factory- it's a precision art!)

Breaking in Reeds

All new reeds need to be "broken in". They won't produce a consistent sound until they've been used a few times. Rico reeds are faster to break in than Vandoren. You need to wet the reed (in your mouth or with water- I prefer my mouth, but Rico advise water, as some people have very acidic saliva apparently, eeww), then play on it for just a few minutes each day, until the sound becomes consistent. It's good to have a few reeds "breaking" as you never know when you'll need a new one.


Replacing Reeds

It's easy to tell when your reed needs replacing- after serving you well for a week or 3 (depends how much you play), one day it'll just sound rubbish, completely different to the last time you used it. Every time it goes in your mouth the reed is getting attacked by various germs and other organisms, and your saliva begins the process of breaking down organic matter ready for your tummy, so it's no wonder that they don't last forever! Another obvious sign that you need a new reed is when you accidentally slice it in half while attaching it to the instrument, a tragically common event. (It's held onto your plastic mouthpiece by metal band called a ligature. This has quite sharp sides and if you're not careful it'll cut right through in one go. Don't worry though, I've never heard of anyone cutting their finger on one!)

Arundo Donax

This is the technical name for the reed plant which Rico and Vandoren use to make their reeds. It grows in India and the Mediterranean, and can get as high as 6 metres tall. If you live in the right climate you can grow it in your garden, but I wouldn't suggest trying to grow and make reeds yourself from scratch, although some fanatics do.....

Other Types of Reed

For the standard clarinet, you will be buying B♭ clarinet reeds. It's unlikely that you would buy the wrong reed size, as this is what 99% of people play on, but just for the record, there are also E♭ and bass clarinet reeds. E♭ reeds are for a smaller instrument, and bass clarinet reeds for a beast of an instrument, so neither will fit. The A clarinet takes the B♭ reed, as it is only very fractionally bigger than the B♭ instrument. (Orchestral players need two instruments, an "A" and a "B♭"; see for more on transposing instruments).

Final Verdict

The Rico clarinet reed is a great choice for the amateur player. They are reasonably priced, reasonably consistent within the box, and produce a nice sound. They are easy to get hold of and excellent value for money, especially if you frequently slice them in half! If you want to get serious on the instrument, you should probably move on to more expensive reeds from Vandoren.

Web-Programming: An Alternative To Unproductive Advertising

As of this writing the television writers in Hollywood are on strike. The significance of this strike will be felt far beyond the current television season and impact what and where people will get their entertainment in the future. People are now not only embracing the Web for their information needs but are also increasingly turning to it for their entertainment needs as well.

The Web will soon be 'the place' that fills the programming vacuum that network broadcasters have been unwilling and/or unable to fulfill. People were prepared to tolerate constant reruns, dreadful programming, and incessant repetitive ads as long as there was no alternative, but that is no loner the case. Viewers now have an option to bad television and it's the Web, but why should you care and more importantly how can you take advantage of the opportunity it creates?

Why Should You Care?

Information and entertainment have melded in recent years creating what has been dubbed 'infotainment.' It can be argued that the evening news has become more entertainment than hard news and let's not even get into venues like the History Channel where fact and fiction seem to be presented in equal and indistinguishable doses. So what does all this have to do with you and how you deliver your marketing message?

The time is coming, if it is not here already, that companies will not be able to get away with merely uploading online brochures and catalogues, or even extensive screeds singing the praises of every feature and benefit associated with their offering. People demand more, they insist your website be interesting, informative, and entertaining; and it is this aspect of entertainment that potentially makes your marketing presentation memorable.

What Is Web-Programming?

Web-programming takes the creative Web-video campaign concept and pushes it one step further up the evolutionary marketing scale by integrating the message into a programming environment.

This concept is not an entirely new idea, in fact one of the most noted television commercial campaigns of 1991 was the Taster's Choice soap opera-like series of spots that wove the marketing message into a courtship relationship between two apartment neighbors. In an environment where information and entertainment blur, it seems like an ideal solution to capturing an audience's attention and interest, and creating a viral buzz that few products or services can generate by presenting a bulleted list of features.

Build Brand Relationships

James E. Aisner, in his article 'More Than A Name: The Role of Brands in People's Lives' (HBS Working Knowledge For Business Leaders) references the research of Harvard Business School Professor, Susan M. Fournier, "Fournier has created a typology of fifteen different types of relationships between consumers and their brands." These brand relationships include the secret affair, the best friend, kinship, the fling, courtship, the marriage-of-convenience, casual friendship, childhood friendship, mother and child, and master-slave.

What kind of relationship does your brand have with your audience? Is it a short-term fling that starts with a lot of heat and passion and then quickly cools-off, or is it a long-term marriage that will last a lifetime? Finding, and promoting the most appropriate and beneficial brand relationship is the marketing goal of your Web-programming marketing initiative.

Part of the problem many smaller organizations have in developing successful marketing campaigns is that they think in terms of products and services rather than brands; features and benefits rather than relationships. Almost every product or service on the market can be replaced with a competitive substitute, but brands are much harder to replace; brands create a competitive barrier through the development of relationships based on prototypical psychological and emotional factors, the same kinds of factors that govern your personal relationships.

Generate Trust, Confidence, Loyalty and Passion

In his article, "A Brand New You," (Psychology Today), W. Eric Martin tells us that brands came into vogue in the post Civil War era as a response to an increasing mobile population that began to lose touch with local merchants and shopkeepers. Brands became a substitute for the personal relationships that people had with their suppliers. This seemingly minor historic fact helps us understand the significance of brands in today's Web-centric marketplace.

Today's consumer-client, whether retail or business-to-business is more remote, more isolated from the supplier than ever before. The Web allows us to market our products and services anywhere in the world, but in order to actually make a sale, we must establish a relationship that generates a sufficient level of trust, confidence, loyalty and passion. Sneer if you will at the passion and loyalty most Macintosh users have for their computers, but what other computer company can claim such brand allegiance?

Relationships Are Based On Psychological Needs

At the heart of any relationship is the emotional or psychological need that that relationship fulfills. If you haven't found that connection in what you do then you are at a definite competitive disadvantage; and you are competing on the most fickle and transient of factors: price and features. In business, there will always be someone who is prepared to sell a substitute product or service for less, or with more bells and whistles. So why would you ever want to compete on that basis?

It really doesn't matter what business you're in, there is always some emotional or psychological component to what you do. The iPod is the market leader in its category despite numerous competitors; it holds that position not because it's the cheapest, which it definitely isn't, or the product with the most features, which it probably is, but because it's an iPod - not a tool but a status symbol, a badge of intelligence and taste, a brand relationship akin to being a member of the coolest club in town.

Web-programming Development

In short, Web-programming is a marketing campaign based on a series of episodic Web-videos tied together by plotline and character development; an ongoing initiative that weaves into its storyline the marketing pitch. The integration of the marketing pitch can be done subtly using product placement techniques or overtly making the pitch part of the story arc.

This marketing technique is not for everyone; it is certainly not for the unsophisticated or for the marketer who is afraid to experiment or to take a chance.

If you are looking for an instant direct financial return like a big sale sign in your storefront window then you are not looking for marketing, you're looking for promotions. Marketing is all about building a brand relationship with your audience. The more time and effort you invest in marketing, the more solid your brand relationship will be, and the more appropriate the clients you'll attract and keep.

Web-programming - Where To Begin

There are four minimal requirements needed to create an episodic Web-video marketing campaign: need identification, point-of-view, attitude, and transformation. These are the same elements defined by Syd Field, the well-respected author, producer, screenwriter, and lecturer, in his book, "The Screenwriter's Workbook;" and they are the same elements that all top-notch salesmen use to build client-relationships - ask yourself - have you ever met a top salesman who wasn't a great storyteller?

Need Identification

Like all episodic series yours will need a hero or protagonist; this is the person your audience will identify with and who will act as their surrogate.

Your protagonist must be searching for something that relates to the emotional or psychological need fulfilled by your product or service. Anyone who has ever had to deal with an insurance company certainly understands the Geico caveman's need for respect. His frustration is the perfect foil for the company's marketing message, 'it's so easy a caveman can do it.' We are all cavemen at heart, seeking respect from big business bureaucracies that make us jump through hoops just to place an order.

Point-of-View

You must present your material from a particular point-of-view. Is your presentation told from the protagonist's point-of-view or is it told from an objective observer's, perhaps through voice-over. It can even be counter-intuitive and be told from an antagonist's point-of-view.

If your scenario is more procedural based, you can even present it from different points-of-view each delivering alternative perspectives, each highlighting different aspects of the emotional fulfillment.

Attitude

Attitude is especially important for Web-based presentations, but it is also one of the scariest aspects of marketing for the faint-of-heart. All too often businesses shy away from bold statements, or extreme displays for fear of alienating some segment of the audience, but it's attitude that grabs people's attention, makes the presentation memorable, and qualifies leads and inquiries.

Transformation

One of the hardest things a commercial-based episodic series has to deal with is story arc. What change takes place over the life of the series and is the campaign concept strong enough to sustain itself? What transformation takes place? Does your protagonist find fulfillment or does he fail to find the emotional or psychological answer he's looking for. If you're not sure what deep-seated need your product or service satisfies, find the conflict.

All stories are based on conflict, frustration, and desire, whether it's the search for 'whiter whites' or better insurance. If your concept is without conflict, you are not illustrating the need for your solution.

You can show successful transformation based on the adoption of your solution or you can show failure whichever works best for what you're marketing and the audience you are trying to attract.

Conclusion

The Web has from its infancy provided business with enormous marketing opportunities. As the Web's capabilities increase over time, these opportunities increase as well. As much as other media tries to adapt to the competitive pressures created by the Web, old methods and attitudes die-hard; the writer's strike being just one example of a group trying to maintain dominance in an environment they cannot control. The opportunities are there to make your marketing mark if you have the courage to act.

Web-Programming: An Alternative To Unproductive Advertising

As of this writing the television writers in Hollywood are on strike. The significance of this strike will be felt far beyond the current television season and impact what and where people will get their entertainment in the future. People are now not only embracing the Web for their information needs but are also increasingly turning to it for their entertainment needs as well.

The Web will soon be 'the place' that fills the programming vacuum that network broadcasters have been unwilling and/or unable to fulfill. People were prepared to tolerate constant reruns, dreadful programming, and incessant repetitive ads as long as there was no alternative, but that is no loner the case. Viewers now have an option to bad television and it's the Web, but why should you care and more importantly how can you take advantage of the opportunity it creates?

Why Should You Care?

Information and entertainment have melded in recent years creating what has been dubbed 'infotainment.' It can be argued that the evening news has become more entertainment than hard news and let's not even get into venues like the History Channel where fact and fiction seem to be presented in equal and indistinguishable doses. So what does all this have to do with you and how you deliver your marketing message?

The time is coming, if it is not here already, that companies will not be able to get away with merely uploading online brochures and catalogues, or even extensive screeds singing the praises of every feature and benefit associated with their offering. People demand more, they insist your website be interesting, informative, and entertaining; and it is this aspect of entertainment that potentially makes your marketing presentation memorable.

What Is Web-Programming?

Web-programming takes the creative Web-video campaign concept and pushes it one step further up the evolutionary marketing scale by integrating the message into a programming environment.

This concept is not an entirely new idea, in fact one of the most noted television commercial campaigns of 1991 was the Taster's Choice soap opera-like series of spots that wove the marketing message into a courtship relationship between two apartment neighbors. In an environment where information and entertainment blur, it seems like an ideal solution to capturing an audience's attention and interest, and creating a viral buzz that few products or services can generate by presenting a bulleted list of features.

Build Brand Relationships

James E. Aisner, in his article 'More Than A Name: The Role of Brands in People's Lives' (HBS Working Knowledge For Business Leaders) references the research of Harvard Business School Professor, Susan M. Fournier, "Fournier has created a typology of fifteen different types of relationships between consumers and their brands." These brand relationships include the secret affair, the best friend, kinship, the fling, courtship, the marriage-of-convenience, casual friendship, childhood friendship, mother and child, and master-slave.

What kind of relationship does your brand have with your audience? Is it a short-term fling that starts with a lot of heat and passion and then quickly cools-off, or is it a long-term marriage that will last a lifetime? Finding, and promoting the most appropriate and beneficial brand relationship is the marketing goal of your Web-programming marketing initiative.

Part of the problem many smaller organizations have in developing successful marketing campaigns is that they think in terms of products and services rather than brands; features and benefits rather than relationships. Almost every product or service on the market can be replaced with a competitive substitute, but brands are much harder to replace; brands create a competitive barrier through the development of relationships based on prototypical psychological and emotional factors, the same kinds of factors that govern your personal relationships.

Generate Trust, Confidence, Loyalty and Passion

In his article, "A Brand New You," (Psychology Today), W. Eric Martin tells us that brands came into vogue in the post Civil War era as a response to an increasing mobile population that began to lose touch with local merchants and shopkeepers. Brands became a substitute for the personal relationships that people had with their suppliers. This seemingly minor historic fact helps us understand the significance of brands in today's Web-centric marketplace.

Today's consumer-client, whether retail or business-to-business is more remote, more isolated from the supplier than ever before. The Web allows us to market our products and services anywhere in the world, but in order to actually make a sale, we must establish a relationship that generates a sufficient level of trust, confidence, loyalty and passion. Sneer if you will at the passion and loyalty most Macintosh users have for their computers, but what other computer company can claim such brand allegiance?

Relationships Are Based On Psychological Needs

At the heart of any relationship is the emotional or psychological need that that relationship fulfills. If you haven't found that connection in what you do then you are at a definite competitive disadvantage; and you are competing on the most fickle and transient of factors: price and features. In business, there will always be someone who is prepared to sell a substitute product or service for less, or with more bells and whistles. So why would you ever want to compete on that basis?

It really doesn't matter what business you're in, there is always some emotional or psychological component to what you do. The iPod is the market leader in its category despite numerous competitors; it holds that position not because it's the cheapest, which it definitely isn't, or the product with the most features, which it probably is, but because it's an iPod - not a tool but a status symbol, a badge of intelligence and taste, a brand relationship akin to being a member of the coolest club in town.

Web-programming Development

In short, Web-programming is a marketing campaign based on a series of episodic Web-videos tied together by plotline and character development; an ongoing initiative that weaves into its storyline the marketing pitch. The integration of the marketing pitch can be done subtly using product placement techniques or overtly making the pitch part of the story arc.

This marketing technique is not for everyone; it is certainly not for the unsophisticated or for the marketer who is afraid to experiment or to take a chance.

If you are looking for an instant direct financial return like a big sale sign in your storefront window then you are not looking for marketing, you're looking for promotions. Marketing is all about building a brand relationship with your audience. The more time and effort you invest in marketing, the more solid your brand relationship will be, and the more appropriate the clients you'll attract and keep.

Web-programming - Where To Begin

There are four minimal requirements needed to create an episodic Web-video marketing campaign: need identification, point-of-view, attitude, and transformation. These are the same elements defined by Syd Field, the well-respected author, producer, screenwriter, and lecturer, in his book, "The Screenwriter's Workbook;" and they are the same elements that all top-notch salesmen use to build client-relationships - ask yourself - have you ever met a top salesman who wasn't a great storyteller?

Need Identification

Like all episodic series yours will need a hero or protagonist; this is the person your audience will identify with and who will act as their surrogate.

Your protagonist must be searching for something that relates to the emotional or psychological need fulfilled by your product or service. Anyone who has ever had to deal with an insurance company certainly understands the Geico caveman's need for respect. His frustration is the perfect foil for the company's marketing message, 'it's so easy a caveman can do it.' We are all cavemen at heart, seeking respect from big business bureaucracies that make us jump through hoops just to place an order.

Point-of-View

You must present your material from a particular point-of-view. Is your presentation told from the protagonist's point-of-view or is it told from an objective observer's, perhaps through voice-over. It can even be counter-intuitive and be told from an antagonist's point-of-view.

If your scenario is more procedural based, you can even present it from different points-of-view each delivering alternative perspectives, each highlighting different aspects of the emotional fulfillment.

Attitude

Attitude is especially important for Web-based presentations, but it is also one of the scariest aspects of marketing for the faint-of-heart. All too often businesses shy away from bold statements, or extreme displays for fear of alienating some segment of the audience, but it's attitude that grabs people's attention, makes the presentation memorable, and qualifies leads and inquiries.

Transformation

One of the hardest things a commercial-based episodic series has to deal with is story arc. What change takes place over the life of the series and is the campaign concept strong enough to sustain itself? What transformation takes place? Does your protagonist find fulfillment or does he fail to find the emotional or psychological answer he's looking for. If you're not sure what deep-seated need your product or service satisfies, find the conflict.

All stories are based on conflict, frustration, and desire, whether it's the search for 'whiter whites' or better insurance. If your concept is without conflict, you are not illustrating the need for your solution.

You can show successful transformation based on the adoption of your solution or you can show failure whichever works best for what you're marketing and the audience you are trying to attract.

Conclusion

The Web has from its infancy provided business with enormous marketing opportunities. As the Web's capabilities increase over time, these opportunities increase as well. As much as other media tries to adapt to the competitive pressures created by the Web, old methods and attitudes die-hard; the writer's strike being just one example of a group trying to maintain dominance in an environment they cannot control. The opportunities are there to make your marketing mark if you have the courage to act.

Web-Programming: An Alternative To Unproductive Advertising

As of this writing the television writers in Hollywood are on strike. The significance of this strike will be felt far beyond the current television season and impact what and where people will get their entertainment in the future. People are now not only embracing the Web for their information needs but are also increasingly turning to it for their entertainment needs as well.

The Web will soon be 'the place' that fills the programming vacuum that network broadcasters have been unwilling and/or unable to fulfill. People were prepared to tolerate constant reruns, dreadful programming, and incessant repetitive ads as long as there was no alternative, but that is no loner the case. Viewers now have an option to bad television and it's the Web, but why should you care and more importantly how can you take advantage of the opportunity it creates?

Why Should You Care?

Information and entertainment have melded in recent years creating what has been dubbed 'infotainment.' It can be argued that the evening news has become more entertainment than hard news and let's not even get into venues like the History Channel where fact and fiction seem to be presented in equal and indistinguishable doses. So what does all this have to do with you and how you deliver your marketing message?

The time is coming, if it is not here already, that companies will not be able to get away with merely uploading online brochures and catalogues, or even extensive screeds singing the praises of every feature and benefit associated with their offering. People demand more, they insist your website be interesting, informative, and entertaining; and it is this aspect of entertainment that potentially makes your marketing presentation memorable.

What Is Web-Programming?

Web-programming takes the creative Web-video campaign concept and pushes it one step further up the evolutionary marketing scale by integrating the message into a programming environment.

This concept is not an entirely new idea, in fact one of the most noted television commercial campaigns of 1991 was the Taster's Choice soap opera-like series of spots that wove the marketing message into a courtship relationship between two apartment neighbors. In an environment where information and entertainment blur, it seems like an ideal solution to capturing an audience's attention and interest, and creating a viral buzz that few products or services can generate by presenting a bulleted list of features.

Build Brand Relationships

James E. Aisner, in his article 'More Than A Name: The Role of Brands in People's Lives' (HBS Working Knowledge For Business Leaders) references the research of Harvard Business School Professor, Susan M. Fournier, "Fournier has created a typology of fifteen different types of relationships between consumers and their brands." These brand relationships include the secret affair, the best friend, kinship, the fling, courtship, the marriage-of-convenience, casual friendship, childhood friendship, mother and child, and master-slave.

What kind of relationship does your brand have with your audience? Is it a short-term fling that starts with a lot of heat and passion and then quickly cools-off, or is it a long-term marriage that will last a lifetime? Finding, and promoting the most appropriate and beneficial brand relationship is the marketing goal of your Web-programming marketing initiative.

Part of the problem many smaller organizations have in developing successful marketing campaigns is that they think in terms of products and services rather than brands; features and benefits rather than relationships. Almost every product or service on the market can be replaced with a competitive substitute, but brands are much harder to replace; brands create a competitive barrier through the development of relationships based on prototypical psychological and emotional factors, the same kinds of factors that govern your personal relationships.

Generate Trust, Confidence, Loyalty and Passion

In his article, "A Brand New You," (Psychology Today), W. Eric Martin tells us that brands came into vogue in the post Civil War era as a response to an increasing mobile population that began to lose touch with local merchants and shopkeepers. Brands became a substitute for the personal relationships that people had with their suppliers. This seemingly minor historic fact helps us understand the significance of brands in today's Web-centric marketplace.

Today's consumer-client, whether retail or business-to-business is more remote, more isolated from the supplier than ever before. The Web allows us to market our products and services anywhere in the world, but in order to actually make a sale, we must establish a relationship that generates a sufficient level of trust, confidence, loyalty and passion. Sneer if you will at the passion and loyalty most Macintosh users have for their computers, but what other computer company can claim such brand allegiance?

Relationships Are Based On Psychological Needs

At the heart of any relationship is the emotional or psychological need that that relationship fulfills. If you haven't found that connection in what you do then you are at a definite competitive disadvantage; and you are competing on the most fickle and transient of factors: price and features. In business, there will always be someone who is prepared to sell a substitute product or service for less, or with more bells and whistles. So why would you ever want to compete on that basis?

It really doesn't matter what business you're in, there is always some emotional or psychological component to what you do. The iPod is the market leader in its category despite numerous competitors; it holds that position not because it's the cheapest, which it definitely isn't, or the product with the most features, which it probably is, but because it's an iPod - not a tool but a status symbol, a badge of intelligence and taste, a brand relationship akin to being a member of the coolest club in town.

Web-programming Development

In short, Web-programming is a marketing campaign based on a series of episodic Web-videos tied together by plotline and character development; an ongoing initiative that weaves into its storyline the marketing pitch. The integration of the marketing pitch can be done subtly using product placement techniques or overtly making the pitch part of the story arc.

This marketing technique is not for everyone; it is certainly not for the unsophisticated or for the marketer who is afraid to experiment or to take a chance.

If you are looking for an instant direct financial return like a big sale sign in your storefront window then you are not looking for marketing, you're looking for promotions. Marketing is all about building a brand relationship with your audience. The more time and effort you invest in marketing, the more solid your brand relationship will be, and the more appropriate the clients you'll attract and keep.

Web-programming - Where To Begin

There are four minimal requirements needed to create an episodic Web-video marketing campaign: need identification, point-of-view, attitude, and transformation. These are the same elements defined by Syd Field, the well-respected author, producer, screenwriter, and lecturer, in his book, "The Screenwriter's Workbook;" and they are the same elements that all top-notch salesmen use to build client-relationships - ask yourself - have you ever met a top salesman who wasn't a great storyteller?

Need Identification

Like all episodic series yours will need a hero or protagonist; this is the person your audience will identify with and who will act as their surrogate.

Your protagonist must be searching for something that relates to the emotional or psychological need fulfilled by your product or service. Anyone who has ever had to deal with an insurance company certainly understands the Geico caveman's need for respect. His frustration is the perfect foil for the company's marketing message, 'it's so easy a caveman can do it.' We are all cavemen at heart, seeking respect from big business bureaucracies that make us jump through hoops just to place an order.

Point-of-View

You must present your material from a particular point-of-view. Is your presentation told from the protagonist's point-of-view or is it told from an objective observer's, perhaps through voice-over. It can even be counter-intuitive and be told from an antagonist's point-of-view.

If your scenario is more procedural based, you can even present it from different points-of-view each delivering alternative perspectives, each highlighting different aspects of the emotional fulfillment.

Attitude

Attitude is especially important for Web-based presentations, but it is also one of the scariest aspects of marketing for the faint-of-heart. All too often businesses shy away from bold statements, or extreme displays for fear of alienating some segment of the audience, but it's attitude that grabs people's attention, makes the presentation memorable, and qualifies leads and inquiries.

Transformation

One of the hardest things a commercial-based episodic series has to deal with is story arc. What change takes place over the life of the series and is the campaign concept strong enough to sustain itself? What transformation takes place? Does your protagonist find fulfillment or does he fail to find the emotional or psychological answer he's looking for. If you're not sure what deep-seated need your product or service satisfies, find the conflict.

All stories are based on conflict, frustration, and desire, whether it's the search for 'whiter whites' or better insurance. If your concept is without conflict, you are not illustrating the need for your solution.

You can show successful transformation based on the adoption of your solution or you can show failure whichever works best for what you're marketing and the audience you are trying to attract.

Conclusion

The Web has from its infancy provided business with enormous marketing opportunities. As the Web's capabilities increase over time, these opportunities increase as well. As much as other media tries to adapt to the competitive pressures created by the Web, old methods and attitudes die-hard; the writer's strike being just one example of a group trying to maintain dominance in an environment they cannot control. The opportunities are there to make your marketing mark if you have the courage to act.

Sex Crimes and Their Defense in Minnesota

Under Minnesota law, criminal sexual conduct or sex crimes may include: rape, statutory rape, unwanted sexual contact, criminal sexual assault, child pornography, child solicitation or child enticement, solicitation of mentally impaired persons, sodomy, incest, fornication, pimping, and prostitution. Some prohibitions, like those against sodomy and fornication, are technically still on the books, but rarely enforced.

The Minnesota Office of the Legislative Auditor has the following statistics on sexual conduct and sexual assault crimes:

The number of reported sex offenses in Minnesota increased almost threefold between 1971 and 1984, but has remained relatively constant since then.

The number of sex offenses (sexual assault, rape, sexual conduct) reported to the police increased from 2,303 offenses in 1971 to 6,589 offenses in 1984. In 1993, 6,439 sex offenses were reported, of which 49 percent resulted in an arrest.

Between 1981 and 1992, adult convictions for sex offenses involving force remained at the level of 145 to 190 each year, but convictions for child sexual abuse nearly tripled, rising from 160 to 461, and convictions for interfamilial sex abuse increasing from 3 to 154.

Reflecting these trends, about 90 percent of the victims of convicted sex offenders were children or adolescents. Nearly all of the victims of adjudicated juvenile offenders were under 18 years old, as were 84 percent of the victims of adult offenders (with 46 percent under age 13). Nearly all convicted sex offenders (97 percent) were male and most of their victims were female, although 18 percent of the victims of juvenile offenders and 13 percent of the victims of adult offenders were male.

Criminal sexual conduct is divided into four degrees depending upon the age of the victim, age of the accused, whether force is used, and the existence of any special relationship between the parties, such as parent-child or physician-patient. In Minnesota, judges are required to double the punishment imposed on a pattern sex offender, which is someone who repeats or is likely to repeat a sex crime, or someone who plans the crime. Moreover, if convicted of a sex crime, offenders must register with police departments across the state.

FIRST DEGREE. First Degree sexual conduct/assault requires sexual penetration with another person. Remember - A mistake regarding the complainant's age or consent by the underage person is not a defense to a sexual conduct crime.

Age Difference. The complainant is under 13 years of age and the actor is more than 36 months older than the complainant; or the complainant is at least 13 years of age but less than 16 years of age and the actor is more than 48 months older than the complainant and in a position of authority.

Fear of Great Harm. Circumstances existing at the time of the act cause the complainant to have a reasonable fear of imminent great bodily harm to the complainant or another;

Armed with Weapon. The actor is armed with a dangerous weapon or any article used or fashioned in a manner to lead the complainant to reasonably believe it to be a dangerous weapon and uses or threatens to use the weapon or article to cause the complainant to submit;

Personal Injury. The actor causes personal injury to the complainant, and either of the following circumstances exist:

The actor uses force or coercion to accomplish sexual penetration; or

The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless;

The actor is aided or abetted by one or more accomplices and force or coercion is used or the accomplice is armed with a dangerous weapon.

Significant Relationship. A significant relationship generally means that the parties live together. It is a crime if the actor has a significant relationship to the complainant and the complainant was under 16 years of age at the time of the sexual penetration.

Penalty. Not more than 30 years and a fine of not more than $40,000. There is a presumptive executed sentence of 144 months.

SECOND DEGREE. Second degree criminal sexual conduct/assault does not require penetration. Instead, it involves "sexual contact." Sexual contact has been defined by case law to mean touching of the genital area, breast, inner thigh, or buttocks with a sexual intent. The sexual touching may occur on the flesh or through the clothing.

Age Difference. The complainant is under 13 years of age and the actor is more than 36 months older than the complainant; or the complainant is at least 13 years of age but less than 16 years of age and the actor is more than 48 months older than the complainant and in a position of authority.

Fear of Great Harm. Circumstances existing at the time of the act cause the complainant to have a reasonable fear of imminent great bodily harm to the complainant or another;

Armed with Weapon. The actor is armed with a dangerous weapon or any article used or fashioned in a manner to lead the complainant to reasonably believe it to be a dangerous weapon and uses or threatens to use the weapon or article to cause the complainant to submit;

Personal Injury. The actor causes personal injury to the complainant, and either of the following circumstances exist:

The actor uses force or coercion to accomplish sexual penetration; or

The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless;

The actor is aided or abetted by one or more accomplices and force or coercion is used or the accomplice is armed with a dangerous weapon.

Significant Relationship. A significant relationship generally means that the parties live together. It is a crime if the actor has a significant relationship to the complainant and the complainant was under 16 years of age at the time of the sexual penetration.

Penalty. Not more than 25 years and payment of a fine of not more than $35,000.

THIRD DEGREE. Third degree criminal sexual conduct is similar to first degree in that it requires sexual penetration. Penetration is liberally construed to included penetration of the anal or genital openings and specifically includes digital and oral penetration. Third degree sexual conduct is generally charged for behavior that is not as extreme as first degree sexual assault.

Age Difference. The complainant is under 13 years of age and the actor is more than 36 months older than the complainant; or the complainant is at least 13 but less than 16 years of age and the actor is more than 24 months older than the complainant. In any such case it shall be an affirmative defense, which must be proved by a preponderance of the evidence, that the actor believes the complainant to be 16 years of age or older. Consent by the complainant is not a defense.

Force or Coercion. the actor uses force or coercion to accomplish the penetration

Mental & Physical Infirmity of Victim. The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless.

Position of Authority. The complainant is at least 16 but less than 18 years of age and the actor is more than 48 months older than the complainant and in a position of authority over the complainant. Neither mistake as to the complainant's age nor consent to the act by the complainant is a defense.

Penalty. If the actor in such a case is no more than 48 months but more than 24 months older than the complainant, the actor may be sentenced to imprisonment for not more than five years. Otherwise a person convicted may be sentenced to imprisonment for not more than 15 years and a payment of not more than $30,000.

FOURTH DEGREE. A person who engages in sexual contact with another person is guilty of criminal sexual conduct in the fourth degree if any of the following circumstances exists:

Age Difference. The complainant is under 13 years of age and the actor is no more than 36 months older than the complainant. Neither mistake as to the complainant's age or consent to the act by the complainant is a defense. In a prosecution under this clause, the state is not required to prove that the sexual contact was coerced. Additionally, if the complainant is at least 13 but less than 16 years of age and the actor is more than 48 months older than the complainant or in a position of authority over the complainant fourth degree sexual conduct may be charged. Consent by the complainant to the act is not a defense. In any such case, it shall be an affirmative defense which must be proved by a preponderance of the evidence that the actor believes the complainant to be 16 years of age or older.

Force or Coercion. The actor uses force or coercion to accomplish the sexual contact.

Mental & Physical Infirmity of Victim. The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless.

Position of Authority. The complainant is at least 16 but less than 18 years of age and the actor is more than 48 months older than the complainant and in a position of authority over the complainant. Neither mistake as to the complainant's age nor consent to the act by the complainant is a defense.

Significant Relationship. The actor has a significant relationship to the complainant and the complainant was at least 16 but under 18 years of age at the time of the sexual contact.

Penalty. A person convicted may be sentenced to not more than ten years and a payment of a fine of not more than $20,000.

FIFTH DEGREE. A person is guilty of criminal sexual conduct in the fifth degree:

(1) if the person engages in nonconsensual sexual contact; or

(2) the person engages in masturbation or lewd exhibition of the genitals in the presence of a minor under the age of 16, knowing or having reason to know the minor is present.

"Sexual contact" does not include the intentional touching of the clothing covering the immediate area of the buttocks. Sexual contact does includes the intentional removal or attempted removal of clothing covering the complainant's intimate parts or undergarments, and the nonconsensual touching by the complainant of the actor's intimate parts, effected by the actor, if the action is performed with sexual or aggressive intent.

. Penalty. A person convicted may be sentenced to imprisonment for not more than one year and payment of a fine of not more than $3,000. The charge may be increased to a felony with imprisonment for not more than five years and payment of $10,000, if the person has prior violations.

AGGRESSIVE DEFENSE

In today's world much hysteria and controversy swirls around sexual abuse. A person accused may find that even if acquitted they are looked upon with suspicion and fear. The allegation itself can carry with significant stigma and social repercussions. Too often, prosecutors charge out criminal sexual conduct cases based solely on an allegation. There is often little physical evidence. Though it may seem the case is weak, an aggressive and proactive defense is necessary. That may include hiring experts to review witness interviews for suggestive language and improper techniques.

If you are accused take these steps:

Do not give any statements to law enforcement and do not discuss the case with any other people until you have retained legal counsel;

Hire an experienced criminal defense lawyer;

Write down the names of potential helpful witnesses;

Only after retaining a lawyer should you make written notes regarding the allegations. these should be provided to your lawyer.

Sex Crimes and Their Defense in Minnesota

Under Minnesota law, criminal sexual conduct or sex crimes may include: rape, statutory rape, unwanted sexual contact, criminal sexual assault, child pornography, child solicitation or child enticement, solicitation of mentally impaired persons, sodomy, incest, fornication, pimping, and prostitution. Some prohibitions, like those against sodomy and fornication, are technically still on the books, but rarely enforced.

The Minnesota Office of the Legislative Auditor has the following statistics on sexual conduct and sexual assault crimes:

The number of reported sex offenses in Minnesota increased almost threefold between 1971 and 1984, but has remained relatively constant since then.

The number of sex offenses (sexual assault, rape, sexual conduct) reported to the police increased from 2,303 offenses in 1971 to 6,589 offenses in 1984. In 1993, 6,439 sex offenses were reported, of which 49 percent resulted in an arrest.

Between 1981 and 1992, adult convictions for sex offenses involving force remained at the level of 145 to 190 each year, but convictions for child sexual abuse nearly tripled, rising from 160 to 461, and convictions for interfamilial sex abuse increasing from 3 to 154.

Reflecting these trends, about 90 percent of the victims of convicted sex offenders were children or adolescents. Nearly all of the victims of adjudicated juvenile offenders were under 18 years old, as were 84 percent of the victims of adult offenders (with 46 percent under age 13). Nearly all convicted sex offenders (97 percent) were male and most of their victims were female, although 18 percent of the victims of juvenile offenders and 13 percent of the victims of adult offenders were male.

Criminal sexual conduct is divided into four degrees depending upon the age of the victim, age of the accused, whether force is used, and the existence of any special relationship between the parties, such as parent-child or physician-patient. In Minnesota, judges are required to double the punishment imposed on a pattern sex offender, which is someone who repeats or is likely to repeat a sex crime, or someone who plans the crime. Moreover, if convicted of a sex crime, offenders must register with police departments across the state.

FIRST DEGREE. First Degree sexual conduct/assault requires sexual penetration with another person. Remember - A mistake regarding the complainant's age or consent by the underage person is not a defense to a sexual conduct crime.

Age Difference. The complainant is under 13 years of age and the actor is more than 36 months older than the complainant; or the complainant is at least 13 years of age but less than 16 years of age and the actor is more than 48 months older than the complainant and in a position of authority.

Fear of Great Harm. Circumstances existing at the time of the act cause the complainant to have a reasonable fear of imminent great bodily harm to the complainant or another;

Armed with Weapon. The actor is armed with a dangerous weapon or any article used or fashioned in a manner to lead the complainant to reasonably believe it to be a dangerous weapon and uses or threatens to use the weapon or article to cause the complainant to submit;

Personal Injury. The actor causes personal injury to the complainant, and either of the following circumstances exist:

The actor uses force or coercion to accomplish sexual penetration; or

The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless;

The actor is aided or abetted by one or more accomplices and force or coercion is used or the accomplice is armed with a dangerous weapon.

Significant Relationship. A significant relationship generally means that the parties live together. It is a crime if the actor has a significant relationship to the complainant and the complainant was under 16 years of age at the time of the sexual penetration.

Penalty. Not more than 30 years and a fine of not more than $40,000. There is a presumptive executed sentence of 144 months.

SECOND DEGREE. Second degree criminal sexual conduct/assault does not require penetration. Instead, it involves "sexual contact." Sexual contact has been defined by case law to mean touching of the genital area, breast, inner thigh, or buttocks with a sexual intent. The sexual touching may occur on the flesh or through the clothing.

Age Difference. The complainant is under 13 years of age and the actor is more than 36 months older than the complainant; or the complainant is at least 13 years of age but less than 16 years of age and the actor is more than 48 months older than the complainant and in a position of authority.

Fear of Great Harm. Circumstances existing at the time of the act cause the complainant to have a reasonable fear of imminent great bodily harm to the complainant or another;

Armed with Weapon. The actor is armed with a dangerous weapon or any article used or fashioned in a manner to lead the complainant to reasonably believe it to be a dangerous weapon and uses or threatens to use the weapon or article to cause the complainant to submit;

Personal Injury. The actor causes personal injury to the complainant, and either of the following circumstances exist:

The actor uses force or coercion to accomplish sexual penetration; or

The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless;

The actor is aided or abetted by one or more accomplices and force or coercion is used or the accomplice is armed with a dangerous weapon.

Significant Relationship. A significant relationship generally means that the parties live together. It is a crime if the actor has a significant relationship to the complainant and the complainant was under 16 years of age at the time of the sexual penetration.

Penalty. Not more than 25 years and payment of a fine of not more than $35,000.

THIRD DEGREE. Third degree criminal sexual conduct is similar to first degree in that it requires sexual penetration. Penetration is liberally construed to included penetration of the anal or genital openings and specifically includes digital and oral penetration. Third degree sexual conduct is generally charged for behavior that is not as extreme as first degree sexual assault.

Age Difference. The complainant is under 13 years of age and the actor is more than 36 months older than the complainant; or the complainant is at least 13 but less than 16 years of age and the actor is more than 24 months older than the complainant. In any such case it shall be an affirmative defense, which must be proved by a preponderance of the evidence, that the actor believes the complainant to be 16 years of age or older. Consent by the complainant is not a defense.

Force or Coercion. the actor uses force or coercion to accomplish the penetration

Mental & Physical Infirmity of Victim. The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless.

Position of Authority. The complainant is at least 16 but less than 18 years of age and the actor is more than 48 months older than the complainant and in a position of authority over the complainant. Neither mistake as to the complainant's age nor consent to the act by the complainant is a defense.

Penalty. If the actor in such a case is no more than 48 months but more than 24 months older than the complainant, the actor may be sentenced to imprisonment for not more than five years. Otherwise a person convicted may be sentenced to imprisonment for not more than 15 years and a payment of not more than $30,000.

FOURTH DEGREE. A person who engages in sexual contact with another person is guilty of criminal sexual conduct in the fourth degree if any of the following circumstances exists:

Age Difference. The complainant is under 13 years of age and the actor is no more than 36 months older than the complainant. Neither mistake as to the complainant's age or consent to the act by the complainant is a defense. In a prosecution under this clause, the state is not required to prove that the sexual contact was coerced. Additionally, if the complainant is at least 13 but less than 16 years of age and the actor is more than 48 months older than the complainant or in a position of authority over the complainant fourth degree sexual conduct may be charged. Consent by the complainant to the act is not a defense. In any such case, it shall be an affirmative defense which must be proved by a preponderance of the evidence that the actor believes the complainant to be 16 years of age or older.

Force or Coercion. The actor uses force or coercion to accomplish the sexual contact.

Mental & Physical Infirmity of Victim. The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless.

Position of Authority. The complainant is at least 16 but less than 18 years of age and the actor is more than 48 months older than the complainant and in a position of authority over the complainant. Neither mistake as to the complainant's age nor consent to the act by the complainant is a defense.

Significant Relationship. The actor has a significant relationship to the complainant and the complainant was at least 16 but under 18 years of age at the time of the sexual contact.

Penalty. A person convicted may be sentenced to not more than ten years and a payment of a fine of not more than $20,000.

FIFTH DEGREE. A person is guilty of criminal sexual conduct in the fifth degree:

(1) if the person engages in nonconsensual sexual contact; or

(2) the person engages in masturbation or lewd exhibition of the genitals in the presence of a minor under the age of 16, knowing or having reason to know the minor is present.

"Sexual contact" does not include the intentional touching of the clothing covering the immediate area of the buttocks. Sexual contact does includes the intentional removal or attempted removal of clothing covering the complainant's intimate parts or undergarments, and the nonconsensual touching by the complainant of the actor's intimate parts, effected by the actor, if the action is performed with sexual or aggressive intent.

. Penalty. A person convicted may be sentenced to imprisonment for not more than one year and payment of a fine of not more than $3,000. The charge may be increased to a felony with imprisonment for not more than five years and payment of $10,000, if the person has prior violations.

AGGRESSIVE DEFENSE

In today's world much hysteria and controversy swirls around sexual abuse. A person accused may find that even if acquitted they are looked upon with suspicion and fear. The allegation itself can carry with significant stigma and social repercussions. Too often, prosecutors charge out criminal sexual conduct cases based solely on an allegation. There is often little physical evidence. Though it may seem the case is weak, an aggressive and proactive defense is necessary. That may include hiring experts to review witness interviews for suggestive language and improper techniques.

If you are accused take these steps:

Do not give any statements to law enforcement and do not discuss the case with any other people until you have retained legal counsel;

Hire an experienced criminal defense lawyer;

Write down the names of potential helpful witnesses;

Only after retaining a lawyer should you make written notes regarding the allegations. these should be provided to your lawyer.

Sex Crimes and Their Defense in Minnesota

Under Minnesota law, criminal sexual conduct or sex crimes may include: rape, statutory rape, unwanted sexual contact, criminal sexual assault, child pornography, child solicitation or child enticement, solicitation of mentally impaired persons, sodomy, incest, fornication, pimping, and prostitution. Some prohibitions, like those against sodomy and fornication, are technically still on the books, but rarely enforced.

The Minnesota Office of the Legislative Auditor has the following statistics on sexual conduct and sexual assault crimes:

The number of reported sex offenses in Minnesota increased almost threefold between 1971 and 1984, but has remained relatively constant since then.

The number of sex offenses (sexual assault, rape, sexual conduct) reported to the police increased from 2,303 offenses in 1971 to 6,589 offenses in 1984. In 1993, 6,439 sex offenses were reported, of which 49 percent resulted in an arrest.

Between 1981 and 1992, adult convictions for sex offenses involving force remained at the level of 145 to 190 each year, but convictions for child sexual abuse nearly tripled, rising from 160 to 461, and convictions for interfamilial sex abuse increasing from 3 to 154.

Reflecting these trends, about 90 percent of the victims of convicted sex offenders were children or adolescents. Nearly all of the victims of adjudicated juvenile offenders were under 18 years old, as were 84 percent of the victims of adult offenders (with 46 percent under age 13). Nearly all convicted sex offenders (97 percent) were male and most of their victims were female, although 18 percent of the victims of juvenile offenders and 13 percent of the victims of adult offenders were male.

Criminal sexual conduct is divided into four degrees depending upon the age of the victim, age of the accused, whether force is used, and the existence of any special relationship between the parties, such as parent-child or physician-patient. In Minnesota, judges are required to double the punishment imposed on a pattern sex offender, which is someone who repeats or is likely to repeat a sex crime, or someone who plans the crime. Moreover, if convicted of a sex crime, offenders must register with police departments across the state.

FIRST DEGREE. First Degree sexual conduct/assault requires sexual penetration with another person. Remember - A mistake regarding the complainant's age or consent by the underage person is not a defense to a sexual conduct crime.

Age Difference. The complainant is under 13 years of age and the actor is more than 36 months older than the complainant; or the complainant is at least 13 years of age but less than 16 years of age and the actor is more than 48 months older than the complainant and in a position of authority.

Fear of Great Harm. Circumstances existing at the time of the act cause the complainant to have a reasonable fear of imminent great bodily harm to the complainant or another;

Armed with Weapon. The actor is armed with a dangerous weapon or any article used or fashioned in a manner to lead the complainant to reasonably believe it to be a dangerous weapon and uses or threatens to use the weapon or article to cause the complainant to submit;

Personal Injury. The actor causes personal injury to the complainant, and either of the following circumstances exist:

The actor uses force or coercion to accomplish sexual penetration; or

The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless;

The actor is aided or abetted by one or more accomplices and force or coercion is used or the accomplice is armed with a dangerous weapon.

Significant Relationship. A significant relationship generally means that the parties live together. It is a crime if the actor has a significant relationship to the complainant and the complainant was under 16 years of age at the time of the sexual penetration.

Penalty. Not more than 30 years and a fine of not more than $40,000. There is a presumptive executed sentence of 144 months.

SECOND DEGREE. Second degree criminal sexual conduct/assault does not require penetration. Instead, it involves "sexual contact." Sexual contact has been defined by case law to mean touching of the genital area, breast, inner thigh, or buttocks with a sexual intent. The sexual touching may occur on the flesh or through the clothing.

Age Difference. The complainant is under 13 years of age and the actor is more than 36 months older than the complainant; or the complainant is at least 13 years of age but less than 16 years of age and the actor is more than 48 months older than the complainant and in a position of authority.

Fear of Great Harm. Circumstances existing at the time of the act cause the complainant to have a reasonable fear of imminent great bodily harm to the complainant or another;

Armed with Weapon. The actor is armed with a dangerous weapon or any article used or fashioned in a manner to lead the complainant to reasonably believe it to be a dangerous weapon and uses or threatens to use the weapon or article to cause the complainant to submit;

Personal Injury. The actor causes personal injury to the complainant, and either of the following circumstances exist:

The actor uses force or coercion to accomplish sexual penetration; or

The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless;

The actor is aided or abetted by one or more accomplices and force or coercion is used or the accomplice is armed with a dangerous weapon.

Significant Relationship. A significant relationship generally means that the parties live together. It is a crime if the actor has a significant relationship to the complainant and the complainant was under 16 years of age at the time of the sexual penetration.

Penalty. Not more than 25 years and payment of a fine of not more than $35,000.

THIRD DEGREE. Third degree criminal sexual conduct is similar to first degree in that it requires sexual penetration. Penetration is liberally construed to included penetration of the anal or genital openings and specifically includes digital and oral penetration. Third degree sexual conduct is generally charged for behavior that is not as extreme as first degree sexual assault.

Age Difference. The complainant is under 13 years of age and the actor is more than 36 months older than the complainant; or the complainant is at least 13 but less than 16 years of age and the actor is more than 24 months older than the complainant. In any such case it shall be an affirmative defense, which must be proved by a preponderance of the evidence, that the actor believes the complainant to be 16 years of age or older. Consent by the complainant is not a defense.

Force or Coercion. the actor uses force or coercion to accomplish the penetration

Mental & Physical Infirmity of Victim. The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless.

Position of Authority. The complainant is at least 16 but less than 18 years of age and the actor is more than 48 months older than the complainant and in a position of authority over the complainant. Neither mistake as to the complainant's age nor consent to the act by the complainant is a defense.

Penalty. If the actor in such a case is no more than 48 months but more than 24 months older than the complainant, the actor may be sentenced to imprisonment for not more than five years. Otherwise a person convicted may be sentenced to imprisonment for not more than 15 years and a payment of not more than $30,000.

FOURTH DEGREE. A person who engages in sexual contact with another person is guilty of criminal sexual conduct in the fourth degree if any of the following circumstances exists:

Age Difference. The complainant is under 13 years of age and the actor is no more than 36 months older than the complainant. Neither mistake as to the complainant's age or consent to the act by the complainant is a defense. In a prosecution under this clause, the state is not required to prove that the sexual contact was coerced. Additionally, if the complainant is at least 13 but less than 16 years of age and the actor is more than 48 months older than the complainant or in a position of authority over the complainant fourth degree sexual conduct may be charged. Consent by the complainant to the act is not a defense. In any such case, it shall be an affirmative defense which must be proved by a preponderance of the evidence that the actor believes the complainant to be 16 years of age or older.

Force or Coercion. The actor uses force or coercion to accomplish the sexual contact.

Mental & Physical Infirmity of Victim. The actor knows or has reason to know that the complainant is mentally impaired, mentally incapacitated, or physically helpless.

Position of Authority. The complainant is at least 16 but less than 18 years of age and the actor is more than 48 months older than the complainant and in a position of authority over the complainant. Neither mistake as to the complainant's age nor consent to the act by the complainant is a defense.

Significant Relationship. The actor has a significant relationship to the complainant and the complainant was at least 16 but under 18 years of age at the time of the sexual contact.

Penalty. A person convicted may be sentenced to not more than ten years and a payment of a fine of not more than $20,000.

FIFTH DEGREE. A person is guilty of criminal sexual conduct in the fifth degree:

(1) if the person engages in nonconsensual sexual contact; or

(2) the person engages in masturbation or lewd exhibition of the genitals in the presence of a minor under the age of 16, knowing or having reason to know the minor is present.

"Sexual contact" does not include the intentional touching of the clothing covering the immediate area of the buttocks. Sexual contact does includes the intentional removal or attempted removal of clothing covering the complainant's intimate parts or undergarments, and the nonconsensual touching by the complainant of the actor's intimate parts, effected by the actor, if the action is performed with sexual or aggressive intent.

. Penalty. A person convicted may be sentenced to imprisonment for not more than one year and payment of a fine of not more than $3,000. The charge may be increased to a felony with imprisonment for not more than five years and payment of $10,000, if the person has prior violations.

AGGRESSIVE DEFENSE

In today's world much hysteria and controversy swirls around sexual abuse. A person accused may find that even if acquitted they are looked upon with suspicion and fear. The allegation itself can carry with significant stigma and social repercussions. Too often, prosecutors charge out criminal sexual conduct cases based solely on an allegation. There is often little physical evidence. Though it may seem the case is weak, an aggressive and proactive defense is necessary. That may include hiring experts to review witness interviews for suggestive language and improper techniques.

If you are accused take these steps:

Do not give any statements to law enforcement and do not discuss the case with any other people until you have retained legal counsel;

Hire an experienced criminal defense lawyer;

Write down the names of potential helpful witnesses;

Only after retaining a lawyer should you make written notes regarding the allegations. these should be provided to your lawyer.

Getting The Right Vacuum Cleaner For Your Home

Buying a vacuum cleaner might seem easy, but there are important issues to consider. These include price, features, and what type and size of house a person has. A large house needs a stronger vacuum if the house is carpeted. In addition, pets or children can affect how often a home is vacuumed and how hard a vacuum cleaner will need to work to ensure cleanliness. People with hardwood floors may also want vacuum cleaners, but they will likely be more interested in a canister vacuum as opposed to an upright. A canister vacuum is better designed to handle rugs and draperies, as well as upholstery. These kinds of vacuums do not do well, however, for individuals with wall to wall carpet, because their cleaning power is not the same.

The price of a vacuum cleaner is very important, but not to everyone. Some people have more money than others, and those who are rich simply buy what they want. For the majority of individuals, however, how much a vacuum cleaner costs affects whether a person buys it or not. In addition, many people look at the price of a vacuum cleaner based on several factors, such as the width of the cleaning path, the size of the motor, and what kinds of attachments come along with it. A vacuum with a stronger motor and more attachments should generally cost more. However, there are some discrepancies in price in almost any category of vacuum cleaner, and taking one’s time to find the best deal is often worth it.

The brand of vacuum cleaner that is purchased can also affect price and be very significant for many people. There are some people who swear by a particular brand and will not purchase anything else, just as there are some people who do not care what brand they buy, as long as it works well and is priced right. Most people fall somewhere in the middle. They have certain brands that they like, but they will pick from among those brands based on price and other factors. In addition, they might consider going outside of that group of brands if they find something that seems to be a particularly good deal, or if something else has been recommended to them from someone who they trust.

There are some vacuum choices that a lot of people do not consider, but which are still good options for many people. For those who have multi-story homes, having a vacuum cleaner on each floor is generally a good option, to avoid carrying a vacuum cleaner up and down stairs. Some of these individuals will opt to have a central vacuum cleaner installed in a home so that there is only a very lightweight hose to carry around when vacuuming. In addition, some people use a robotic vacuum if they have a small area of hard floor which they want to clean very easily. These are not designed for large areas, however, or for carpeted areas. There are so many choices for a vacuum cleaner today that people can generally find whatever it is that they are looking for, making their cleaning easier.