Across Los Angeles August and September has bore witness to more cases of public indecent exposure than ever in a 30 day period.
On Friday Ruban Rodriguez (22) was sentenced to 18 months in prison for exposing himself to schoolgirls near Buena Park and Fullerton (LA) schools on a number of different occasions. In the case, Rodriguez took a plea bargain, and received lesser attention on a further 18 accounts.
It’s been a strange 30 days in Los Angeles because in separate incidents a twenty-year-old man called John Rodriguez is being prosecuted for exposing himself to at least 5 young girls between 12-17 in and around Valley High School.
Meanwhile Angely George (23) has been hanging around in shopping centres in Murietta after exposing himself to women, and masturbating on at least three different occasions. On one occasion he even managed to ejaculate in the direction of one woman.
These three high profile cases are just a small cross section of 137 cases and indecent exposure reported to Los Angeles police departments over the course of August and September.
A local official from Fullerton stated that flashers while fairly frequent in occurrence, only generally pop up a few times a year, and that the recent surge of flashers and public masturbators is incredibly concerning.
Now slightly more unusually reports of a woman in and around Venice Beach, exposing herself in broad daylight and masturbating with a sex toy, have been coming in to the local police department. The woman is said to be of Hispanic origin, with orange/red hair, although witnesses are saying they have received fairly conclusive proof that she is normally a brunette.
source : http://newsflavor.com
Showing posts with label Social. Show all posts
Showing posts with label Social. Show all posts
Some northeast residents are finding a road diet proposed for 112 Avenue hard to swallow. The city, at the request of the Highlands and Bellevue communities, wants to narrow the avenue, between Wayne Gretzky Drive and 50 Street, from four driving lanes to two, with a left turn lane down the centre. Highlands and Bellevue residents hope it will slow down traffic and make it safer for pedestrians to cross the road. According to Darryl Mullen, a senior engineer with the city?s transportation department, the road diet won?t reduce the capacity of 112 Avenue, which is an important arterial roadway. ?It?ll work to slow traffic and improve pedestrian safety ? but the key is, while effectively maintaining the capacity of the roadway,? says Mullen. ?By separating the left turning traffic from the free-flow traffic, the roadway is able to maintain the same capacity. Similar road diets have had success in cities like Toronto and Seattle, and if it?s effective on 112 Avenue it could be used in other areas of the city, says Mullen. Christine Bremner, with the Highlands Community League, says she was skeptical at first the road diet could move the same volume of traffic on fewer lanes, while reducing speeds. That takes one of your major obstacles to the free flow of traffic out of the way of turning vehicles,? says Bremner. ?I call it the 112 Avenue freeway,? says Bremner. She stresses that a road diet is not traffic calming, a method of slowing down traffic and reducing shortcutting using medians and curb extensions. Makohonyk says many people think the 112 Avenue road diet will simply divert traffic elsewhere. ?You take the traffic away from there, it?s going to go more to 118 Avenue. There?s enough pedestrians hurt on 118 Avenue,? she says. She?s also concerned that with only one through lane on 112 Avenue, traffic would back up behind buses on the busy transit route. ? says Makohonyk. Mullen says before the road diet can be implemented as a pilot project, city council will have to approve it.
THE widespread changes in consumer behavior and technology that are prompting marketers to rethink how they sell products are much on the minds of Madison Avenue. That was underlined on Wednesday by spirited discussions during the third day of Advertising Week 2011. Participants at a panel sponsored by Google and the Advertising Council talked about different approaches to embedding messages about social change in media like film and television as well as in advertisements.
Using movies to make a case for social change is “a great way to get people to the table,” said Wendy Cohen, director for digital campaigns and community at Participant Media, a film and TV production company that specializes in stories it deems socially relevant. Among Participant productions are fiction films like “Contagion” and “The Help” and documentaries like “An Inconvenient Truth.” In some instances, Ms. Cohen said, the role of film to inform viewers about important issues is “taking the place of what we used to get in a reported piece.”
For “Contagion,” about a pandemic, Participant created a public service announcement to accompany the movie, describing the causes of pandemics and how to prevent them.
•
Jason Rzepka, vice president for public affairs at the MTV division of Viacom, said social messages have always been an intrinsic part of the channel.
As part of a renewed focus on becoming “the cultural home of the millennial generation,” Mr. Rzepka said, MTV will present a two-hour film, “DISconnected,” about cyberbullying among teenagers at 9 p.m. Monday (Eastern Daylight Time).
There will be information on resources to help cope with cyberbullying, he added, after the film rather than during it —to avoid appearing “medicinal” to its target audience.
“It can’t be read as a two-hour P.S.A.,” Mr. Rzepka said, which would diminish its effectiveness.
According to Calle Sjoenell, deputy chief creative officer at the New York office of Bartle Bogle Hegarty, a marketer wanting to be integrated into social messages must “find an issue that really works with your brand.”
“If it doesn’t,” he added, “don’t do it.”
A success story for Bartle Bogle, Mr. Sjoenell said, was a campaign for the Google Chrome browser with a commercial devoted to the It Gets Better Project, meant to help gay, lesbian, bisexual and transgender teenagers who have been bullied.
The commercial ran in shows like “Glee,” Mr. Sjoenell said, during the National Basketball Association finals. “We got the message out to an audience that probably wouldn’t have paid attention before,” he added.
Eric Asche, senior vice president for marketing at the American Legacy Foundation, which produces the antismoking “Truth” campaign aimed at teenagers, said “Entertainment is a key component of how we go to market” because he considers the foundation “as a brand” rather than an organization.
As a result, American Legacy has teamed up with channels like MTV and ESPN for campaigns that spoof shows like “The Real World” and “Bassmaster.”
A thorny issue that arises when entertainment and advertising converge is whether consumers consider performers who work with brands as sellouts. The panelists at another session offered arguments against that perception.
“Our job is to try and balance the art and the commerce,” said Duff Stewart, chief executive of GDS&M, part of the Omnicom Group. He said agencies took great pains not to “bastardize” a band’s music. His agency paired songs by the group Black Keys with Zales, the jewelry retailer.
Lori Feldman, senior vice president for brand partnerships and music licensing at Warner Brothers Records, part of the Warner Music Group, said her label tried “to find brands that feel authentic and right” for its bands, especially because “every band is its own brand.”
The increasingly fragmented ways consumers learn about new music like podcasts and social media are being supplemented by brand partnerships to assist performers in gaining exposure.
Often, commercials have “replaced radio or music videos as a first driver for bands,” said Tom Gimbel, general manager of the PBS show “Austin City Limits.”
A panel on innovation focused on how profoundly digital media are changing marketing. The panelists agreed that they required more risk-taking.
source : www.nytimes.com
Using movies to make a case for social change is “a great way to get people to the table,” said Wendy Cohen, director for digital campaigns and community at Participant Media, a film and TV production company that specializes in stories it deems socially relevant. Among Participant productions are fiction films like “Contagion” and “The Help” and documentaries like “An Inconvenient Truth.” In some instances, Ms. Cohen said, the role of film to inform viewers about important issues is “taking the place of what we used to get in a reported piece.”
For “Contagion,” about a pandemic, Participant created a public service announcement to accompany the movie, describing the causes of pandemics and how to prevent them.
•
Jason Rzepka, vice president for public affairs at the MTV division of Viacom, said social messages have always been an intrinsic part of the channel.
As part of a renewed focus on becoming “the cultural home of the millennial generation,” Mr. Rzepka said, MTV will present a two-hour film, “DISconnected,” about cyberbullying among teenagers at 9 p.m. Monday (Eastern Daylight Time).
There will be information on resources to help cope with cyberbullying, he added, after the film rather than during it —to avoid appearing “medicinal” to its target audience.
“It can’t be read as a two-hour P.S.A.,” Mr. Rzepka said, which would diminish its effectiveness.
According to Calle Sjoenell, deputy chief creative officer at the New York office of Bartle Bogle Hegarty, a marketer wanting to be integrated into social messages must “find an issue that really works with your brand.”
“If it doesn’t,” he added, “don’t do it.”
A success story for Bartle Bogle, Mr. Sjoenell said, was a campaign for the Google Chrome browser with a commercial devoted to the It Gets Better Project, meant to help gay, lesbian, bisexual and transgender teenagers who have been bullied.
The commercial ran in shows like “Glee,” Mr. Sjoenell said, during the National Basketball Association finals. “We got the message out to an audience that probably wouldn’t have paid attention before,” he added.
Eric Asche, senior vice president for marketing at the American Legacy Foundation, which produces the antismoking “Truth” campaign aimed at teenagers, said “Entertainment is a key component of how we go to market” because he considers the foundation “as a brand” rather than an organization.
As a result, American Legacy has teamed up with channels like MTV and ESPN for campaigns that spoof shows like “The Real World” and “Bassmaster.”
A thorny issue that arises when entertainment and advertising converge is whether consumers consider performers who work with brands as sellouts. The panelists at another session offered arguments against that perception.
“Our job is to try and balance the art and the commerce,” said Duff Stewart, chief executive of GDS&M, part of the Omnicom Group. He said agencies took great pains not to “bastardize” a band’s music. His agency paired songs by the group Black Keys with Zales, the jewelry retailer.
Lori Feldman, senior vice president for brand partnerships and music licensing at Warner Brothers Records, part of the Warner Music Group, said her label tried “to find brands that feel authentic and right” for its bands, especially because “every band is its own brand.”
The increasingly fragmented ways consumers learn about new music like podcasts and social media are being supplemented by brand partnerships to assist performers in gaining exposure.
Often, commercials have “replaced radio or music videos as a first driver for bands,” said Tom Gimbel, general manager of the PBS show “Austin City Limits.”
A panel on innovation focused on how profoundly digital media are changing marketing. The panelists agreed that they required more risk-taking.
source : www.nytimes.com
Subscribe to:
Comments (Atom)
