If you find a pair of those trendy red-bottom heels for a deal that sounds too good to be true, it probably is.
U.S. Customs and Border Protection (CBP) confiscated 20,457 pairs of counterfeit Christian Louboutin shoes at the Los Angeles/Long Beach seaport.
“They label the shipments as generic shoes when, in fact, they’re bringing over contraband,” said Jaime Ruiz, a public affairs specialist for the U.S. Department of Homeland Security.
According to the CBP, the knock-off shoes that were transported in five different shipments on a cargo ship in large boxes from China had a domestic value of more than $57,000, meaning it cost just less than $3 per pair to make them.
Officials said there were enough of those red soles to add up to a suggested retail value of $18 million, an unbelievable profit.
“The original [Christian Louboutin] shoe is made in Italy,” said chief CBP officer Guillermina Escobar. “Once we saw it was coming in from China, we knew there was a problem with the shipment.”
Officials took pictures of the shoes and consulted with the trademark holder to authenticate the shoe. Once they learned they were counterfeit, the hot commodities were taken off the black market and placed into the border patrol’s possession.
Had the shoes slipped through the cracks, Escobar said, they would likely have been sold on illegitimate websites and underground outlets, some of which may fail to mention the shoes are counterfeits.
The CBP said it will destroy the more than 20,000 pairs of high-fashion shoes, likely by burning them.
Escobar said a total of three different importers shipped the counterfeits on July 27 and Aug. 14 of this year.
The incident is still under investigation but the importers will likely be charged with a trademark violation.
CBP officials said there were 24,792 seizures of counterfeit and pirated goods in the 2011 fiscal year.
One thousand twenty of those trade seizures had a domestic value exceeding $37 million and all took place in the greater Los Angeles area.
“This represents an 18 percent increase in the number of seizures from fiscal year 2010,” said Escobar.
The CBP said it knows what hot commodities are coming in to the United States and will make sure to keep an eye out for any more counterfeits.
2012年8月16日星期四
2012年4月17日星期二
Walk In Her Shoes Fundraiser
Walk A Mile in Her Shoes has been a successful fundraiser for Citizens Against Spouse Abuse, and the nonprofit is expanding the number of walkers to 24 for the third annual charity walk May 12 at Market Common on the former Myrtle Beach Air Force Base.
JoAnne Patterson, executive director of CASA, says she is “still looking for a half-dozen walkers” – men who are willing to walk a mile wearing high heels. Now’s the time to sign up so the walkers have some time to learn how to walk in heels and, more importantly, to line up $1,000. That’s the main reason for the advance registration, although a little practice in the heels probably is not a bad idea. The charity walk raised $14,000 the first year with 17 participants and last year netted $11,000. Patterson is hoping to increase the amount with more walkers and each raising $1,000 from supporters.
Walk A Mile in Her Shoes is one of CASA’s two big fundraisers, the other being the Dickens Show, an auction of decorated Christmas trees. That’s “our big signature fundraiser” organized for many years by Myra Starnes – “she does so much for the community,” Patterson says.
As is the case for nearly all the nonprofits providing a variety of vital services, fundraisers are increasingly important. CASA’s financial support from its major grants is down 30 percent. “Our agencies [and all area nonprofits] are suffering from a dramatic shortfall in financing,” Patterson says. “We’re down to the bare minimum of staff.” CASA’s annual operations budget is $600,000; it was $900,000 before the recession of 2008. Patterson reaffirms that for many people, the recessionary economy continues, in spite of positive signs of recovery in tourism.
CASA operates safe houses in both Myrtle Beach and Georgetown. The number of spouse abuse victims helped annually is 386 in both counties, 286 in Myrtle Beach, 100 in Georgetown. At least that many more are served in individual and group counseling in locations other than the safe houses, such as the Little River United Methodist Church, and in court advocacy and case management. On a recent day, 12 women and children were in the Myrtle Beach safe house and 9 in Georgetown. The length of stay of course depends on circumstances; it typically is two weeks. Finding housing is very difficult, Patterson says. CASA helps victims in finding a job, medical care and in enrollment in assistance programs.
“Generally, somebody has been hurt – or feels they’re going to be hurt.” CASA works closely with other agencies such as the Little River Medical Center, the Rape Crisis Center and Myrtle Beach Haven.
Unfortunately, women typically return to the abusive situation. “They do go back. Seven to eleven times they go back,” Patterson says. It’s a statistic that has stuck with her for the 13 years she has been the director of CASA. She also worked at the Myrtle Beach Housing Authority. After being here 30 years, “I’m a local now.”
She recalled two families that “came [to the safe house] with nothing and left with everything – they broke the cycle and are living violent-free.” That’s success. “All of us in the trenches – what sustains us is our successes. When it happens, you know you can do it [keep on trucking] again today.”
JoAnne Patterson, executive director of CASA, says she is “still looking for a half-dozen walkers” – men who are willing to walk a mile wearing high heels. Now’s the time to sign up so the walkers have some time to learn how to walk in heels and, more importantly, to line up $1,000. That’s the main reason for the advance registration, although a little practice in the heels probably is not a bad idea. The charity walk raised $14,000 the first year with 17 participants and last year netted $11,000. Patterson is hoping to increase the amount with more walkers and each raising $1,000 from supporters.
Walk A Mile in Her Shoes is one of CASA’s two big fundraisers, the other being the Dickens Show, an auction of decorated Christmas trees. That’s “our big signature fundraiser” organized for many years by Myra Starnes – “she does so much for the community,” Patterson says.
As is the case for nearly all the nonprofits providing a variety of vital services, fundraisers are increasingly important. CASA’s financial support from its major grants is down 30 percent. “Our agencies [and all area nonprofits] are suffering from a dramatic shortfall in financing,” Patterson says. “We’re down to the bare minimum of staff.” CASA’s annual operations budget is $600,000; it was $900,000 before the recession of 2008. Patterson reaffirms that for many people, the recessionary economy continues, in spite of positive signs of recovery in tourism.
CASA operates safe houses in both Myrtle Beach and Georgetown. The number of spouse abuse victims helped annually is 386 in both counties, 286 in Myrtle Beach, 100 in Georgetown. At least that many more are served in individual and group counseling in locations other than the safe houses, such as the Little River United Methodist Church, and in court advocacy and case management. On a recent day, 12 women and children were in the Myrtle Beach safe house and 9 in Georgetown. The length of stay of course depends on circumstances; it typically is two weeks. Finding housing is very difficult, Patterson says. CASA helps victims in finding a job, medical care and in enrollment in assistance programs.
“Generally, somebody has been hurt – or feels they’re going to be hurt.” CASA works closely with other agencies such as the Little River Medical Center, the Rape Crisis Center and Myrtle Beach Haven.
Unfortunately, women typically return to the abusive situation. “They do go back. Seven to eleven times they go back,” Patterson says. It’s a statistic that has stuck with her for the 13 years she has been the director of CASA. She also worked at the Myrtle Beach Housing Authority. After being here 30 years, “I’m a local now.”
She recalled two families that “came [to the safe house] with nothing and left with everything – they broke the cycle and are living violent-free.” That’s success. “All of us in the trenches – what sustains us is our successes. When it happens, you know you can do it [keep on trucking] again today.”
2011年5月25日星期三
Art East: experience in Spain inspires 'guapa' artwork
Culture, as it relates to ethnicity, encompasses the experiences of a specific set of people. It influences how people within that set may act, believe and think. Culture is the defining determinant of a people; yet, when another's customs are embraced is when we can also come to understand ourselves.
For Scott Cooley and Esther Ramos Rodriguez, America's southern culture and Seville's Spanish culture has formed a bond of respect and understanding in their 11-year-marriage. They met when Esther was fulfilling University of Seville requirements for her master's degree in neuropsychology. She was working at a rehabilitation clinic in New Orleans, for patients with brain injuries. Scott also worked there, in records and documentation management.
When their relationship became serious, he traveled to Seville, Spain, to meet her family. The visit was during Holy Week, the Semana Santa, and that's when he first witnessed a procession of the life-sized pasos, or floats, that depict events of the Easter Passion.
He recalled, "An exuberant crowd of elegantly dressed Spaniards stood shoulder to shoulder along a dark, narrow street facing the high arched entrance of the Nuestra Señora de la Esperanza. Some waited outside for hours. Every square inch of street and sidewalk was occupied, standing room only at 2 a.m. When the church bell rang out, the crowd fell silent as the massive double doors of the church jostled and slid to one side.
An intoxicating cloud of incense wafted out as the Virgin of Hope, enshrined in her towering paso of gold and silver with hand-sewn tapestries appeared, all illuminated by immense candles and surrounded by fragrant white blossoms."
Amazingly, a crew of costaleros, who are crouched below the embroidered skirt of the paso, rise to smoothly hoist it and inch slowly out of the church through a tight fit in the church doorway. It is a movement of great precision and reverence that will continue throughout the night and into the next day. The crowds witness the custom in the ancient alleys and streets of Seville.
Many of the pasos are very old and valuable, made by master craftsmen. Each float is met with the cry from the crowds of "guapa," meaning ‘beautiful."
They are the property of the cofradias, a brotherhood that originated from medieval guilds. Members were pillars of society. Today the membership has a broader base with the larger ones having over 2,000 participants.
As the floats go by, white roses and carnations are tossed onto the tops of each paso, and the costelaros, who are all hidden under the skirts of the paso maneuver through spaces under the direction of the capataz who walks in front beating a stick to the ground to keep pace and give the signal of when to put it down for a brief rest. When they lift it again, one can hear their grunts under the heavy burden.
Along their route, they will stop and defer to the sound of a saeta, or singer, who spontaneously chants a cappella. The procession stops so that the silent crowd can enjoy the song.
For Cooley, the experience touched his soul and provided inspiration that he later turned into a piece of art that he gave to his wife for her most recent birthday.
Each year, for her teacher vacation, she returns to her native Spain to spend time with her family.
"While I am gone, Scott does something new for me. Once, it was a patio in the style of Spain, and this time, he amazed me with this beautiful replica of the paso. I sent pictures of it to my family, and they were as amazed by its accuracy and beauty as I was.
My late father was the president of our church's cofradia, and as a little girl I paraded in costume with his group. So, this gift is very meaningful to me."
To create it in the secrecy of his workshop, Cooley gathered bits and pieces of what he thought would fit into the final product.
"I designed as I went, after studying our own photographs and images I researched online of real pasos. The construction was trial and error with different attempts, some working and some not. I found parts at Rouse's, Hobby Lobby, Hancock's Fabrics, and bid on the golden lights, crown and emblems made of special buttons on eBay. The costelaros' legs showing underneath the skirt are made from little army men toys that I covered in white cotton fabric and painted their shoes white."
For Scott Cooley and Esther Ramos Rodriguez, America's southern culture and Seville's Spanish culture has formed a bond of respect and understanding in their 11-year-marriage. They met when Esther was fulfilling University of Seville requirements for her master's degree in neuropsychology. She was working at a rehabilitation clinic in New Orleans, for patients with brain injuries. Scott also worked there, in records and documentation management.
When their relationship became serious, he traveled to Seville, Spain, to meet her family. The visit was during Holy Week, the Semana Santa, and that's when he first witnessed a procession of the life-sized pasos, or floats, that depict events of the Easter Passion.
He recalled, "An exuberant crowd of elegantly dressed Spaniards stood shoulder to shoulder along a dark, narrow street facing the high arched entrance of the Nuestra Señora de la Esperanza. Some waited outside for hours. Every square inch of street and sidewalk was occupied, standing room only at 2 a.m. When the church bell rang out, the crowd fell silent as the massive double doors of the church jostled and slid to one side.
An intoxicating cloud of incense wafted out as the Virgin of Hope, enshrined in her towering paso of gold and silver with hand-sewn tapestries appeared, all illuminated by immense candles and surrounded by fragrant white blossoms."
Amazingly, a crew of costaleros, who are crouched below the embroidered skirt of the paso, rise to smoothly hoist it and inch slowly out of the church through a tight fit in the church doorway. It is a movement of great precision and reverence that will continue throughout the night and into the next day. The crowds witness the custom in the ancient alleys and streets of Seville.
Many of the pasos are very old and valuable, made by master craftsmen. Each float is met with the cry from the crowds of "guapa," meaning ‘beautiful."
They are the property of the cofradias, a brotherhood that originated from medieval guilds. Members were pillars of society. Today the membership has a broader base with the larger ones having over 2,000 participants.
As the floats go by, white roses and carnations are tossed onto the tops of each paso, and the costelaros, who are all hidden under the skirts of the paso maneuver through spaces under the direction of the capataz who walks in front beating a stick to the ground to keep pace and give the signal of when to put it down for a brief rest. When they lift it again, one can hear their grunts under the heavy burden.
Along their route, they will stop and defer to the sound of a saeta, or singer, who spontaneously chants a cappella. The procession stops so that the silent crowd can enjoy the song.
For Cooley, the experience touched his soul and provided inspiration that he later turned into a piece of art that he gave to his wife for her most recent birthday.
Each year, for her teacher vacation, she returns to her native Spain to spend time with her family.
"While I am gone, Scott does something new for me. Once, it was a patio in the style of Spain, and this time, he amazed me with this beautiful replica of the paso. I sent pictures of it to my family, and they were as amazed by its accuracy and beauty as I was.
My late father was the president of our church's cofradia, and as a little girl I paraded in costume with his group. So, this gift is very meaningful to me."
To create it in the secrecy of his workshop, Cooley gathered bits and pieces of what he thought would fit into the final product.
"I designed as I went, after studying our own photographs and images I researched online of real pasos. The construction was trial and error with different attempts, some working and some not. I found parts at Rouse's, Hobby Lobby, Hancock's Fabrics, and bid on the golden lights, crown and emblems made of special buttons on eBay. The costelaros' legs showing underneath the skirt are made from little army men toys that I covered in white cotton fabric and painted their shoes white."
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