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I was talking with a friend at work and the subject of wooden shoes came up. Were the Dutch ever worn at one time as practical everyday footwear? If so, why wood for shoes and not leather? Why do the Dutch wear wooden shoes and how to select the right one? When you think of travelling to Netherlands, you probably think of the Dutch wooden shoes. Probably when you think of something typically symbol of the Dutch, windmills and wooden clogs come to mind, your trip or souvenir collection cannot be complete without a pair. While you can only find a few farmers still walking around in them, people will be able to find a colorful selection of wooden and even furry clogs (soft wooden shoe slippers) in almost every souvenir shop. For hundreds of years, wooden shoes (it called “klompen” in Dutch) were worn by most Dutch people for very practical purposes. Who is wearing wooden shoes? The Shoe maker gives the history, shows samples and cuts a little bit of wood. I heard that long ago, the Dutch people found that wooden shoes were ideal for walking on this damp. They wear the wooden shoes, as these shoes kept their feet drier than leather shoes and did not get ruined from the dampness as the leather. This is the tradition; wooden shoes were made by hand, and also by machines by the local village people. Wooden shoes also known and appear to have been an exclusively European type of shoe. The finishing touch of the making of a wooden shoe is, of course,
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the decoration. Sometimes the decoration is only a painting sometimes also carved work. Once the basic shoe is ready then is goes for finishing part. There are many different ways in which a wooden clog can be decorated to make up to look attractive. There is a long history in Holland for dairy farmers. It’s a part of the Dutch’s heritage. Even though these wooden shoes are somewhat noisy to walk in, they are useful for farmers working in wet fields by its original material. The facts are actually very different. There is small fraction of people in Europe who still wear these shoes on special occasions out of their love for tradition. But the majority of people worldwide wear these shoes for their ability to give special protection in specific jobs. Most Dutchmen still wear shoes like ours today; however, there are in some small villages where wooden shoes are still worn. But they are used only outdoors and are left at the farmhouse door. The major demand of wooden shoes comes from people who work in farms or in other industries where they require adequate protection for their feet. They protect you! Like farmers don’t only find it very convenient to walk in their fields with wooden shoes but these shoes also protect them with any sharp objects. Wooden shoes are also specially recommended for children in their early age to that their feet could be molded in a good posture. You should see the kids in the rural areas of Holland run and play, while wearing wooden shoes. It’s true that people in some places in Holland still wear their costume and their belonging to wooden shoes daily is like a natural, spontaneous thing. But a lot of costumes are already in a museum. Most of the painted wooden shoes are wore along with traditional Dutch dresses and mainly used for traditional dances. The wooden shoe kept on being popular for a long time everywhere in Holland. Of course, we just had to try some? There are also a lot of people who wear wooden shoes because you can get in and out of them easily without wasting a lot of time. It may sound very uncomfortable to wear wooden shoes, the truth is that with properly sized and worn with woolen socks is very easy to wear. These days’ Dutch clogs are mostly produced for tourists who want to bring home the wooden shoes as a souvenir. Due to the above the above mentioned benefits and tradition behind these shoes today the wooden shoes (more popularly known as clogs) least these wooden shoes give adequate protection to your feet from the different surfaces underneath them and they are an excellent gift for your near and dear ones from Holland. laws and regulations, which may be different from the laws and regulations of your home country. By registering for this service, you are consenting to this collection, storage, and use.
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On January 21, 2017, the day after the inauguration of President Trump, the Women’s March on Washington descended on the nation’s capital to protest a new administration many Americans feared threatened their rights and contradicted their basic values.

As the anniversary of the march approaches, USA TODAY spoke with Tamika Mallory, co chair of last year’s historic protest and co president of the Women’s March board, about activism, feminism and where the movement goes from here.

On January 21, 2018, organizers are again mobilizing this time, to kick off a national voter registration tour. The Power to the Polls event will take place in Las Vegas, an intentional location choice given that Nevada has become a battleground state in the 2018 election cycle. Mallory and her fellow organizers say they are launching the effort to help elect more women and progressive candidates in congressional, gubernatorial and local elections nationwide. We thought that Power to the Polls was an important next step that would give us the opportunity to work on a grassroots level with partners and individuals who are committed for the long haul.

Q: The march last year was birthed, in some ways, out of anguish, fear and despair. Do you feel the mood is different this time around?

A: I think that people are still very outraged. I think some people may even be more outraged today than they were last year. Think about it. Last year Donald Trump had not even been the president yet. He had not been in office at that point for any amount of time that would give people the ability to really see policies coming into place. . Over the last year we’ve been able to see how some of the rhetoric is turning into actual policies and procedures that impact communities that have already been struggling.

Q: What did organizers learn from last year that they applied to this year?

A: Last year we learned, and throughout the year we learned, that there needs to be a greater focus on our relationship with the trans community, and this year we are being very intentional about engaging the trans community and figuring out better ways to be a stronger partner.

I think also something that we learned last year is that the Women’s March is sort of a microcosm of what is happening in the world. While we may have very ambitious goals of what we want to do as an organization, we have to remember that we’re working with people within the organization and outside the organization that still need very deep education around some of these issues, and that there has to be these daring conversations, these daring discussions when people are talking about the things they don’t know or the biases they possess. And that has to happen inside the organization in order for us to be effective with our work.

Q: Do you see unity, or at least presenting a united front, as important for feminists in order to achieve progress on equality?

A: Unity is not the same thing as uniformity. We’re not looking for people to say we’re all going to do the same exact thing at the same time. We’re not looking for folks to fall in line with the Women’s March agenda. We understand that every organization and every individual will approach their strategy for how they engage in the movement in their own way. So when we speak of unity what we’re saying is that we all have decided that we’re going to work on these issues, we’re going to work together, and in that we understand that there will be different tactics and different ways that people operate, and we have to figure out how those things complement one another.

Q: Do you believe the Women’s March helped catalyze MeToo?

A: The women’s march set women on fire. It really created the energy for women to step forward in a number of ways and to be more vocal on issues that matter to us as women. . The Women’s March has provided an opportunity for women to understand our collective power and to understand that the more public we are, the more we have an opportunity to bring our issues to the forefront.

Folks can’t hide from the issues that women care about, because we are so present and forthcoming with these conversations.
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Without its seamstresses, many of Nasa’s key missions would never have left the ground.

From the Apollo spacesuits to the Mars rovers, women behind the scenes have stitched vital spaceflight components.

One of them is Lien Pham, a literal tailor to the stars working in the Jet Propulsion Laboratory’s shield shop to create thermal blankets, essential for any spacecraft leaving Earth.

It may not sound glamorous, but Lien does work with couture materials.

The Cassini mission, her first project at Nasa, went to Saturn cloaked in fine golden insulation for durability over its 19 year journey.

Working a day job at a lingerie company, once a week Lien went to electrical engineering classes.

At that time, engineering was a booming business in California. And Nasa were hiring.

Lien’s friend recommended that she apply for a job at the Jet Propulsion Laboratory and in 1994 she started work at the space agency on the cabling team for the Cassini mission to Saturn.

The intricate job of connecting all the separate scientific instruments on the spacecraft to a central power supply was very demanding it took her team three years.

“Just like a sewing factory is mostly women cabling is mostly women because we’re good with our hands,” she says.

The thermal blanketing team, or the shield shop as it’s known, is a small group made up mostly of women. They carefully stitch together over 20 individual layers some just 1/1000th of an inch thick.

Each blanket is patterned, measured and fitted, like the finest suit.

“It’s all tailored,” Lien explains, “all hand made.”

Nasa hires women with sewing experience for a reason. When engineers couldn’t figure out how to work with Teflon the non stick material that coats many saucepans they were at a loss.

Lien suggested folding the edge of the material and sewing it like a hem, as she would with a shirt at home.

It worked.

Lien is the latest in a long line of women whose crafting skills have been vital to Nasa. During the Apollo programme, which sent the first humans to the moon, employees at defence contractor Raytheon were employed to “weave” the software for the spacecraft.

Referred to as the “little old ladies”, many of them were in fact young women, threading copper wires through tiny magnetic loops to create the individual ones and zeros of programme code. Their role in this time consuming and incredibly precise process was largely invisible to the outside world.

Similarly, the seamstresses of lingerie brand Playtex pioneered new sewing techniques to create the Apollo spacesuits. Working to unprecedented levels of precision, and often late into the night, their innovations made human spaceflight possible.

Much like the hidden figures of Nasa’s aeronautics research facility, many of their stories go untold.

However, for Lien, the work itself is a dream come true.

“I would look up at the sky when I was little, and I thought it would be nice to touch one of those stars. The BBC is not responsible for the content of external sites. Read about our approach to external linking.
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Besides, observing the goings on at this 9,000 square foot former Fresh Choice without judgment yields more sociological insight than simply dismissing the place as hopelessly sexist. For example, it would be easy, without actual study, to assume the literal male gazes of patrons toward the servers to be leering. But most of the looks we witnessed were not that at all. They were subtle, or even shy. Or perhaps shy is the wrong word. More like furtive, despite an implied invitation to stare openly.

So . the food. Twin Peaks’ “Billionaire’s Bacon Burger,” which mixes ground bacon into its beef patty before adding strips of bacon finished with brown sugar and cayenne, ranks among the better chain restaurant burgers I have tried. The caramelized bacon also adds a welcome touch of spicy sweetness to the salty/fatty goodness of Twin Peaks’ buttermilk chicken sliders. The “Mom’s pot roast” entree holds tender, expertly seasoned beef along with potatoes packed with flavor from having been sauteed with a garlic lime butter.

Twin Peaks has bucked a national downward trend for sit down casual restaurants (Hooters just closed another Sacramento location) by showing growth in its business. The 380 seat Sacramento Twin Peaks was close to full on a recent Friday night during which no big sporting event took place, and had to turn people away during the last game of the NBA Finals last week. After each period of the Warriors Cavaliers game, servers and bartenders performed a loosely choreographed,
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almost in unison dance routine.

The performers are backed by a “support staff” bussers and barbacks of men and some women who wear dark, loose fitting clothing, seemingly so as not draw attention to themselves. I saw these people but do not recall anyone approaching our table but the performer/servers, of whom there were many on busy nights but perhaps too few on slower ones. Sunday Thursday. Craft cocktails. Thirty two draft beers, including several local offerings. One red and one white wine.

Vegetarian friendly: There are optionsNoise level: Loud

Ambiance: A visit to this Howe Avenue sports bar and restaurant involves so much stimuli dozens of TVs showing sports, loud rock music, servers in skimpy outfits that it is a bit of a shock to the system. And although one can acclimate to some of these elements, it never quite becomes a comfortable place, despite all the wood paneling and comfort food.


The food is good by chain restaurant standards, and the servers are friendly. But despite efforts to stay open minded, the sexism is unavoidable.

Food 1/2

The “Billionaire’s Bacon Burger” is a winner, as are the buttermilk chicken sliders and green chili chicken soup and pot roast plate. The venison chili was too sweet, the chicken fried steak under seasoned and the tortilla chips and fries at times too salty.
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Last year commemorations of the 1916 Rising reminded us of their contribution to the fight for Irish freedom, and next year we celebrate the centenary of the first Irish women casting their votes in a general election.

There are other political imperatives for Irish women next year the opportunity to vote in a referendum on repealing the Eighth Amendment, and to update the language in the constitution which places Irish women in the home.

Debate and discourse on these issues have created a fruitful and fervent period for feminist activism in Ireland. Globally, feminism has also become a commodity, both culturally and commercially where women of the Second Wave received their introduction to feminism in a book by Betty Friedan or an article by Gloria Steinem, now younger women are frequently introduced to activism through a Beyonc video, an Amy Schumer sketch, a blog post or a tweet. All of these are online on platforms such as YouTube, Netflix, Facebook or Twitter.

Attendance at women groups or meetings are no longer required to call oneself a feminist; owning a smartphone is enough.

So what are the issues facing Irish women today? While the Eighth Amendment and women bodily autonomy is justifiably high on the agenda, there are many other structural inequalities that remain to be addressed, including political under representation, the gender pay and pensions gap, and the lack of support for carers in the home.

We spoke to some Irish women at the forefront of feminism and activism in Ireland today to get a snapshot of how they are continuing to fight for their rights in society, the home and the workplace.

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It ranks among the most curious phenomena in cognitive neuroscience. A handful of people in the world have they are blind, but their non conscious brain can still sense their surroundings.

Milina Cunning, from Wishaw in Scotland, lost her sight in her 20s, and later realised she had this blindsight ability. She has been studied extensively by researchers.

I was to throw a ping pong ball at Milina head, she would probably raise her arm and duck out of the way, even before she had any awareness of it, says Jody Culham, a scientist who has scanned Cunning brain.

Read more about the science behind blindsight: The strangest form of consciousness Listen to Cunning on the BBC radio series The Digital Human in an episode about the subconscious So what is it like to navigate the world in Milina shoes? Here, she describes the sensation in her own words:

went into hospital as sighted person. I was put into an induced coma because of all the health problems I had. And I was in the coma for 52 days. When I woke up, I saw completely black. I couldn see a thing. They said while I was in the coma I had a stroke which left me blind.

When I woke up, I saw completely black. I couldn see a thing

the months, thing started to change. Within six months, I thought I was seeing some colour but nobody really believed me. So I was put in contact with a neurologist, professor Gordon Dutton. And as soon as I saw him, he knew straight away, he confirmed that I had blindsight.

I went to see Dutton, there were quite a few tests he wanted to do. One of them was: he placed chairs out in the corridor in the hospital. He asked me to walk through the chairs. He said: walk through at your normal walking pace. I walked my normal pace, and I kept bumping into them. So I got to the other end of the corridor, and he said: now try and walk a bit faster now and go back through them. And it was just amazing.

way Dutton explained it was think about it too much, just go and do it. Don think too much in your mind. It was my subconscious mind telling me how to do that task and to avoid hitting the chairs.

can walk around the house ok, and tidy things up. But I can see them. I know they there. My brain is telling me. It the same if the family have left things lying in the middle of the living room floor. I say need to tidy up, so I don trip over these things If there is something lying there, like a handbag or shoes, I can see it and I miss it, or I go to pick it up.

I try to look at you, and I know you sitting there, sitting close but I just can see you.

strange the things I can see but I not meant to see because I blind. article is based on an interview that appeared on the BBC radio programme The Digital Human, presented by Aleks Krotoski. You can subscribe to the podcast here.

Join 800,000+ Future fans by liking us on Facebook, or follow us on Twitter. The BBC is not responsible for the content of external sites. Read about our approach to external linking.
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The statue of Joan of Arc that stands beside Reims cathedral is an oddity. True, for a lady of 600, she looks in good shape. But I can’t help feeling that this version of France’s heroine is off kilter sword bent, face blank. Perhaps the lack of emotion is the problem. Because here, on this square, she is reliving her finest hour. A smile might be appropriate.

Or maybe not. For Joan (or Jeanne, to use her French name) is a woman whose face has taken a thousand forms over the past six centuries, played on screen by Ingrid Bergman, eulogised in print by Mark Twain. She is as much a myth as a genuine figure of the past.

And yet the facts that define her are remarkable. In 1429, France was in a parlous state. What is now the northern half of the country was in the hands of either the English or their ally the Duchy of Burgundy. The identity of the French king was hugely confused due to the Treaty of Troyes (1420), in which the weak Charles VI had disinherited his own direct bloodline in favour of Henry V of England (whose victory at Agincourt and the campaign of conquest in 1415 was the root of the matter) and his heirs.

Extra trouble had arrived in 1422 with the deaths of both Henry V and Charles VI, leaving two claimants to the empty throne: Henry VI of England (a boy of nine months) and Charles “Le Dauphin” (the son of Charles VI). Crucially, seven years on in an era where coronation was seen as the signature on a divine appointment neither had been crowned, and what would become known as the Hundred Years’ War continued, English forces pressing ever south.

Then, in January 1429, a 17 year old farm girl emerged from Domrmy (a hamlet in what is now Lorraine), claiming to have received angelic orders to liberate the country. Joan’s pestering of Robert de Baudricourt, captain of the castle in nearby Vaucouleurs, had her (after initial amusement) sent 325 miles west to the Loire Valley, where the Dauphin held court at Chinon.

Within five months, she had convinced Charles of her mission, helped to break the English siege of Orlans, and hacked through 170 miles of enemy turf to Reims the site of French coronations. The Dauphin’s anointment as Charles VII on 17 July was critical, and by 1453, he had largely pushed England from French soil though Joan would not see this. Caught by Burgundians and sold to the English, she was burnt at the stake in Rouen in 1431. She was 19.

This, at least, is the historical side of a saga whose star is cast in many lights: martyr (she was canonised in 1920); fairy tale warrior; proto feminist; symbol of French nationalism. But she is also an effective travel guide. To tour the places that saw her rise either in her 600th anniversary year (she was born in 1412), or at any other time is to explore a splendid slice of the country she so dramatically affected.

So much is clear in Reims. An obvious (if not chronological) starting point, 90 miles east of Paris, the biggest city in the Champagne Ardenne region is an enclave of unexpected Art Deco flourishes devastated in the First World War then rebuilt in the giddy Twenties style. Along the pedestrianised strip of Place Drouet d’Erion, locals linger over al fresco evening coffee, their talk framed by bursts of mosaic.

The cathedral wears its scars heavily. Some 300 shells struck its flanks between 1914 and 1918, and the process of restoration seems eternal. But it has not forgotten its royal role. Though 34 French kings were crowned here, the events of 1429 are granted special focus: Marc Chagall’s stained glass windows, Joan on abstract horseback; a side chapel statue, hands clasped, eyes closed a more appealing creation than the bronze sculpture outside.

From finest hour to humble origins: it takes me three hours to wind the 100 miles south east, through France’s most iconic viticultural zone, into Lorraine where Domrmy la Pucelle sits on the Meuse. It can be little different from Joan’s day, with 15 or so buildings fringing the road. Leafy pastures stretch alongside the Maison Natale, sheep chewing, trees swaying. And while the relative size of her birthplace reveals that, contrary to folklore, her father was a semi moneyed landowner, the bare stone within the cottage speaks of a simple life. Context is supplied by a museum, and by the Eglise St Rmy remodelled over time, but still in essence the church where she drew inspiration.

Vaucouleurs, six miles north, is laid out around the hill where its castle stood. Little is left of the fortress, but a church on the site contains the remnants of a chapel that this unlikely soldier is known to have visited. This crypt has been adopted by the town’s Muse Jeanne d’Arc, and hosts a multimedia presentation, where a virtual Joan recounts her adventures.

Vaucouleurs gives its most famous alumna considerable attention. In summer,
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the castle hosts a son et lumire show where Joan in slick computerised projection answers audience questions. The museum examines the evolution of her image, from Bergman’s 1948 portrayal to Great War propaganda posters that position her as a defender of France in an epoch of German aggression. And on its square, the Jeanne Optic opticians sells glasses, the Brasserie Jeanne d’Arc serves steak and red wine.

Joan set off from Vaucouleurs on 23 February 1429, taking 11 days to ride to Chinon. It takes me six hours by car, flashing across a French midriff that is still predominantly agricultural, clipping into Burgundy, then on into the Centre region and the Loire Valley.

It is testament to the Dauphin’s desperation in 1429 that this illiterate teenager was even welcomed, let alone allowed to fight his war for him. Pulling into this pretty town on the River Vienne (a Loire tributary), I feel that I, too, am keeping an appointment. The castle glowers on its bluff, forcing me to trudge uphill. Closer appraisal reveals that what was a 20th century ruin has had 21st century cosmetic surgery, but the (partial) reconstruction is subtle, and the “new” south wing of the palace reeks of the Middle Ages, all high chambers and vast fireplaces. The 13th century Coudray Tower, where Joan slept, is just as evocative, while an anniversary exhibition (until 31 December) adds colour.

Some 100 miles east, Orlans is the pivotal scene of the story. It is no wild statement to say that the lifting of its siege (after five months), in May 1429, changed the world. The key city on the Loire, it was the last significant barrier to English annexation of the south. Had it fallen, an Anglo French superpower would surely have reared up. Historians have debunked the idea of Joan as military genius, but her appearance in the city as an apparent emissary from God had a galvanising effect. She joined a series of attacks over 10 days which turned the war.

Six centuries on, Orlans keeps its side of the bargain by being gloriously Gallic. The Ftes de Jeanne d’Arc remembers her triumph with parades every May, but the city is an elegant prospect any time. The Loire ebbs below its old quarter, where the cathedral delivers Gothic pomp. Restaurants such as Ver di Vin, which proffers goats’ cheeses and wines by the glass in a vaulted 15th century cellar serve gourmet fare. And Joan watches proudly as shoppers flow around her sculpture in the Place du Martroi.

Here, we part company she for Reims, a failed assault on Paris and ultimate capture at Compigne in May 1430; me for a 130 mile journey north west into Haute Normandie.

When we reconvene, it is for despair and death. Although unappetising and industrial on its outskirts, Rouen is cobbled and quaint at heart, a city haunted by the ghosts of its period as the 15th century centre ground of English occupation. The Tour Jeanne d’Arc the only standing tower from the fortress where she was held does dark portents on Rue du Donjon. And the Archbishop’s Palace, where her sentence was delivered, is being transformed into a colossal museum in her honour due to open in autumn 2014.

Joan’s execution even by the standards of a violent era was an exercise in brutality. Convicted of heresy (a religious charge designed to smear her “mission” and, with it, the legitimacy of Charles VII’s crown), she was burnt three times twice posthumously, to ensure that nothing of her survived before her ashes were tossed into the River Seine. Her executioner, Geoffroy Thrage, later declared that he “greatly feared to be damned”.

In some senses, sadness tinges the Place du Vieux March. A tiny garden marks the site of the pyre, and the monumental Eglise Ste Jeanne d’Arc, completed as recently as 1979, wrings its hands, the hard lines of its exterior opening on to stained glass and calm within.

But in many other ways, Rouen is oblivious tothe blood stain. Metres away, young locals meet for drinks in the trendy bar of La Rserve, or for dinner in the eateries on Rue de Vieux Palais as elsewhere, the Muse des Beaux Artsboasts a wealth of Impressionist art in a city that enchanted Monet. And here, ultimately, is Joan of Arc’s legacy. Whether you see her as evidence of a God keen to meddle in medieval politics, a supreme motivator, or just the random product of circumstance, she helped to preserve France’s ability to be French an achievement worthy of commemoration from Calais to Cannes.

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The NSX supercar Acura unveiled at the Detroit auto show this week is drawing attention not only for its design, but also for its designer.

Michelle Christensen, exterior design project leader for the NSX, is the first woman to lead a design team working on a supercar. She joined the team for the production car shortly after Acura unveiled its NSX concept at the 2012 Detroit show.

Staying true to that concept was a key mandate for Christensen and her eight person team. “They wanted an emotional, 3 D kind of feeling,” Christensen told Automotive News at Acura’s Torrance, Calif., design studio last month. “My priority was to keep that.”

But the NSX’s unusual powertrain a twin turbocharged V 6 with an all wheel drive, three motor gas electric hybrid system and a midstream switch to a midmounted engine opened new possibilities for the design team to give the car a more muscular profile, Christensen said.

The midengine layout was “one of the most fun proportions to work on” as the team adjusted the design to keep the cabin low and within the wheelbase, Christensen said.

“It gave us the opportunity to punch more holes in it and make it more exotic,” she said. “From a styling standpoint, we were really excited to take it to the gym and beef it up.”

Christensen’s earlier projects were hardly the kinds of vehicles immortalized on boys’ bedroom walls. Before joining the supercar team, she worked on the now discontinued ZDX crossover and a refresh of the RLX, Acura’s staid large sedan.

The NSX, a long awaited successor to the Acura halo car that was sold from 1990 to 2005, could change that. Although it has a smaller engine, it’s a “badass little car” that will compete with the V 10 powered Audi R8, Ferrari 458 and Porsche 911 Turbo S, Christensen said. Acura said the NSX’s sport hybrid powertrain will generate over 550 hp and herald the brand’s return to its performance roots.

Christensen, a 34 year old graduate of the famed Art Center College of Design in Pasadena, Calif., said that growing up working on muscle cars with her father in their San Jose, Calif.,
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Michelle Christensen reviews images of the NSX with members of her design team.

“The ’32 Ford? There’s nothing on that that’s fluff,” she said. For the NSX, “we wanted to take off any extra garnishes” in order to “simplify it and cut weight.”

She said her interest in fashion also shaped the NSX’s look, comparing the process of designing the car’s exterior skin to draping couture over a mannequin. Like fashionable shoes, she said, cars are structures that are designed to appear to be moving, even when standing still.

“Shoes and cars are both these really complex shapes that need to wrap around a human element,” she said.

Designing the heir to Acura’s halo car was a lofty responsibility, Christensen said. “With a supercar, the potential is so much greater that everything is magnified,” she said. “It needed to stand out.

“We really tried to treat it more like a sculpture,” she said, with jewel headlights showcasing a “mean, aggressive, front end personality” and a floating C pillar. The decklid is a nod to the original NSX’s heritage, with graphic taillights spanning the car’s width.

In between designs, the team took 40 percent scale models of the car to Honda’s wind tunnel in Raymond, Ohio. The prototypes were adjusted to reduce turbulence and drag and increase downforce. Christensen and her team refined the exterior, creating a bigger signature side intake, as well as vents for the hood and front fender, to direct airflow across the rear.

“The side intake became a really important part of the car’s profile,” Christensen said. “Visually, we want it to stand up and kick ass.”

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Fassuliotis’ trip to family court stemmed from a change in the amount of his child support payment to his former wife, Maureen Fassuliotis.

When the judge found Fassuliotis, a Charleston real estate investor and broker, in civil contempt of court more than two years ago, he was ordered to jail for one year. But he was released after spending nearly a day in jail after he paid the $200 court costs plus the child support the judge said he owed.

Fassuliotis, who has joint custody of his children, did not settle with just getting out of jail. He also wanted to shed the stigma of being locked up for not supporting his two sons.

The court did not give an explanation for its decision. But in its order, the justices cited case law that says contempt is the result of a willful disobedience of an order of the court. The unpublished ruling does not set any legal precedent.

Police records haven’t been updated to match the court files that show that Fassuliotis is not guilty of civil contempt in Family Court. He would like to update the records. “This is a question of my integrity,” he said. But he’s already having some problem doing that.

In Family Court, Fassuliotis said, there is no form to complete, like in criminal court, to have areference to a contempt order expunged from police files. Fassuliotis said he fears that he’ll have to hire an attorney to do it,
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and that means more legal costs.

Roy Stuckey, a professor at the University of South Carolina School of Law in Columbia, said Fassuliotis’ success to get the Supreme Court to reverse the civil contempt order in a child support case is rare. Because of his income, Fassuliotis could hire an attorney to help him escape from becoming a lasting statistic of the family court’s mission statewide to collect child support, the professor said. Department of Social Service, said the agency is managing 222,673 child support cases in which the courts have issued a child support order.

When the judge found Fassuliotis, a Charleston real estate investor and broker, in civil contempt of court more than two years ago, he was ordered to jail for one year. But he was released after spending nearly a day in jail after he paid the $200 court costs plus the child support the judge said he owed.

Fassuliotis, who has joint custody of his children, did not settle with just getting out of jail. He also wanted to shed the stigma of being locked up for not supporting his two sons.

The court did not give an explanation for its decision. But in its order, the justices cited case law that says contempt is the result of a willful disobedience of an order of the court. The unpublished ruling does not set any legal precedent.
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infant uggs Supreme Court sets execution date for convicted child killer

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KNOXVILLE The Tennessee Supreme Court has set an execution date of August 9, 2018 for Billy Ray Irick who was convicted of the 1985 murder and rape of Paula Kay Dyer, age 7, in Knox County. The Court received notice from the State Attorney General on January 11, 2018 that the United States Supreme Court had denied the defendant’s appeal challenging the constitutionality of Tennessee’s lethal injection protocol. Under Tennessee Supreme Court Rule 12.4(E), the Court, on its own, may set a new execution date when a case with a previous execution date had stays or reprieves lifted or dissolved. Irick has had multiple previous execution dates.

According to court records, Irick was a friend of the child’s mother and step father. He had lived with them for a period of time and often cared for the five (5) young children in the family while the parents were working.

At the time of the incident the parents were separated. The step father and the defendant were living with the victim’s step father’s mother. On the night of the occurrence the victim’s mother left Irick with the children when she went to work. She was somewhat uneasy about this because Irick had been drinking, although he did not seem to be intoxicated. Irick was in a bad mood because he had been in an argument with the stepfather’s mother earlier in the day. Irick did not want to keep the children since he planned to leave Knoxville for Virginia that night.

The victim’s mother called her husband at the truck stop where he worked to tell him of her concerns. He reassured her and said he would check on the children.

About midnight the victim’s step father received a telephone call from Irick telling him to come home,
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suggesting there was something wrong with the little girl, saying, “I can’t wake her up.” When the victim’s step father arrived at the house Irick was waiting at the door. The child was lying on the living room floor with blood between her legs. After ascertaining she still had a pulse, the victim’s step father wrapped her in a blanket and took her to Children’s Hospital. Efforts to resuscitate her there failed, and she was pronounced dead a short time later.

Physical examinations of her body at the hospital emergency room and during the autopsy were indicative of asphyxiation or suffocation. The cause of death was cardiopulmonary arrest from inadequate oxygen to the heart. There was an abrasion to her nose near one eye and lesions on her right chin consistent with teeth or fingernail marks. Blood was oozing from her vagina, which had suffered an extreme tear extending into the pelvic region. There were less severe lacerations around the opening of her rectum in which semen and pubic hair were found. These injuries were consistent with penetration of the vagina and anus by a penis.

After the victim was taken to the emergency room, Irick left the victim’s home and was located by the police the next day hiding beneath a bridge. When apprehended, he Irick stated: “I have been hiding under the bridge all day, and several police cars have gone by and I had thought about turning myself in.” After his arrest, Irick gave a statement to the police,
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in which he admitted killing the victim.