text:
Arial Traffic Sign Free Icon
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Paula NazalAuthor
Paula Nazal SelaiveTrademark
Romeo Ornaments is a trademark of Paula Nazal.Copyright
Copyright (c) 2012 by Paula Nazal. All rights reserved.Description
Copyright (c) 2012 by Paula Nazal. All rights reserved.
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David KerkhoffAuthor
David KerkhoffTrademark
Castanea is a trademark of David Kerkhoff.Copyright
Copyright (c) 2012 by David Kerkhoff. All rights reserved.License
END USER LICENSE AGREEMENTBy installing, copying, or otherwise using fonts by David Kerkhoff, you agree to be bound by the terms of this EULA. This license agreement represents the entire agreement, concerning the font, between you and David Kerkhoff (a.k.a. Hanoded Photography), (referred to as licenser), and it supersedes any prior proposal, representation, or understanding between the parties. If you do not agree to the terms of this EULA, do not install or use fonts by David Kerkhoff. Any font by David Kerkhoff is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties. The fonts are licensed, not sold.1. GRANT OF LICENSE.The font is licensed as follows:(a) Installation and Use.David Kerkhoff grants you the right to install and use the font(s) for any purpose you see fit (except those mentioned in (d) exceptions), commercial or non-commercial, on websites or in print, as long as you do not sell or resell the font(s) on their own, or claim them as your own.You can install the font(s) on one computer only.(b) Backup Copies.You may make copies of the font(s) as may be necessary for backup and archival purposes. (c) Embedding Fonts by David Kerkhoff may not be embedded in software, games, computer programs or the like. For this a special license is required. Embedding in PDF or print, in graphics, images or vectors is granted and no special license is required.(d) Exceptions Fonts by David Kerkhoff may NOT be used for pornographic, derogatory, defamatory or racist material (in any form, printed or virtual); fonts by David Kerkhoff may NOT be used by individuals or companies involved in child abuse, child pornography or child labour; fonts by David Kerkhoff may NOT be used by individuals or companies involved in destruction of natural resources and/or habitat, logging (even legal), palm oil exploitation/harvesting, tuna fishing, whaling, animal trafficking (be they wild or domesticated), oil and/or gas drilling or transporting and mining. Fonts by David Kerkhoff may NOT be used by missionaries, individuals or institutions of any creed or faith for the purpose of converting others to their creed or faith. Fonts by David Kerkhoff may NOT be used to instigate terror, hate, intolerance, fear or racism.2. DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS.(a) Maintenance of Copyright Notices. You must not remove or alter any copyright notices on any and all copies of fonts by David Kerkhoff and you may not alter any information contained within the font itself. (b) Distribution. You may not distribute registered copies of fonts by David Kerkhoff to third parties in any way; not for free/as a gift, nor for money/exchange of goods.(c) Prohibition on Modifications, Enhancements, Alterations. You may not alter, modify, enhance or decompose any fonts made by David Kerkhoff, except and only to theextent that such activity is expressly permitted by applicable law notwithstanding this limitation.3. TERMINATIONWithout prejudice to any other rights, David Kerkhoff may terminate this EULA if you fail to comply with the terms and conditions of this EULA. In such event, you must destroy all copies of David Kerkhoff's fonts in your possession.4. COPYRIGHTAll title, including but not limited to copyrights, in and to fonts by David Kerkhoff and any copies thereof are owned by David Kerkhoff or his suppliers. All title and intellectual property rights in and to the content which may be accessed through use of fonts by David Kerkhoff is the property of the respective content owner and may be protected by applicable copyright or other intellectual property laws and treaties. This EULA grants you no rights to use such content. All rights not expressly granted are reserved by David Kerkhoff.5. NO WARRANTIESDavid Kerkhoff expressly disclaims any warranty for the font(s). Fonts by David Kerkhoff are provided 'As Is' without any express or implied warranty of any kind, including but not limited to any warranties of merchantability, non-infringement, or fitness of a particular purpose. David Kerkhoff does not warrant or assume responsibility for the accuracy or completeness of any glyph, character, picture or accent within the fonts. David Kerkhoff further expressly disclaims any warranty or representation to Authorized Users or to any third party.6. LIMITATION OF LIABILITYIn no event shall David Kerkhoff be liable for any damages (including, without limitation, lost profits, business interruption, or lost information) rising out of 'Authorized Users' use of or inability to use fonts by David Kerkhoff. David Kerkhoff shall have no liability with respect to the content of any fonts by David Kerkhoff, or any part thereof, including but not limited to errors or omissions contained therein, libel, infringements of rights of publicity, privacy, trademark rights, business interruption, personal injury, loss of privacy, moral rights or the disclosure of confidential information. 2010/2011 David Kerkhoff / Hanoded Photography www.hanodedphotography.com
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Neil SummerourAuthor
Neil SummerourTrademark
Air Soft Cond-Bold It is a trademark of Neil Summerour.Copyright
Copyright (c) 2011 by Neil Summerour. All rights reserved.Description
Copyright (c) 2011 by Neil Summerour. All rights reserved.
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Aviation PartnersAuthor
Nicholas GarnerCopyright
Copyright (c) 2010 by Aviation Partners. All rights reserved.Description
Copyright (c) 2010 by Aviation Partners. All rights reserved.
Arial Traffic Sign iconPackages
Mufferaw XpStyle
2.201 2004Author
Ray LarabieTrademark
Mufferaw is a trademark of the Ray Larabie.Copyright
Copyright (c) Ray Larabie, 2000. All rights reserved. Do not distribute.Description
Do not distribute. Not freeware!
Arial Traffic Sign iconPackages
Nate Piekos. Blambot.comAuthor
Nate PiekosTrademark
PiekosFX Thin BB Italic is a trademark of Nate Piekos. Blambot.com.Copyright
Copyright (c) 2010 by Nate Piekos. Blambot.com. All rights reserved.Description
Copyright (c) 2010 by Nate Piekos. Blambot.com. All rights reserved.
Arial Traffic Sign iconPackages
Karnivore BlueStyle
2001, Apostrophic Lab. All rights reserved. firstname.lastname@example.com, www.apostrophiclab.comDescription
2001, Apostrophic Lab. All rights reserved. email@example.com, www.apostrophiclab.com
Arial Traffic Sign iconPackages
2.011 2004Company
Ray LarabieAuthor
Ray LarabieCopyright
2000 Ray Larabie. This font is freeware. Read attached text file for details. Info & updates visit www.larabiefonts.com. Donations gratefully accepted at www.larabiefonts.com/donation.html. Also visit my commercial type foundry at www.typodermic.com. This font was updated in 2004.Description
Larabie Fonts is able to offer unique free fonts through the generous support of visitors to the site. Making fonts is my full-time job and every donation, in any amount, enables me to continue running the site and creating new fonts. If you would like to support Larabie Fonts visit www.larabiefonts.com for details.
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May 8, 2005Copyright
Chris Hansen 2005. All Rights ReservedDescription
This font was created using Font Creator 5.0 from High-Logic.com
Arial Traffic Sign iconPackages
Almond Script AltStyle
1.0 October 2006Company
Angel koziupa and Alejandro PaulAuthor
Angel Koziupa and Alejandro PaulTrademark
Almond Script is a trademark of Angel koziupa and Alejandro Paul.Copyright
Copyright (c) 2006 by Angel koziupa and Alejandro Paul. All rights reserved.Description
Copyright (c) 2006 by Angel koziupa and Alejandro Paul. All rights reserved.
Arial Traffic Sign iconPackages
Booster Next FY is a trademark of FONTYOU.Copyright
Copyright (c) 2013 by FONTYOU. All rights reserved. www.fontyou.comDescription
A copy of the END USER LICENSE AGREEMENT to this font software can be found online at shop.fontyou.com/#url=/contents/terms/03072013
Arial Traffic Sign iconPackages
Jose Scaglione, Veronika BurianTrademark
Athelas Web Rg Bold is a trademark of TypeTogetherCopyright
Copyright (c) 2009 by TypeTogether. All rights reserved.Description
Copyright (c) 2009 by TypeTogether. All rights reserved.License
Please refer to our website: http://www.type-together.com/resources/eula/TT-EULA.pdf
Arial Traffic Sign iconPackages
SF Toontime ShadedStyle
Derek VogelpohlTrademark
SF Toontime Shaded Italic is a trademark of ShyFoundry.Copyright
Copyright (c) 2008 by ShyFoundry. All rights reserved. Freeware for personal use only. To purchase a commercial license, please visit our site at http://www.shyfoundry.com.Description
For additional information about the usage of this font, please read the included ShyFoundry Freeware EULA or visit our site at http://www.shyfoundry.com/licensing.License
For additional information about the usage of this font, please read the included ShyFoundry Freeware EULA or visit our site at http://www.shyfoundry.com/licensing.
Arial Traffic Sign iconPackages
SF Zero GravityStyle
Derek VogelpohlTrademark
SF Zero Gravity Italic is a trademark of ShyFoundry.Copyright
Copyright (c) 2008 by ShyFoundry. All rights reserved. Freeware for personal use only. To purchase a commercial license, please visit our site at http://www.shyfoundry.com.Description
For additional information about the usage of this font, please read the included ShyFoundry Freeware EULA or visit our site at http://www.shyfoundry.com/licensing.License
For additional information about the usage of this font, please read the included ShyFoundry Freeware EULA or visit our site at http://www.shyfoundry.com/licensing.
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1.00 October 17, 2013, initial releaseCopyright
Typeface (your company). 2013. All Rights ReservedDescription
This font was created using FontCreator 7.0 from High-Logic.com
Arial Traffic Sign iconPackages
Rian Hughes / Device FontsAuthor
Rian HughesTrademark
Judgement Black Italic is a trademark of Rian Hughes / Device Fonts.Copyright
Copyright (c) 1995 by / Device Fonts. All rights reserved.Description
Copyright (c) 1995 by / Device Fonts. All rights reserved.
Arial Traffic Sign iconPackages
1.00 2013Company
Fonts by GKDNAuthor
Chris VileTrademark
Barbaric is a trademark of Fonts by GKDN.Copyright
Copyright (c) 2013 by Fonts by GKDN. All rights reserved.Description
Barbaric is a font by Fonts by GKDN, designed by Chris Vile in 2013.License
Free for personal use only
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Old typewriterStyle
1.00 March 5, 2007, initial releaseCopyright
Typeface (your company). 2007. All Rights ReservedDescription
This font was created using Font Creator 5.0 from High-Logic.com
Arial Traffic Sign iconPackages
Monotype Imaging Inc.Author
Cynthia Hollandsworth BattyTrademark
Wile is a trademark of Monotype Imaging Inc. and may be registered in certain jurisdictions.Copyright
Copyright 2004 Monotype Imaging Inc. All rights reserved.License
NOTIFICATION OF LICENSE AGREEMENTThis typeface is the property of Monotype Imaging Inc. and its use by you is covered under the terms of a license agreement. You have obtained this typeface software either directly from Monotype Imaging or together with software distributed by one of the licencees of Monotype Imaging.This software is a valuable asset of Monotype Imaging. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited to use on up to five (5) workstation for your own publishing use. You may not copy or distribute this software.If you have any questions concerning your rights you should review the license agreement you received with the software or contact Monotype Imaging for a copy of the license agreement.General information:www.fonts.comFor license terms and usage rights, please visit our web site at:www.monotypeimaging.com/html/type/license.htmlLizenzbedingungen und Nutzungsrechte finden Sie auf unserer Webseite:www.monotypeimaging.com/html/type/license.htmlPour plus d'informations concernant les droits d'utilisation et les questions contractuelles, veuillez consultez notre site:www.monotypeimaging.com/html/type/license.htmlPara obtener informacin acerca de los trminos de licencia y los derechos de uso, visite nuestro sitio en el Web en:www.monotypeimaging.com/html/type/license.htmlPer le condizioni contrattuali ed i diritti d'uso, visitate il nostro sito web all'indirizzo:www.monotypeimaging.com/html/type/license.html
Arial Traffic Sign iconPackages
Linotype GmbHTrademark
ITC Century is a trademark of International Typeface Corporation.Copyright
Font software Copyright 1990, 2001 Adobe Systems Incorporated. Typeface designs Copyright 2008 International Typeface Corporation. All rights reserved.License
NOTIFICATION OF LICENSE AGREEMENTYou have obtained this font software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This font software is a valuable asset of Linotype GmbH. Unless you have entered into a specific license agreement granting you additional rights, your use of this font software is limited to your workstation for your own use. You may not copy or distribute this font software. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at www.linotype.com/license.Generelle Lizenzbedingungen und Nutzungsrechte finden Sie unter www.linotype.com/license.Pour plus d'informations concernant le contrat d'utilisation du logiciel de polices, veuillez consulter notre site web www.linotype.com/license.Linotype GmbH can be contacted at:Tel.: +49(0)6172 484-418
Arial Traffic Sign iconPackages
Alpsoft NesqStyle
3.00 April 4, 2009Company
Alpsoft Science and Technology Development Co., Ltd., Urumchi.Author
Tursun SultanTrademark
Trademark of The Alpsoft Science and Technology Development Co., Ltd., Urumchi.Copyright
Copyright (c) Alpsoft Science and Technology Development Co., Ltd. 2004-2008, All Rights Reserved.License
Alpsoft Science and Technology Development Co., Ltd., Urumchi.
Arial Traffic Sign iconPackages
Manuel Corradine & Sergio RamirezAuthor
Manuel Corradine & Sergio RamirezTrademark
Neuron Angled is a trademark of Manuel Corradine & Sergio Ramirez.Copyright
Copyright (c) 2013 by Manuel Corradine & Sergio Ramirez. All rights reserved.Description
Copyright (c) 2013 by Manuel Corradine & Sergio Ramirez. All rights reserved.
Arial Traffic Sign iconPackages
Gert Wiescher, Wiescher-Design, Munich, Germany, www.wiescher-design.de,Author
Gert WiescherTrademark
PurissimaA is a trademark of Gert Wiescher, Wiescher-Design, Munich, Germany, www.wiescher-design.de,.Copyright
Copyright (c) 2010 by Gert Wiescher, Wiescher-Design, Munich, Germany, www.wiescher-design.de,. All rights reserved.Description
Copyright (c) 2010 by t Wiescher, Wiescher-Design, Munich, Germany, www.wiescher-design.de,. All rights reserved.License
Wiescher Design Standard LicenseBy buying this font you are agreeing to be bound by the terms of this Agreement. This Agreement, in conjunction with the receipt that accompanies each purchase from Wiescher-Design, constitutes the complete agreement between you and Wiescher-Design.1. Allowed usesYou may use the licensed fonts to create images on any surface such as computer screens, paper, web pages, photographs, movie credits, printed material, T-shirts, and other surfaces where the image is a fixed size.You may use the licensed fonts to create EPS files or other scalable drawings provided that such files are only used by the household or company licensing the font.2. Number of usersThe maximum number of simultaneous users is specified in the applicable receipt. All users must belong to the same company or household purchasing the font.3. Third partiesYou may provide the font to a graphic designer, printer or other service bureau that is working on your behalf only if they agree to use the font exclusively for your work, agree to the terms of this license, and retain no copies of the font on completion of the work.You may not provide the font or make it accessible to any other third parties.4. EmbeddingYou may embed the licensed fonts into any document you send to third parties provided such embedding is restricted to viewing and printing that document.You may not embed the licensed fonts into software or hardware products in which the fonts will be used by the purchasers of such products. Such use requires a different license (OEM). Please contact firstname.lastname@example.com for information on OEM licenses.5. ModificationsYou may import characters from the font as graphical objects into a drawing program and modify such graphical objects.You may not modify, adapt, translate, reverse engineer, decompile, disassemble, or create derivative works based on the licensed font itself without Wiescher-Design' prior written consent.6. CopyrightThe font and the accompanying materials are copyrighted and contain proprietary information and trade secrets belonging to the foundry owning the font. Unauthorized copying of the Product even if modified, merged, or included with other software, or of the written materials, is expressly forbidden. You may be held legally responsible for any infringement of the foundrys intellectual property rights that is caused or encouraged by your failure to abide by the terms of this Agreement.7. TerminationThis Agreement is effective until terminated. This Agreement will terminate automatically without notice from Wiescher-Design if you fail to comply with any provision contained herein. Upon termination, you must destroy the written materials, the Product, and all copies of them, in part and in whole, including modified copies, if any.8. Product UpgradesWiescher-Design may, from time to time, update the Product. Product upgrade pricing may apply.9. Disclaimer and Limited WarrantyWiescher-Design warrants the Product to be free from defects in materials and workmanship under normal use for a period of twenty one (21) days from the date of delivery as shown on your receipt. Wiescher-Design' entire liability and your exclusive remedy as to a defective product shall be, at Wiescher-Design' option, either return of purchase price or replacement of any such product that is returned to Wiescher-Design with a copy of the invoice. Wiescher-Design shall have no responsibility to replace the product or refund the purchase price if failure results from accident, abuse or misapplication, or if any product is lost or damaged due to theft, fire, or negligence. Any replacement product will be warranted for twenty one (21) days. This warranty gives you specific legal rights. You may have other rights, which vary from state to state.EXCEPT AS EXPRESSLY PROVIDED ABOVE, THE PRODUCT, IS PROVIDED AS IS. WIESCHER-DESIGN DOES NOT MAKE ANY WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE.The entire risk as to the quality and performance of the Product rests upon you. Wiescher-Design does not warrant that the functions contained in the Product will meet your requirements or that the operation of the software will be uninterrupted or error free.WIESCHER-DESIGN SHALL NOT BE LIABLE FOR ANY DIRECT, INDIRECT, CONSEQUENTIAL, OR INCIDENTAL DAMAGES (INCLUDING DAMAGES FROM LOSS OF BUSINESS PROFITS, BUSINESS INTERRUPTION, LOSS OF BUSINESS INFORMATION, AND THE LIKE) ARISING OUT OF THE USE OF OR INABILITY TO USE THE PRODUCT EVEN IF WIESCHER-DESIGN HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.Because some states do not allow the exclusion or limitation of liability for consequential or incidental damages, the above limitation may not apply to you.10. Governing LawThis agreement is governed by the laws of Germany.
Arial Traffic Sign iconPackages
NEON LIGHTSStyle
1.00 November 16, 2013, initial releaseCopyright
Typeface (your company). 2013. All Rights ReservedDescription
This font was created using FontCreator 5.6 from High-Logic.com
Arial Traffic Sign iconPackages
Whackadoo Upper WideStyle
Graham Meade & Apostrophic LabsCopyright
Graham Meade & Apostrophic Labs. All rights reserved. firstname.lastname@example.com www.apostrophiclab.comDescription
Graham Meade & Apostrophic Labs. All rights reserved. firstname.lastname@example.com www.apostrophiclab.com
Arial Traffic Sign iconPackages
Active ImagesAuthor
John RoshellTrademark
CCSpillsDugout is a trademark of Active Images.Copyright
Copyright (c) 2015 by Active Images. All rights reserved.License
Active Images Font License AgreementPlease read this license agreement carefully before you install your fonts. By installing fonts sent to you by ACTIVE IMAGES, you accept this license agreement. If you do not accept the terms and conditions of this license, do not install the fonts in question.1. LICENSE Active Images is the exclusive owner of the electronically transferred computer lettering fonts. We grant you, and you accept, a non-exclusive license to use the electronically transferred fonts, but you are not the owner of them. Your right to use the fonts under this license agreement is called the license. By fonts, we refer to the electronically transferred fonts and any embodiment or use that you make of the fonts in any form.2. AUTHORIZED USER AND USE You alone, as the purchaser of the fonts, are authorised to use the fonts under the license for personal, business or distributed projects. With few exceptions: fonts are licensed for use on 5 CPUs and/or 1 output device. Additional licenses are available on a ratio of 5 CPUs to 1 output device. Call us if you are not clear on whether you require additional licenses. Any other duplication or use by any other person or entity constitutes software piracy, a criminal offense.3. LIMITED WARRANTY Active Images makes no warranties, express or implied, regarding the electronically transferred computer software, its merchantability or its fitness for any particular purpose.Active Images warrants the magnetic media to be free from physical defects for 90 days, after purchase. Active Images will replace the disk free of charge should it fail within this time. These fonts are sold for use only on the computer platform indicated on the packaging. Use of these fonts on any platform other than that for which it was originally intended is not recommended and invalidates any warranty.Active Images reserves the right to terminate this License at any time and void your license if you fail to comply with the terms and conditions of this License.If you have any questions about the License Agreement, our return policy, security and on-line ordering, or anything else, please feel free to contact us at email@example.com, or at the telephone number below.ACTIVE IMAGES8910 Rayford DriveLos Angeles, CA 90045Tel: 310 650-7904www.activeimages.com
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Veronika Burian, Jose ScaglioneTrademark
Ronnia Hv Heavy is a trademark of TypeTogether.Copyright
Copyright (c) 2006 by TypeTogether. All rights reserved.Description
Copyright (c) 2006 by TypeTogether. All rights reserved.License
This end user License Agreement (hereinafter Agreement) is a legal agreement between you, or, if you represent a legal entity, that legal entity (hereinafter You) and Type-Together (hereinafter TT), and is applicable to the Font Software that is accompanied by this Agreement or that you have ordered online. By downloading the Font Software or opening the package, you agree to be bound by the terms of this Agreement. If you do not agree to the terms of this Agreement, do not download, install, or use the Font Software. If you have purchased a License to use the Font Software in a sealed retail package and do not agree to the terms of this Agreement, return it unopened to the place of purchase.1. You are bound by the Agreement and you acknowledge that all Use (as defined herein) of the Font Software (as defined herein) supplied to you by TT is governed by the Agreement. 2. Font Software means coded software that generates typeface designs when used with the appropriate hard- and software plus any and all other data including documentation provided with such software.3. Licensed Unit means an installation of the Font Software that allows up to five (5) concurrent users and any amount of output devices to use it at a single geographic location. A single geographic location is in particular the site of your place of business. The geographic restriction does not apply to portable computers if they are owned by you. If you require font software to be used by more than 5 users, you need to purchase a license extension.4. Commercial Product means a product (e. g. electronic document, soft- or hardware) which is distributed to third parties with the intention of ( i) obtaining a financial or other consideration and/or (ii) increasing awareness of one's own company or institution, products, and services in order to gain more business.5. This non-exclusive license grants you to use font software in a Licensed Unit for your own personal or internal business purposes according to the terms of this Agreement. You have no rights to the Font Software other than as expressly set forth in the Agreement. You agree that TT owns all right, title and interest in and to the Font Software, its structure, organization, code, and related files, including all property rights therein such as copyright, design and trademarks rights. You agree that the Font Software, its structure, organization, code, and related files are valuable property of TT and that any intentional Use of the Font Software not expressly permitted by the Agreement constitutes a theft of valuable property. All rights not expressly granted in the Agreement are expressly reserved to TT. You may not use the Font Software to electronically distribute a Commercial Document without a separate license from TT authorizing you to do so. 6. You may make back-up copies of the Font Software for archival purposes only, provided that you retain exclusive custody and control over such copies.7.You may take a digitized copy of the Font Software used in a particular document to a commercial printer or service bureau for outputting this particular document (this document may be edited by the printer or service bureau). In the event of use of the Font Software for other purposes, the printer or service bureau must purchase its own Font Software licenses.8.You may embed the Font Software in documents either as a rasterized representation of the Font Software (e.g., a GIF or JPEG) or as a subset of the Font Software as long as the document is distributed in a secure format that itself is not a Commercial Product. You need an additional license from TT or its Distributors for embedding the Font Software in a Commercial Product.9.You may adapt, modify, alter, translate, convert, and install the font software into another format for use in other environments, subject to the following conditions: A computer on which the converted font software is used or installed shall be considered as one of your permitted number of computers. Use of the font software you have converted shall be pursuant to all the terms and conditions of this Agreement. Such converted font software may be used for your own customary internal business or personal use exclusively and man not be distributed or transferred for any purpose. You many not modify or remove the name(s) of the font software, author's signature, copyright and trademark notices from the original files. 10.The Font Software may not be installed or Used on a server that can be accessed via the Internet or other external network system (a system other than a LAN) by Workstations which are not part of a Licensed Unit. 11. Except as granted in 6. to 7, you may not copy the Font Software or allow third parties to copy the Font Software. Any copy of the Font Software must contain the same copyright, trademark, and other proprietary information as the originals.12. You acknowledge that the Font Software is protected by the copyright and other intellectual property law of the United States and its various States, by the copyright and design laws of other nations, and by international treaties. Any copyright, trademark and other rights belong exclusively to TT, except as expressly provided in 5. You do not gain the ownership of the Font Software under this Agreement. The structure, organization, and the code of the Font Software are trade secrets of TT, and you agree to treat them as such. You agree to treat the Font Software as you would any other copyrighted material, such as a book. You may not copy the Font Software, except as expressly provided herein. Any copies that you are expressly permitted to make pursuant to the Agreement must contain the same copyright, trademark, and other proprietary notices that appear on or in the Font Software. You agree not to create Derivative Works from Font Software or any portion thereof. You further agree not to use Font Software in connection with software and/or hardware which create Derivative Works of such Font Software.13. You may not rent, lease, sublicense, give, lend, or further distribute the Font Software, parts of it, or any copy thereof, except as expressly provided herein. You may transfer all your rights to use the Font Software to another person or legal entity provided that (i) the transferee accepts and agrees to be bound by all the terms and conditions of the Agreement, (ii) you destroy all copies of the Font Software, including all copies stored in the memory of a hardware device, and that (iii) you notify TT about the transfer by submitting the online form located at www.type-together.com/notifications/ or by writting to Rpdriguez 1339 Suite 7, 2000 Rosario, Argentina. Without limiting the generality of the foregoing, you agree that you will not distribute or disseminate all or any part of the Font Software through any online service.14. Limited warranty. For a period of ninety (90) days after delivery, TT warrants that the font software will perform in accordance with its documentation. To make a warranty claim, you must return the Font Software to the location from which you obtained it along with a copy of your sales receipt within such ninety (90) day period. The entire, exclusive, and cumulative liability and remedy shall be limited to the refund of the license fee you paid to TT to obtain delivery of the Font Software. Neither the warranty nor technical support do not apply to any font software converted or modified by the user.15. Disclaimer of warranties. TT DOES NOT WARRANT THE PERFORMANCE OR RESULTS YOU MAY OBTAIN BY USING THE FONT SOFTWARE. THE FOREGOING STATES THE SOLE AND EXCLUSIVE REMEDIES FOR TTS BREACH OF WARRANTY. EXCEPT FOR THE FOREGOING LIMITED WARRANTY, TT MAKES NO REPRESENTATIONS OR WARRANTIES, EXPRESS OR IMPLIED, AS TO NON-INFRINGEMENT OF THIRD PARTY RIGHTS, MERCHANTABILITY, OR FITNESS FOR ANY PARTICULAR PURPOSE. IN NO EVENT WILL TT BE LIABLE TO YOU OR ANYONE ELSE (I) FOR ANY CONSEQUENTIAL, INCIDENTAL OR SPECIAL DAMAGES, INCLUDING WITHOUT LIMITATION ANY LOST PROFITS, LOST DATA, LOST BUSINESS OPPORTUNITIES, OR LOST SAVINGS, EVEN IF TT HAS BEEN ADVISED
Arial Traffic Sign iconPackages
Funny ToysStyle
dcoxy MGAuthor
dcoxy medina gregoryTrademark
Funny Toys is a trademark of dcoxy MG.Copyright
Copyright (c) 2013 by dcoxy MG. All rights reserved.Description
Copyright (c) 2013 by dcoxy MG. All rights reserved.License
free for personnal use. For informations and autorization for commercial use contact me before to use it.
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Greater Albion TypefoundersAuthor
Paul J. LloydTrademark
Endymion is a trademark of Greater Albion Typefounders.Copyright
Copyright (c) 2010 by Greater Albion Typefounders. All rights reserved.Description
License in accompanying file.
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Ingrimayne TypeAuthor
Robert SchenkTrademark
AndrewAndyStencil is a trademark of Ingrimayne Type.Copyright
Copyright (c) 1994, 1995, 2011 by Robert Schenk. All rights reservedDescription
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Covington SC CondStyle
1.0; 2001; initial releaseAuthor
Derek VogelpohlTrademark
Covington SC - Cond Bold is a trademark of Apostrophic Laboratories.Copyright
Copyright (c) Derek Vogelpohl, 2001. All rights reserved.Description
Copyright (c) Derek Vogelpohl, 2001. All rights reserved. Covington SC - Cond Bold is a trademark of Apostrophic Laboratories.
Arial Traffic Sign iconPackages
graffonti .3d.drop.Style
v2.7 (http://fontvir.us/)Company
xero harrison / fontvir.usAuthor
xero harrisonTrademark
xero harrison . fontvir.usCopyright
(c) MMVI ( xero harrison ) fontvir.usDescription
MMVII ( xero harrison ) fontvir.us
Arial Traffic Sign iconPackages
Ray LarabieAuthor
Ray LarabieTrademark
Flyswim is a trademark of Typodermic FontsCopyright
Copyright (c) 2007 Typodermic Fonts. This font is not freely distributable. Visit typodermic.com for more info.Description
Please read the current Typodermic Fonts license agreement at http://www.typodermic.com/license.html


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by Beth Pearsall
Several reports highlight visibility issues for law enforcement and safety personnel responding to roadside incidents.
©iStockPhoto.com (see
reuse policy). Image is used for illustrative purposes only and person depicted is a model.
Oct. 21, 2008, began like any other day on the job for police officer David Tome.
Early that Tuesday morning, Tome and the rest of the accident reconstruction team from the Northern York County Regional Police Department were on Route 15 in York County, Pa., investigating a fatal crash that had occurred days earlier. The team set up traffic cones to close the right lane of the road and began the investigation.
However, around 9 a.m., a passing sport-utility vehicle hit Tome where he stood in the right lane, sending him flying over a guardrail. Tome — a five-year veteran of the force, a husband and a father of two young children — died instantly. He was 31 years old.[1]
David Tome's story is tragic and sadly common. Every week, new stories emerge of law enforcement officers, firefighters and other first responders who are injured or killed in roadside crashes throughout the United States.
The National Institute of Justice has collaborated with fire service and automotive engineering agencies on several studies that address roadway safety. Increasing emergency vehicle visibility and developing training and tools aimed at keeping first responders safe on the road have emerged as next steps in the effort to prevent future tragedies.
Preliminary data for 2009 from the National Law Enforcement Officers Memorial Fund show that for the 12th year in a row, more officers were killed in the line of duty in traffic incidents than from any other cause of death, including shootings. These incidents comprise automobile and motorcycle crashes as well as officers struck while outside their vehicles. In 2009, 56 law enforcement officers had died in traffic-related incidents, accounting for close to 50 percent of officer deaths for the year.[2]
In the previous year, 28 out of the 118 firefighters who died while on duty were killed in vehicle crashes. Another five firefighters were struck and killed by vehicles.[3]
These sobering numbers clearly show the need to protect law enforcement officers, firefighters and other first responders as they perform their duties on the nation's streets and highways.
Visibility is essential to roadside safety for emergency responders. Can drivers see and recognize an emergency vehicle as it navigates through traffic on its way to the scene of an accident or fire? When the first responder has reached the scene and is on the side of the road, can drivers clearly see both the person and the vehicle?
Several factors affect a vehicle's visibility — its size and color, for example. Environmental conditions, such as the weather and time of day, also play a role in whether drivers can easily see emergency vehicles along the road.
Emergency vehicles have features designed to draw attention to their presence even when drivers are not actively looking for them. These include warning lights, sirens and horns, and retro-reflective striping, which reflects light back to its source. Such features provide information about the vehicle's size, position, speed and direction of travel so drivers can take suitable action.[4]
Some emergency response fields have national standards that govern the visibility of vehicles. The National Fire Protection Association's (NFPA's) Standard for Automotive Fire Apparatus requires fire trucks and ambulances in the United States to have retro-reflective striping and markings in multiple locations, including at least:
Although compliance with the NFPA standard is voluntary, vehicle manufacturers typically comply to limit liability and ensure the marketability of their products.[5]
Law enforcement does not have a similar national standard. However, many law enforcement agencies apply retro-reflective markings to patrol cars, motorcycles and other vehicles.[6]
The demands of the law enforcement profession also create unique visibility issues. Sometimes personnel do not want their cars to be readily detectable. Officers may want to be almost invisible to other drivers under certain circumstances. The need for high visibility at certain times must be balanced against a need for stealth at other times.
A recent study took a closer look at some commercially available products to determine whether they help increase emergency vehicle visibility and improve roadway safety for emergency responders and the public. The NIJ-funded research was conducted by the U.S. Fire Administration and the International Fire Service Training Association.[7]
Looking specifically at retro-reflective striping, high-visibility paint, built-in lighting and other reflectors on emergency vehicles, the researchers found that:
Researchers also identified ways for first responders to improve the ability of civilian drivers to see and recognize emergency vehicles during all phases of an emergency. These include:
USFA and the Society of Automotive Engineers conducted a separate NIJ-funded study to examine another important feature of emergency vehicles — warning lights.[8]
Researchers in this study looked specifically at how the color and intensity of warning lights affect driver vision and emergency vehicle safety during the day and night. They examined whether the lights alerted drivers to the presence and location of an emergency vehicle as intended or whether they unnecessarily distracted drivers or hindered their ability to detect emergency responders on foot.
"Right now, emergency lighting used by some departments is based on tradition and opinion," said Bill Troup, a fire program specialist at the USFA National Fire Data Center. "Some agencies use red warning lights; others use blue, and some use a combination of colors. Why are the colors this way? Because that's the way it's been done. It's tradition, and in some cases, this tradition has become state law. With this study, we wanted to add some science to the 'why' of emergency lighting."
The researchers asked study participants, who were representative of the driving public, to perform three tasks while viewing a simulated traffic scene:
During this field experiment, the researchers varied the color and intensity of the warning lights (using white, yellow, red and blue lights at low and high intensities). They also varied the location of the emergency vehicle (placing it to the left or right of participants) and the surrounding light (creating day and nighttime lighting conditions). The emergency responders wore two different sets of protective clothing. Both sets had standard retro-reflective markings; however, the background material on one set was black, and the other was yellow.
The most significant difference occurred between day and night: Researchers found that participants' ability to find warning lights at night was uniformly good and did not improve when they increased the lights' intensity. During the day, however, a higher intensity of each of the four colors improved participants' ability to spot the lights. Blue was the easiest light color for participants to see, day and night.
Even though the responders outside the emergency vehicles wore protective clothing with retro-reflective markings, participants had substantially more difficulty finding the responders at night than during the day. Researchers found no difference in participants' ability to find responders wearing the black versus yellow clothing in either the day or night. The warning lights had little effect on participants' ability to see the responders during both lighting conditions.
Based on these findings, the researchers offered three recommendations for improving safety during roadside emergencies:
Aside from research studies on vehicle visibility, NIJ also has supported developing Web-based tools that will help improve the safety of law enforcement officers, firefighters and other emergency responders on the roadways.
With support from NIJ, USFA collaborated with the Cumberland Valley Volunteer Firemen's Association's Emergency Responder Safety Institute to create ResponderSafety.com. This Web site contains the latest news and training on roadside safety as well as recent cases of responders who were injured or killed by vehicles while on duty. The site aims to be a place where transportation, public safety and emergency personnel around the country can share lessons learned, thus helping them to respond more safely and effectively to roadway incidents.
USFA also collaborated with the International Association of Firefighters to develop a separate Web-based training program called "Improving Apparatus Response and Roadway Operations Safety for the Career Fire Service." NIJ and USFA are working to expand this roadside safety training program to cover all emergency responders, including law enforcement. The program is scheduled to launch in 2010.
Roadside safety issues are complex. Using warning lights and retro-reflective material to increase an emergency vehicle's visibility is just one important focus area. Setting up a proper safety zone at the scene of an accident or other roadside hazard, as well as increasing the visibility of emergency responders on foot, is also critical. Perhaps one of the most essential parts of the equation is the alertness of civilian drivers and their ability to recognize an emergency vehicle and take suitable action to avoid a collision. NIJ will continue to work with law enforcement, firefighters and other emergency responders — and the public — to address these concerns and help improve safety for everyone on the road.
Beth Pearsall is a freelance writer. She is a former managing editor of the
NIJ Journal.
See "Finding Safe and Effective Alternatives to the Highway Flare."
NIJ Journal No. 265, April 2010NCJ 229885
Beth Pearsall is a freelance writer. She is a former managing editor of the
NIJ Journal.
For More Information
[note 1] Northern York County Regional Police Department, "David Tome Memorial Page," and "Officer Investigating Fatal Crash Struck, Killed,"
WGAL.com, Oct. 22, 2008.
[note 2] . National Law Enforcement Officers Memorial Fund,
"Law Enforcement Officer Fatalities Fall Sharply During Third Quarter of 2009," Oct. 2, 2009.
[note 3] U.S. Fire Administration, Firefighter Fatalities in the United States in 2008 (pdf, 93 pages), Emmitsburg, MD: U.S. Department of Homeland Security, Federal Emergency Management Agency, September 2009.
[note 4] U.S. Fire Administration,
Emergency Vehicle Visibility and Conspicuity Study (pdf, 45 pages), Emmitsburg, MD: U.S. Department of Homeland Security, Federal Emergency Management Agency, FA-323/August 2009.
[note 5] Ibid.
[note 6] Ibid.
[note 7] Ibid.
[note 8] Flannagan, M.J., D.F. Blower, and J.M. Devonshire,
Effects of Warning Lamp Color and Intensity on Driver Vision, Warrendale, PA: SAE International, October 2008.
National Institute of Justice, 810 Seventh Street, NW, Washington, DC 20531

subset: commoncrawl


text:
87209.net is using 2 services which we detected on its website. The major ones are Sharktech for hosting the website and dropcatch.com 726 llc as Registrar The site was online when this report was compiled on 15 April 2018 21:08. 87209.net is hosted in United States of America and owned by hu weisheng ().
After checking the site records, we found that it is 3 years 5 months old and will expire on 21 March 2017. For more registration details, refer to this section. We didn't find any SSL certificate present on the website which is bad for users privacy. Homepage is in Chinese and contain 2 external links.
Services used by 87209.netFind what are the main services utilised by 87209.net.
Server Tech nginx
Compression Algo gzip
Generator -
SSL Certificate -
Hosting Account Sharktech
DNS Served by -
Google Analytics Absent
External Links 2
Language Chinese
Origin country United States of America
Primary IP Address 220.127.116.11
Owner Country -
Email server -
Registration MetadataRegistration details tell about a website past and future. The information is critical for websites assessment.
hu weisheng
21 March 2016
Website Registered
22 March 2016
21 March 2017
Domain Expiration
Complete registration information text
Domain Name: 87209.NET Registrar: DROPCATCH.COM 726 LLC Sponsoring Registrar IANA ID: 2206 Whois Server: whois.namebright.com Referral URL: Name Server: NS1.JINMI.COM Name Server: NS2.JINMI.COM Status: ok Updated Date: 22-mar-2016 Creation Date: 21-mar-2016 Expiration Date: 21-mar-2017 Domain Name: 87209.net Registry Domain ID: 2014424248_DOMAIN_NET-VRSN Registrar WHOIS server: whois.NameBright.com Registrar URL: Updated Date: 2016-03-22T00:00:00.000Z Creation Date: 2016-03-21T06:00:00.000Z Registrar Registration Expiration Date: 2017-03-21T00:00:00.000Z Registrar: DropCatch.com 726 LLC Registrar IANA ID: 2206 Registrar Abuse Contact Email: Registrar Abuse Contact Phone: +1.720.496.0020 Domain Status: ok Registry Registrant ID: Registrant Name: hu weisheng Registrant Organization: Registrant Street: kexue road 58 Registrant City: hefei Registrant State/Province: Anhui Sheng Registrant Postal Code: 230088 Registrant Country: CN Registrant Phone: +86.4008000724 Registrant Phone Ext: Registrant Fax: Registrant Fax Ext: Registrant Email: Registry Admin ID: Admin Name: hu weisheng Admin Organization: Admin Street: kexue road 58 Admin City: hefei Admin State/Province: Anhui Sheng Admin Postal Code: 230088 Admin Country: CN Admin Phone: +86.4008000724 Admin Phone Ext: Admin Fax: Admin Fax Ext: Admin Email: Registry Tech ID: Tech Name: hu weisheng Tech Organization: Tech Street: kexue road 58 Tech City: hefei Tech State/Province: Anhui Sheng Tech Postal Code: 230088 Tech Country: CN Tech Phone: +86.4008000724 Tech Phone Ext: Tech Fax: Tech Fax Ext: Tech Email: Name Server: ns1.jinmi.com Name Server: ns2.jinmi.com DNSSEC: unsigned URL of the ICANN WHOIS Data Problem Reporting System: --- Last update of WHOIS database: 2016-03-25T10:12:17.535Z ---


text:
There is more information in the Designated Professional Body guidance for the scheme and in a help sheet tailored to Property Managers, both viewable at www.rics.org/dpb.
To be granted a Designated Professional Body licence, a firm must have in place Professional Indemnity Insurance of €1,120,200 for each claim and €1,680,300 for all claims per annum as required by the DPB Rules Schedule 1. You should contact your insurers or brokers to ensure you have the correct level and terms of cover.
Under FSA guidelines we are required to ask for this figure in €'s, however providing your policy is equivalent to €1,120,200 at the date that you effected the policy, not at today's date, then you can answer Yes to this question.
Should you wish to check on past exchange rates, then please visit the Bank of England website to see daily spot rates against the Euro.
Please give us the best indication you can, of the amount of income which has been generated in the last 12 months, or since the firm was granted a Designated Professional Body licence if this is shorter.
Exempt regulated activities are one or more activities permitted under your DPB licence. Please provide the number of RICS members within the firm that are involved in any insurance activities under the DPB licence.
You should declare any new matters since your last application/renewal. You will need to provide further explanations regarding any yes answers. Yes answers will not automatically affect your licence status. We will review the information provided and may make further enquiries in order to assess your eligibility for licensed status. Failure to disclose may jeopardise your firm's licence status.
If you have any queries on eligibility please e-mail firstname.lastname@example.com or telephone +44 (0)20 7695 1670.
A Principal is a partner, statutory director or a Limited Liability Partnership (LLP) member. We also have a held out rule which means that if a person who is not a partner, statutory director or LLP member, shall still be treated as such if they:
By way of an example and in relation to our question, if a principal had been declared bankrupt and this had not been declared on your previous Designated Professional Body application form, then we would need to know about it and the answer should be completed "Yes".
A civil action is not criminal in nature and is a legal action brought to protect a private civil right or to bring about a civil remedy. Civil cases can relate to:
As an example we would want to know if there had been any Professional Indemnity Insurance claims.
For example, in the last ten years has any principal of the firm attended an RICS Professional Conduct Panel.
By way of an example, have there been any offences under the Property Misdescriptions Act 1991. Have there been any convictions or are there any charges pending by Trading Standards?
Road traffic offences that do not lead to a disqualification or prison sentence need not be mentioned. Please refer to Bye-Law 5(2)(4).
Section 4(2) of the Rehabilitation of Offenders Act 1974 leads to an entitlement to disregard convictions which have become spent under the Act.
This entitlement applies to our scheme.
The 1986 Act means that courts can impose orders disqualifying company directors. Further legislation enables disqualification undertakings to be given by director. These undertakings have the same effect as disqualification orders but do not need the court to be involved.
I confirm that I/we continue to comply with the basic conditions and ongoing obligations in accordance with the DPB rules.
Please see the RICS Designated Professional Body Scheme Rules and Guidance for further explanation.


text:
For the past 20 years, troubles have brewed around restrictive craft beer laws in Texas.
But on May 20, the 83{+r}{+d} Legislature passed several state Senate bills heralded as landmark legislation by breweries, brewpubs and small-restaurant owners.
The state law will give Irving its first brewpub — a restaurant that brews its own beer.
"When we first proposed the brewery to Irving, they had no idea what to do with it," said Twin Peaks CEO Randy DeWitt. "It really took them by surprise."
Senate bills 515, 516, 517 and 518, presented by state Sen. Kevin Eltife (R-Tyler), and Senate bill 639 presented by state Sen. John Carona (R-Dallas) received two-thirds of the majority in both the Senate and House.
The bills will double the previous cap on brewpub production to allow restaurants with a brewery to sell 10,000 barrels of beer a year. The bills also allow craft beer manufacturers with a mixed-beverage permit to sell their beer to distributors and retailers in limited amounts.
The Irving Planning and Zoning Commission unanimously approved Twin Peaks' proposal for construction of a 2,800 square-foot brewery and 27-foot-tall grain silo at its north Irving location at a June 17 meeting.
The item was approved by the city council in an 8-1 vote July 11. Place 6 council member Brad LaMorgese was the only dissenting vote.
The restaurant is in LaMorgese's district, north of Interstate 635 — a part of Las Colinas that pushed to relax the city's 31-year-old limits on restaurants' alcohol sales.
Divided by State Highway 183, residents in south Irving opposed the now-50/50 food-to-alcohol sales ordinance, while north Irving business owners pushed to increase the previous 40-percent cap on alcohol sales, which they said was crippling the economy.
"I don't think it's a great fit for what I'm looking for in that area," said LaMorgese, who voted in favor of the 50/50 ordinance.
But John Gessner, vice president and general counsel for Front Burner Restaurants, which owns Twin Peaks, said the brewpub seems to be in line with Irving's interest in diversifying its restaurant offerings.
"I think the city of Irving has been looking to expand its offering of restaurants and bring in new restaurants and concepts," Gessner said. "I think this really brings a different concept for the city to the table."
No residents signed up to speak on the brewpub at the council meeting, and Mayor Beth Van Duyne read the name of one present resident in support of the item.
Valley Ranch Association Board president Edward Kim offered no comment on Twin Peaks, which was formerly a Luby's cafeteria.
Council members Joe Putnam and Gerald Farris, who voted against Irving's increased alcohol sales ordinance, voted in favor of the brewpub.
"I don't have any reason not to vote for it," said Putnam, whose district, Place 4, lies at the opposite end of the city in far south Irving.
A central location
The same year the Legislature made brewpubs legal, brewmaster Tom Janik was graduating from Texas A&M University with a degree in food science.
In 1993, the state legalized the operation of brewpubs under strict guidelines, but Texas' steady climb in the interest of craft breweries helped to push reform.
The chemistry behind brewing craft beers was a hobby in college for Janik, who ran Humperdink's brewery in Dallas in 1995. Dewitt said that chemistry is the reason behind the explosion of interest in craft beers.
"I think the main interest is getting a beer that is a higher quality and unique, and the secondary driver is finding something that's local," DeWitt said.
Janik, who lives in Flower Mound, will be Twin Peaks North Irving's in-house brewmaster when construction is complete sometime in October. Customers should be drinking the first batch of craft beer in mid-November.
Janik said the legislation is a win for Texas.
"It's obviously an advantage for the craft industry," Janik said. "It basically levels the playing field and allows us to do things here in the state that have been legal in Colorado and the northwest and other regions."
DeWitt said plans were underway to build the brewery — which will be the national chain's first — at one of their three Denver locations had the Legislature not passed the law.
"The fact is we had the land there to do it, and none of our other buildings in the area have room for expansion," DeWitt said. "Plus, Irving is such a central location with the airport nearby, and D-FW is where we started."
Neighborsgo Irving/Coppell editor Gloria Hernandez can be reached at 214-977-8027.


text:
Shipping/Handling Charge
All products will be shipped from Japan.
Total shipping weight and shipping/handling fees will be calculated automatically.
Import duties, taxes, and charges
Import duties, taxes, and charges are not included in the item price or shipping charges. These charges are the buyer's responsibility.
Please check with your country's customs office to determine what these additional costs will be prior to bidding/buying.
These charges are normally collected by the delivering freight (shipping) company or when you pick the item up - do not confuse them for additional shipping charges.
For the Anglers in Itay and Brazil:
Tell us your Tax Code, Codice Fiscale(Italy), CPF(Brazil), please.
We need them to fill in shipping documents.
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We appreciate your understanding that there is some possibility to arrange shipping cost after you make payment.
If short, we send an invoice for the balance and if over, refund the excess.
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will be recommended because it is traceable, fully insured and faster.
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However, we offer worldwide shipping for these rods fully insured with tracking by FedEx
You can check our note for rod shipment here;
Shipping Rods
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Actual amount you pay in the currency on your PayPal account would be higher a bit than the total sum of each prices automatically converted on item pages.
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text:
Item Description
Letter, J. Thompson to J. W. Denver
Author: Thompson, J.
Date: October 10, 1858
Thompson, writing from the Department of Interior in Washington, D.C. to Governor James W. Denver, urged Denver to remain in the position of territorial governor as a service to the Buchanan Administration and the Democratic party. Thompson indicated that President Buchanan believed Denver could prevent Kansas from seeking admission to the union until it had "the requisite population." Denver, in spite of Thompson's appeal, left office on October 10, 1858.
Location of Original: KSHS Call Number: James W. Denver Collection, #328, Box 1, Folder 12
Item Number: 101285 Number of images: 3
Keywords: Buchanan administration; Democratic Party (U.S.); Denver, James William, 1817-1892; Kansas Territory. Governor; Thompson, J.
pg. 1
pg. 2
pg. 3


text:
Sturdy clear plastic basket liners are a neccesary addition to any blooming or green plant or basket flower arrangement. These hard plastic liners ensure that your fresh floral arrangement will not leak and damage your tablecloth or stain your carpet. These are good quality clear plastic liners at a low cost. These hard plastic liners ensures leek proof.
Size: 8" Diameter x 3.5" Deep
25 piece minimum. Sold in packs of 25.
Product 9/10


text:
If I'm Going, Then Uyguring to Cafe Arzu
"I'm going Uyguring" isn't something I get to say very often, but I wish it were. As far as I know, there are only three restaurants in New York City that specialize in Uyghur cuisine, the food of Central Asia's Turkic people—and I don't foresee that number growing.
Accompanied by five hungry friends, I visited one of these restaurants, Cafe Arzu in Rego Park, Queens, with a few specific dishes on my mind: giant dumplings, giant rounds of bread, and giant bowls of hand-pulled noodles. All these dishes were consumed, and then some.
Lepeshka, the homemade bread, resembled like a hubcap-sized donut, although where there would've been a hole, a small flower design had been cut out of the dough. The bread had a thin crispy crust on the outside encasing soft, chewy innards. It was addictive eaten plain, and even more so when dipped in the soup we would get next.
The giant bowl of noodles came in the form of lagman, long strands of hand-pulled wheat noodles—thick like Japanese udon but less uniform—in a spicy, aromatic soup with vegetables and the most tender chunks of beef. This had "comfort food" written all over it—if only lagman shops could be as prevalent as ramen shops.
The lamb shish kebabs were unlike any other form I had ever eaten. When I bit into the impaled cubes of lamb meat, they exploded with juice. They were basically little tender sponges of lamby liquids. I thought the eight sticks we ordered may have been too much, but we managed to eat it all.
Lamb appeared again in the samsa, flaky triangular pastries filled with chopped lamb and onion. This form of lamb wasn't as delicious as the kebab, but dough stuffed with meat still tastes good. It also partially had to do with the satisfaction you get from eating something with your hands—bao, empanadas, sandwiches all benefit from this characteristic. A sweet tomato sauce was served on the side, but I thought the samsa tasted fine on its own without the additional flavor or moisture. If only it had a bone sticking out to use as a handle.
And then there was more lamb. The same lamb and onion mix in the samsa seemed to also be in the steamed manty, which look like slightly larger versions of Chinese soup dumplings. There's no soup in these dumplings though, just meat pinched shut within a thin, slightly chewy skin. Meat wrapped in dough triumphs once more.
While I enjoyed everything that I tried, the one dish I'd want the most the next time I go "Uyghuring" is the lagman... unless I can rally up another group of six or more (many of the tables could fit eight), in which case I would order other kinds of kebabs, another kind of manty, fried pemlenis, and other dishes to essentially recreate the meal I just had, but with more food.
Cafe Arzu
10105 Queens Blvd, Flushing, NY 11375 (map)
Phone: 718-830-3335
This post may contain links to Amazon or other partners; your purchases via these links can benefit Serious Eats. Read more about our affiliate linking policy.


text:
This is a top quality and spacious Lean-to that can be easily fixed to most walls.At 5'4' deep,and available in many lengths, it is a neat and robust design.Unlike other Lean-to models, it requires no base plinth so the door threshold is very low.The frame is set directly onto a slab or concrete foundation.
Standard features include toughened safety glass retained with exterior grade Upvc capping and steel screws. Guttering and downpipes and at least one roof vent are also standard features. The 2' single sliding door can be locked and may be positioned on either gable end, please specify with your order.To maximise growing capacity, a popular option is the special Robinsons staging and shelving that bolts directly to the greenhouse frame. It's both practical and very neat.
- A: Base Width 1619 mm (5ft3)
- B: Length 2012 mm (6ft7)
- C: Eaves Height 1691 mm (5ft6)
- D: Ridge Height 2564 mm (8ft4)
- E: Door Width 600 mm (1ft11)
- F: Door Height 1820 mm (5ft11)
- Extremely strong frame
- Toughened glass (4mm)
- Sliding door
- Free 10 Year Guarantee
- 1 x roof vent (automatic opening)
- 1 x Louvre vent
- Gutter and a single down pipe
- High eaves
- Door lock
- Ground level door threshold
- Stainless steel fixings
- Kick panels
- Screw-in bar capping
- Installation available for a fee


text:
Instructor and author Peter Reinhart's fresh perspective on bread-making goes beyond the recipes and raises your baking skills to another level.
Looking for a fresh perspective on bread making? Let Peter Reinhart, baking instructor at Johnson & Wales University and award-winning author of "The Bread Baker's Apprentice" and "Artisan Breads Every Day," introduce you to bread-making techniques that go beyond the recipes. Explore the 12 stages of bread making and learn trade secrets for measuring, mixing, proofing and baking six different types of bread, including supple French bread, rich marble rye and a sweet chocolate babka. Learn to balance time, temperature and ingredients to create delicious, fresh breads in your own kitchen.
If you're not delighted with your Bluprint experience, we'll make it right or give you a full refund.


text:
National Endowment for the Humanities announces free education initiative, bringing great American art directly to classrooms and libraries across the country
Tuesday afternoon at the White House, the National Endowment for the Humanities launched Picturing America (SM), an innovative program that helps teach American history and provides students with a gateway to the broader world of the humanities.
"At their best, the arts and humanities express the ideals that define our nation," said President George W. Bush. "The United States is a country defined not by bloodline, race, or creed, but by our character and convictions. We are united by an unyielding principle, and that is, all men are created equal. We firmly believe that each man and woman has the right to make the most of their God-given talents. And we believe that all are endowed with the divine gift of freedom.
"Today I'm pleased to unveil a new project under this program—the Picturing America initiative," continued the President. "This initiative will educate children about the great people and places and moments in our history using American art and masterpieces that depict them."
"Thousands of schools, and millions of people, will have the chance to view this collection in their own communities," said First Lady Laura Bush. "Schools and community libraries that apply now—between now and April 15, 2008—will receive this collection. Today we invite all schools and libraries to apply for this collection—and that means public, private, parochial and charter schools, home school consortia, and community libraries.
"I think this would be really, really fun to teach," continued Mrs. Bush. "As a teacher myself, I'd love to have this set in my classroom."
Picturing America is composed of forty, carefully selected works of art spanning several centuries—all by American painters, sculptors, photographers, and architects. The NEH will distribute large, high-quality reproductions of these images, along with a teachers resource book, lesson plans, and materials, to schools and libraries nationwide. Including the newly unveiled Web site, PicturingAmerica.neh.gov, Picturing America's resources unlock the potential in each work of art to enhance the study of American history, social studies, language arts, literature, and civics.
"Our goal is eventually to have Picturing America in every school and public library in the United States," said NEH Chairman Bruce Cole. "We are especially delighted to have the support of the President and First Lady in this historic initiative and believe their leadership will move us closer to reaching this goal.
"Picturing America helps us understand our democracy by bringing us face to face with the people, places, and events that have shaped our country. It provides an innovative way to experience America's history through our nation's art," continued Chairman Cole.
Feedback from educators participating in a pilot program has been tremendous.
"That box of posters is such a treasure trove! I have so many ideas, and the companion book with lesson suggestions has been a valuable asset," said art teacher Jan Kolesar from Captain Samuel Douglass Academy in Brookline, N.H. "It has been fantastic to see how the students react to the posters with awe and many questions. I am really excited to begin using all of the posters with other lessons."
In addition to schools and libraries, through an interagency agreement, NEH and the Administration for Children and Families within the Department of Health and Human Services will work together to make Picturing America available to the 20,000 Head Start centers around the nation. This partnership will provide for the development of materials to supplement Picturing America and ensure that the program will enhance early childhood development and family literacy.
The National Endowment for the Humanities wishes to thank the following: the American Library Association, the Institute of Museum and Library Services, Head Start, Mr. and Mrs. Robert H. Smith, the Honorable William D. Rollnick, the Honorable Nancy Ellison, the National Park Service, the History Channel, and the National Trust for the Humanities.
About Picturing America
Public, private, parochial, and charter and home school consortia (K-12), as well as public libraries in the United States and its territories, are eligible to receive Picturing America materials. Interested schools and public libraries can apply through the NEH, with an application deadline of April 15, 2008, for receipt of materials in the fall. Detailed instructions for submitting an application can be found in the 'Apply Now' section of the Picturing America Web site.
Picturing America comes with a comprehensive package of materials that includes:
- forty large, high-quality color reproductions of the selected masterpieces (24" x 36");
- a comprehensive teachers resource book providing a wide range of ideas and background information to support educators using the works of art in core subject areas; and
- additional resources and lesson plans available through the Picturing America Web site.


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Ballet Ouest
Ballet Ouest de Montréal was founded in 1984 by its artistic director Margaret Mehuys. Her creative choreography has entertained and educated Montreal audiences for over 15 years. With passion, love and rigorous standards she has trained several generations of rising young dancers and seasoned professionals, carving out a unique niche in the dance world. Ballet Ouest combines high quality dance performance, creative choreography and committed con-tributions from a vast array of volunteers.
The company's first performance of The Nutcracker in 1984 was made possible by the generous support of a group of families. From these beginnings, Ballet Ouest established the goals by which it is still guided: to contribute to the promotion of classical dance and the artists who lend their vitality to this artistic discipline. The company focuses on creating, producing and performing new ballets, mounting and presenting updated versions of ballets from the classical repertoire, and inviting outside choreographers to create original works from which a contemporary dance language can be constructed.
Ballet Ouest is also committed to introducing dance to young audiences. It does this by holding school matinee performances, lecture/demonstrations and interactive presentations. The company has worked to acquaint young people with all aspects of mounting a classical dance performance, both behind the scenes and before the footlights. Each year Quebec school children are exposed to both the theory and practice of classical dance.
American-born choreographer Margaret Mehuys, with many years of experience as a professional dancer, has directed the company from the start. Among her many accomplishments she has staged nine choreographic works for Ballet Ouest and helped nurture the emerging talent of many dancers, as well as the hundreds involved in yearly presentations of The Nutcracker. Former Ballet Ouest dancers have gone on to train at the École supérieure de danse du Québec, the National Ballet School of Canada, or to appear with local dance companies such as Les Grands Ballets Canadiens, l'Alberta Ballet and Les Ballets jazz de Montréal, as well as with companies in Europe and the United States.
There have been many outstanding performances over the years. Giselle d'ici, the modern story of a teenage suicide, is largely inspired by the romantic ballet Giselle. Ballet Ouest has also presented Coppelia and The Sleeping Beauty, in their original versions. The company's well-loved version of The Nutcracker has been interpreted by more than 1,000 children and 500 dancers over the past 18 years, and has enthralled over 75,000 spectators.
With an eye on emerging trends in classical dance, Margaret Mehuys has invited choreographers exploring new horizons to help create ballets for Ballet Ouest. The company has pre-sented among others Child's Play, a piece for several dancers by American Lucinda Hughey, Cantus, a pas de deux by internationally renowned Canadian choreographer Jean Grand-Maître, and Symphonie classique by French choreographer Renaud Doucet, formerly of Ballet de Monte Carlo and the Opéra de Montréal.
Truly a unique company, Ballet Ouest has performed in Montreal and other cities in Quebec. It has also performed in Costa Rica, where, for the last two years, it has been working to create a professional classical company and to train dancers. In 2000 and 2002, the company performed The Nutcracker, receiving an outstanding response from the Costa Rican public. It has been invited to return in 2003 with Coppelia.
In 2002, Ballet Ouest acquired Ballet Mobile, a repertoire of truly exceptional dance theatre for children. Created in 1989 by Gilles Tanguay and Julie Lambert, over 350 000 children in the United States and Quebec have been delighted by these works. Continuing its mission, Ballet Ouest will develop opportunities to perform these works in schools and theatres here and abroad.
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The College of William and Mary's Colonial All-Pro Football Camp will include Indianapolis Colts quarterback Andrew Luck, Tennessee Titans quarterback Marcus Mariota and Arizona Cardinals wide receiver Larry Fitzgerald.
The college announced the camp's star-studded lineup Thursday afternoon. This year's camp will take place June 26-29 at the W&M campus.
The first overall pick in the 2012 NFL Draft, Luck quickly emerged as one of the league's elite quarterbacks and was named to three consecutive Pro Bowls from 2012-14.
Mariota was the second overall pick in the 2015 NFL Draft after a record-setting collegiate career at Oregon that culminated with...


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The Law firm was established by George Yiangou in 1981, providing services mainly to commercial Banks, Shipping companies, offshore companies and multinationals. The firm is continually expanding and currently has 9 qualified lawyers and 14 supporting staff.
Best Links
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The Atlanta Hawks and two other teams have been fined an undisclosed amount by the NBA for tampering.
A league spokesman says a memo was sent to teams informing them of the penalties, but didn't say which clubs were punished or provide the amount of the fines.
However, the Hawks say Monday they were one of them, saying that they "fully understand and respect the NBA's decision."
The team recently sent a letter to potential ticket-buyers promoting its chances of signing Chris Paul and Dwight Howard, who will become free agents on July 1.
Teams are not allowed to discuss their interest in players who are under contract to other teams.


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The Knicks will wrap up a mini three-game west coast trip tonight when they take on the Rockets in Houston. The Rockets have the league's top scorer in James Harden who is averaging 24.5 points per game through the early part of the season (just fractions ahead of Carmelo Anthony), but the bigger and more obvious storyline coming into tonight's matchup is Jeremy Lin's first game against the team that helped put him on the map last season.
The biggest decision the Knicks had to make last season was whether or not they were going to retain Lin, who burst onto the scene last year when he averaged 24.4 points to lead the Knicks on a seven-game win streak. You can attribute Lin's success last season to whatever you want (there was no film on the guy, they played a weak schedule, there was no Carmelo Anthony, etc.), but you cannot deny that he played extremely well and helped Mike D'Antoni keep his job for the time being. The Knicks decided (wisely) to not match the lucrative offer Lin received from the Rockets, and instead brought in three new point guards to help anchor the backcourt.
Coming into the season Raymond Felton declared he was the better point guard than Jeremy Lin, and so far has done just about everything to prove that. He is averaging 15.7 points per game to go along with 6.9 assists, compared to Lin's 10 ppg and 6.3 assists. Felton is also shooting 10% better from the field. Felton without a doubt came into this season with a chip on his shoulder having to answer to all the Jeremy Lin fanatics who thought the Knicks made the wrong decision in letting him go. The Knicks also brought in Kidd and Prigioni to help anchor the backcourt, providing them with guard depth that they did not have last year. Kidd currently ranks 17th in the league in PER at 22.62, and Prigioni has been a formidable floor general with the second unit.
The defense at the guard position is also much improved with the new additions. Lin was a turnstile last year and has been exposed early on this year with his on the ball defense. While I think Lin can be a solid point guard in this league, he'd be the first one to tell you he has some things he needs to improve on. I think Felton still has that chip on his shoulder, and will come out tonight with a lot of intensity and attack Lin. He is quicker and stronger than Lin, and I'd like to see him utilize the pick and roll, something that gave Lin fits defensively last season with the Knicks. I look for Felton to have a very nice game tonight as the Knicks look to avoid consecutive losses for the first time this season.
Follow Brian on Twitter @bcoles1029


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While there's no end to what you can register for, it's a good idea to have a plan in mind before you and your betrothed grab the scanning gun.
Registries once served simply to let guests know your china, crystal and silver patterns (and that of course you needed eight of everything); now brides and grooms create wish lists that reflect their lifestyles, so camping equipment, power tools, and gas grills are as common as towels and glassware.
Think about what you need.
It may sound obvious, but base your list on your lifestyle. If your style is casual, you might skip the fine china or crystal. Many wedding registry sites have checklists of everything a couple might need. Printing one out and deciding what you need before you go to register is a great way to put together a focused list.
Digital vs. brick-and-mortar stores.
Since a registry is really for your guests' convenience, think about it from their point of view. Consider registering at several places so your guests have options (but don't register for the same items in more than one place!) Local brick-and-mortar stores are handy for guests who live nearby, but if your guest list spans the continent, consider online registries or national chain stores which offer both online and local shop-in-person options.
Offer price options.
Take your guests' varying budgets into consideration and make sure your list contains a variety of items in different price ranges.
Inform politely.
It's best to let people know the 'old fashioned way': by word of mouth. Tell your family and attendants where you're registered. Guests will ask, and they'll help get the word out. It's fine to have links to your registry on your wedding website, but don't make them the most important or prominent feature of your page. Remember, a registry is a "wish list," and guests aren't required to choose from it.
Step away from the invitation!
It's never okay to include registry information on or with any invitation to the wedding or reception, or with any announcement. Why? Because the emphasis shifts from "we want you to be with us
on our special day" to "you need to buy us a gift and here's what we want." For a wedding shower, it is okay for the host to include a separate sheet of paper along with the invitation letting people know where the couple is registered. It may seem like splitting hairs, but the end result is that the focus stays on the couple and the event rather than on the gifts.
Alternative registries.
You're not limited just to registering for "stuff." Charities are another option, but avoid controversial causes. You can register for a honeymoon or a trip (though be aware – some services charge a fee or a percentage of the gift to cover "handling") or even dance lessons.
The heart of wedding gifts.
Remember, the choice of gift is always up to the giver. Give your thanks graciously, enthusiastically, and in writing.


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Netflix Surges 18% on 4Q Results, Outlook
Netflix (NFLX) shares exploded higher in after-hours trading Friday after the online movie service blew past Wall Street's expectations in every important category -- earnings, revenues and new subscribers.
The shares surged as much as 18 percent to $392 after the company reported earnings per share of 79 cents, easily beating analyst forecasts of 66 cents.
Net earnings were $48.4 million, slightly above expectations of $48 million. And fourth quarter revenue rose 24 percent to $1.18 billion, another beat of the $1.17 billion forecast.
Also significant was Netflix announcement that the service added 2.33 million new subscribers last quarter while analysts had predicted 2 million. Netflix said it expects to add 2.25 million new subscribers in the first quarter.
Elsewhere in its earnings report, %VIRTUAL-article-sponsoredlinks%the company suggested price increases may be on the horizon, but promised existing subscribers that their fees would be "generously grandfathered."
Netflix found itself in hot water with subscribers and shareholders two years ago when the company bungled an attempt at raising prices.
Netflix predicted a total of about 34.3 million paying domestic streaming subscribers by the end of the first quarter.
Netflix primary business allows customers to stream videos over the Internet and receive DVDs in the mail. The company has recently begun producing original content for its subscribers and is negotiating deals with media companies such as Walt Disney (DIS) to provide additional exclusive content.
Overseas, Netflix said it gained 1.7 million new subscribers in the quarter just ended, and predicted 1.6 million more in the current quarter. It ended the last quarter with more than 9.7 million paid members abroad, also more than forecast.
Membership at the DVD-by-mail business continued to decline, the company said, a trend that has been more than offset by new online streaming subscribers.
Looking ahead, the company forecast first-quarter earnings of about 78 cents a share, a penny more than what analysts are forecasting.
"It's been a good year for Netflix. People around the world want what we offer: consumer-in-control Internet television," CEO Reed Hastings said in a letter to shareholders.


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As part of your benefits plan, you will have access to MediBid.com, a platform by which individuals seeking medical care are matched with high quality doctors, hospitals, surgery centers, and other medical professions around the world who will offer transparent, competitive pricing on medical care.
What does this mean to you?
Employees under a Defined Reimbursement Health Plan
If you choose a bid price that falls within your plan's allowable:
100% of your medical care will be paid for by the plan. In addition, some employers will include a travel allowance.
If you choose to go to a higher priced medical provider:
You will minimize your out of pocket expenses.
For medical care not covered by your plan
You can source competitive cash pricing on medical care from high quality medical providers based on the values that mean most to you.
How much can I save?
$100+ on requests such as imaging and diagnostics
$1,000+ on simple procedures such as colonoscopies (even with travel expenses)
$10,000+ for major surgical requests
How do I use MediBid?
Step 1: Make sure your profile is accurate and fill in missing information
You can change your password at this time. MediBid does not share or sell any information on the site. In addition, Doctors and medical facilities cannot see any identifying information until you accept a bid.
Step 2: Submit a medical request for yourself or family member
You define the parameters of medical care you want to receive, such as how far you are willing to travel (if at all) or what the maximum is that you are willing to pay.
Helpful Hint: Uploading x-rays, pictures, and diagnostic notes (you can black out identifying information) increases medical providers' ability to give you a competitive bid.
Family Member Requests: The option for submitting a request for a family member is at the bottom of the request form. Once you have selected their relation to you, a drop down asks you their general health questions.
Step 3: See the bid price, what the price includes, and bidder profiles
Determine value for your healthcare dollar by reviewing each physician's price, as well as their education, training, experience, and other credentials.
Step 4: Accept a bid
You will receive an email confirmation including the winning Bidder's contact and licensing information. This allows you to confirm that this is the medical facility or doctor for you, as well as schedule an appointment.
Step 5: Payment
If the bid you accepted falls within the plan's allowable: 100% of your medical expenses will be paid for. In some cases, you will also receive a travel allowance.
If the bid you accept is more than the allowable: You pay the difference directly to the medical provider.
If the bid you accept is for an uncovered procedure: You pay the medical provider directly.


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Up close, the "world's strongest man" doesn't look as if he's been mislabeled. Behdad Salimi is built like a small warehouse. His neck and head seem to be the same appendage. His arms are bigger than most people's thighs. His thighs ... well, just use your imagination, then double it.
Yet when he shakes hands, he is uncommonly gentle. In fact, for a man who can lift the equivalent of three people over his head, he seems downright genial.
Until he grips a barbell, that is. Suddenly, his jaw tightens. His face contorts. Then he lets out a primal shriek – "ya Ali molaye man" (oh Ali, my leader) – and makes unfathomable amounts of tonnage defy gravity.
It's a shout that may be heard all the way to London. As he prepares for the summer Games at a training center here 400 miles northeast of Tehran, the Iranian strongman faces a difficult task: lifting the heaviest weight a man can hoist, while carrying the enormous expectations of a nation on his prodigious shoulders.
Iranians have been disappointed by their inability to qualify for the London Olympics in popular sports such as soccer and volleyball. But Mr. Salimi, the 23-year-old current world champion in the super heavyweight (+105 kilogram) snatch category, is their hope for redemption and recognition. He is the embodiment – the massive embodiment – of Persian pride.
It helps that he is already, literally, the world's strongest man. In 2011 he lifted 214 kilograms (472 pounds) in the world weight-lifting championships in Paris, breaking the record of his fellow Iranian Hossein Rezazadeh – long a childhood icon.
Training at a special camp with a dozen other members of the Iranian national squad, Salimi works on honing his technique and strength. He is methodical and patient. When he makes an attempt and fails, he tries again. When he injures his hand slightly, he continues, unperturbed. His Olympic dream awaits. And all of Iran will be watching.
"Nothing will satisfy me in the Olympics except a gold medal," says Salimi, during a break. "I am going to London to take it and bring it back home. I did not wish just to be an Olympian; my serious desire has been no less than a gold medal."
While Iran has a long tradition of producing strongmen, Salimi's first instinct was not to be one of them. Growing up in the remote town of Ghaemshahr – known for producing big men who excel at wrestling and weightlifting – Salami wanted to try gymnastics.
Then a friend suggested his body type was more suited to weightlifting. He visited a local club and fit right in with the dreamers of strength and greatness.
"I come from a simple, ordinary family – not poor, not rich, just a warm atmosphere of family," says Salimi. "My father is a retired teacher and nobody was a professional athlete, but they all encouraged me."
Inspiration came in many forms. "When I moved from gymnastics to weightlifting, I used to watch Hossein Rezazadeh's victories and felt that I wanted to be like him," recalls Salimi.
The weightlifter knows that expectations are high. The Iranian team coach is Kourosh Bagheri, himself a former world champion.
"I have less than 1 percent doubt that he will snatch a gold in London," says Mr. Bagheri. "The Olympics is not a small place. All of the world's stars are gathering there to win, and, of course, to compete with them is not easy. But Behdad has strength, power, and confidence. He can do it."
Salimi has become something of a celebrity in his hometown – and, in fact, throughout Iran. After his workout, a group of kids come over to have their photo taken with him. He patiently obliges. When he goes out in public, he's approached by so many people now that he says it sometimes becomes "too much." But Salimi appreciates the adulation.
"I can never pass by and ignore the people's warm greetings, leaving their sincere emotions unanswered," he says.
Pleasing them at the Olympics will be what they want – what all of Iran wants.
One religious pilgrim in the shrine city of Mashhad, in northeast Iran, expressed his "most heartfelt hope" for Salimi's victory, when asked about the weightlifter.
"We ... at this time need joy, a medal, a big name at the international level so that everybody in the country could share the honor and feel proud," said Reza Alavizadeh.
Gladys Tejeda: Getting to the Olympics on borrowed shoes
Hiroshi Hoketsu: A Japanese Olympian defies the age barrier
Kayla Harrison: An American Olympian rebuilds a life through judo and friends
Mohamed Hassan Mohamed: Training for the Olympics in the shadow of war
Behdad Salimi: An Iranian Olympian carries the weight of a nation
Yamilé Aldama: A British track star jumps through a tough decade
Geeta Phogat: How an Indian wrestler defied gender taboos
Tahmina Kohistani: Afghan sprinter tries to beat the clock - and pollution