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Office of Admissions
University of Denver
Sturm College of Law
Ricketson Law Building
Suite 115
2255 E. Evans Ave
Denver, CO 80208
Phone: 303.871.6135
Email: email@example.com
Mon. – Fri., 8:00am – 4:30pm
Application Types I Completing Your Application | Check Application Status I Review Process and Timeline | Application FAQ
* A majority of our communications are sent electronically, please be sure to add firstname.lastname@example.com to your safe senders list so that you receive our emails. *
Application Types
Denver Law accepts applications for first-year JD and advanced standing JD students for the fall semester. Transfer JD and visiting JD students can apply for any semester.
The information below is for applications to our JD program, if you are interested in a different Graduate or LLM program, please visit the Office of Graduate Legal Studies.
First Year Students
First-year students are those that have not previously attended law school.
To be admitted to the University of Denver Sturm College of Law, you must hold a bachelor's degree from a regionally accredited college or university. No undergraduate field of study is favored, based on evidence that a strong student in any major can develop the skills of writing, analysis, and persuasion necessary for success in law school.
See our Application Requirements for further details.
Transfer Students
Law students who have satisfactorily completed one year of work at another American Bar Association-accredited school may apply for transfer to the University of Denver.
Typically, up to 30 hours of course credit from another law school can be applied to your University of Denver law degree. In some circumstances, with special approval from the Admissions Committee, up to 45 credit hours of coursework from another law school can be transferred.
See our Application Requirements for further details.
Advanced Standing Students
Applicants that have completed a law degree from another country and want to apply for the JD program at Denver Law may apply to be considered for advanced standing.
Advanced standing students take all of the required first-year courses for the JD degree and can receive up to 30 hours of credit from their prior degree(s).
See our Application Requirements for further details.
Visiting Students
Law students currently enrolled at another American Bar Association-accredited school may apply for admission as a visiting student at Denver Law.
Individuals admitted as visiting students will receive their degrees from their home law school. The visiting student option is particularly attractive for students whose spouses are transferred to Denver or for students from other law schools who wish to begin interviewing and networking in order to practice in Denver. Students enrolled at a university outside the United States also can visit at the University of Denver for a semester or a year.
See our Application Requirements for further details.
Completing your Application
In order to complete your application for admission to Denver Law, you will need to create an account with LSAC and register with the Credential Assembly Service (CAS). Rather than submitting your application materials directly to Denver Law, you will submit your transcripts and letters of recommendation directly to the CAS and they will forward them to the law schools that you indicate.
Check your Status
You can check your application status online through the LSAC website. To log in, use the system generated username and password emailed to you by the Office of Admission. As your application moves through the review process, the most up-to-date status will be displayed online.
Please be aware that it can take several business days for documents to be processed and your application status to be updated. To help you better understand our application review process, we've compiled some additional information on the review process and timeline.
Privacy Notice
The University of Denver recognizes the importance or protecting personal privacy. Read our Privacy Policy, including notifications for the Family Educational Right to Privacy Act (FERPA) and the EU General Data Protection Regulation (GDPR).


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12 W. Liberty Street
Sumter, SC 29150
Phone: (803) 774-1600
Fax: (803) 774-1687
Office Hours: 8:30am - 5pm, Mon-Fri
Closed Holidays
Permit Technician: Debbie Rauch, (803) 774-1617
Building permits are processed in a timely manner. Time will be needed for the necessary zoning check and contractor's licensing check. You may contact Debbie Rauch at 803-774-1617 for Residential permit information and Commercial permit information.
Inspection Scheduling: Cynthia Marshall, (803) 774-1634
To protect the health, safety, and welfare of the citizens of Sumter by creating safer and more accessible buildings and services.
To provide quality code and ordinance enforcement that are consistent, precise and complete and to provide unparalleled customer service for all concerned with the safety and performance of the built environment.

subset: commoncrawl


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Forest Hills, NY Illustration Lessons
Looking for private in-home or in-studio Illustration lessons? Our Forest Hills teachers are ready to get you started. Find your teacher today!
Our online tools make booking, managing your schedule and paying for lessons easy and hassle-free.
Easily search and compare teachers in your area, including past student reviews and background checks.
If you're not completely satisfied, we'll help you find a new teacher or refund any unused lesson credits.
Why TakeLessons?
Our teachers have taught
lessons and counting!
Popular Illustration Teachers near Forest Hills, NY
Check out some of our most popular teachers near Forest Hills, NY including Woodside, Westfield, Ridgewood, Somerset and Monmouth Junction.
About James W.Close
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Panting and Drawings, Model Design, Animation Design, Illustration, Advertising For The Web, Album Design , Logo Creation. Painting in Photoshop.
About James
8. PR and Promotions Business
I worked for Eddie Van Halen for five years in the 1990's in the Beverly Hills area of Los Angeles and was instrumental in providing help with development of the Peavey Wolfgang and Wolfgang Special Guitar by providing feedback on the prototypes Eddie was designing at the time. I learned a lot from Eddie and his brother Alex about music and the music industry. (All you have to do is pay attention! ) I have played in bands from Hollywood to Toronto and back both as a singer songwriter and guitarist. I bring the Musicians Institute way to the table and get things up and ru
I believe in sharing the happiness of making music with anyone who loves music and the guitar in particular. I do my very best to get you playing the songs you love in Pop, Rock, Jazz and Folk Music of your choice. Today's modern new guitars are easy to play and you will enjoy learning Guitar right away. That is how it should be.
When you study there is a basic understanding of Guitar to be learned that allows an ease of use for anyone for years to come. This will help you reach your goal and improve each week. My students learn to practice in a way that feels comfortable and makes sense. This takes all the stress out of learning and gives everyone something to smile about and look forward to each week.
The good feeling of playing along with friends and taking a solo is within every students grasp. I will show you the way there. And with a solid and straightforward approach to the theory as it applies directly to the guitar you will feel confident and unafraid of any music endeavor. We'll cover harmony and fingerboard theory and give you a road map of the guitar neck that makes it a pleasure to play. You learn the basics and much more than you thought possible retaining 90 percent of what you learn!
Having been a student myself I was deeply involved in music since age 12 and played in bands and duos for over 15 years . I can help you to be a well rounded player and performer with a smile, a laugh and a joy for music whether your in a band or a budding solo artist.
*** Lesson Details ***
Most students want to play the Guitar to play their favorite songs and I'm the same way. Music is something we carry with us in our hearts and minds. Students will learn what they wish to learn and work at a pace that is comfortable to them. Whether you are a student, "weekend warrior" or a parent whose child has expressed an interest in Guitar anyone can learn all there is to know about Harmony and Theory for the Guitar and how to play their favorite songs.
We cover theory in an easy and straightforward no nonsense way in the first half of each lesson and then apply it to the song you wish to learn. This creates an atmosphere where you understand and feel at home with the Guitar. You get an understanding right away and because it is immediately fun it allows you to feel comfortable at any level. Music is fun, and songs are the creative expression of what we feel. Combining theory and the freedom to play and sing songs allows us to express ourselves through music.
After 6 months students will have a solid foundation in theory, and a road map of the guitar fretboard enabling them to advance to an intermediate level if they are ready to do so. Students will know enough that music as it relates to the Guitar, which is the world's most popular instrument in contemporary music, is not a mystery but is a welcome friend. And they will be able to play songs by popular artists and advance at a pace that is satisfying and enjoyable.
Student Comments:
What Students Are Saying About ~ James Teaching Style
"James' patience, knowledge and under-standing made learning guitar fun. I like the lessons. He cares."
--Rebecca L., guitar
student, Venice Beach, CA 2003
"James taught me to
play pop and rock, and
introduced me to
fingerstyle guitar. I love it!"
--Joseph E., guitar student, Vancouver, BC 2006
"I studied guitar privately with James in 2010. His style of teaching helped me to get
past my blocks. He opened new doors for me. Thanks!"
--Daniel S., guitar
student, Los Angeles, CA 2010
""James is a trustworthy man, great with answering back right away. Always ready to help with new members. I would definitely recommend him." ~ PJ Stover of PJ Stover Voices; Independent Film & Recording voice-over artist
What James spouse says about working on songwriting with him:
"James is my husband for over 10 years now. Over the years, I have seen James give guidance and counsel to many hopeful musicians of all ages, and inspire others about how music influences and benefits our lives. I would highly recommend James to anyone who wants to learn guitar, voice, music theory, and acting. James is a great talent, and study with him would benefit anyone with the sincere desire to grow as an artist. When we married, I had fallen in love with James' conversational style, and his vast knowledge of music. When I heard him play guitar, I knew that I wanted to write songs with him, and we released our first album, in 2012 on iTunes."
Keri W.
*** Studio Equipment ***
Ovation Glen Campbell Artist Acoustic Electric Guitar, Ovation Pacemaker 12 string Guitar, Ibanez PF 5 Acoustic Electric Guitar, Fender Telecaster 6 string Electric Guitar. Korg Mini Pandora III Amplifier/Studio EFX, Toshiba Laptop Satelite Pro with PreSonus Studio One Artist Software, PreSonusUSB Audiobox, HD7 Studio Monitor Headphones, M7 Condenser Mic, PreSonus Studio Producer software with SoundCloud integration, iBook G4 with Garageband 3 and iLife Studio. Godin Summit CT Electric Guitar is the guitar I now endorse exclusively !
*** Travel Equipment ***
Lesson Plans, Godin Summit CT Guitar, Fender and Ovation Guitars, Tuner, Android Smartphone and apps, iPads, Korg Mini Pandora Amp, Toshiba Satelite Pro Laptop. Android LG Smartphone with Tuners, Voice Recorder, and Metronome and Chord Reference Guide, and Guitar Tuner, iPod Touch Pro Studio.
*** Specialties ***
Songs in the following styles: Pop, Rock and Modern Country Music. Also Composition Analysis while learning the song.
· Improv Acting · Online
Thank you James for the training, I grew as a improv student from the time I worked with you. I utilized this class as a test for my profession (business) and am grateful that I selected you as a mentor/teacher. I am happy with the results and may be knocking on your door again down the road. Stay tuned.
· Bass Guitar · In home
· Guitar · Online
James W.
James W.
About Deron C.Close
View Full Profile
Learn how to render what you want to illustrate. Draw what you see.
About Deron
Along with my painting career, I have created children's book and magazine illustrations, done graphic design work, and taught others how to express themselves creatively through art. I have been creating curricula for children's art programs and teaching them. I also have been te
Through my decade of teaching painting, I have honed a teaching style that encourages students to balance creativity and imagination with technique and skill. I strive to help students discover a process in which they are able to express themselves creatively while also teaching paint application techniques, color theory and the Elements and Principles of design. I am often in front of 50+ people at a time presenting my painting techniques within a limited amount of time.
I look forward to coaching you whether you're someone who hasn't painted since you were a kid or you're a seasoned painter who just needs a little help, encouragement or direction.
*** Lesson Details ***
Subjects may include, but are not limited to:
-Color theory
-The Elements & Principles of Design and how to use them
-The Creative Process
-Creating a Composition When You Don't Know What to Paint
-Creating a Painting Using a Photo as a Reference
-Oil vs. Acrylic Paints
-Advice for Artists with Works-In-Process
I am happy to teach a student anything s/he wants to explore within the realm of painting.
· Illustration · Online
· Painting · In studio
· Drawing · In studio
Deron C.
Deron C.
About Giuseppe B.Close
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We will cover the process of conceptualizing and idea and bringing it to life using typical fine art processes with various mediums as well as explore digital process to fascilitate the workflow and process of developing an idea.
About Giuseppe
· Photography · In home
· Photography · Online
· Adobe Photoshop · Online
Giuseppe B.
Giuseppe B.
About Sylvia L.Close
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Experienced fashion designer and illustrator of 9 years available to teach eager students of all experience, levels and ages! I adjust and build my lesson structure so students learn what they are interested in and want to learn, while building strong foundations of basic sketching in different mediums such as pencil, ink, paint, charcoal and mixed media. The subject of illustration can be catered to whatever the student's interest is in.
About Sylvia
I have always had many interests and luckily I worked hard at them with great teachers to achieve great levels. I went to University of New South Wales and earned a degree in Software Engineering in 2003, and also Sydney TAFE to earn a Fashion Design degree in 2009.
I'm a friendly and understanding person and my teaching style is patient, motivating, and positive. I believe everyone
· Adobe Photoshop · In studio
· Adobe Illustrator · In studio
· Adobe Illustrator · In studio
Sylvia L.
Sylvia L.
About Alfredo E.Close
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In my classes you can expect to learn both the basics and advanced material:
-Painting realistic skin tones, composition,using a grisaille and verdaccio, glazing, methods and materials of the Old Masters, achieving a likeness in portraiture, accurate color mixing and matching, the use and preparation of painting mediums, translating what you see or envision onto the canvas successfully and much more. I enjoy teaching people that are passionate about art, regardless of their skill level.
About Alfredo
You can see some of my work here :
Alfredo E.
Alfredo E.
About Christelle L.Close
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I'm a self-taught artist and art teacher from Spain. I can show you how to improve your art skills!
About Christelle
I was born in Argentina and spent the first half of my life there and then moved to Spain, where I lived until 2016 when I moved to Chicago area.
While I was still getting my Bachelor's Degree in English Philology in Barcelona, I started working in language schools teaching English to all ages.
I worked as an EFL (English as a Foreign Language) teacher for almost 7 years. I have experience with children as young as 1 y/o, one-to-one lessons, small and large groups.
I am currently working as a Spanish and Art teacher in a private school in Oak Brook, Fusion Academy. I work with high schoolers who struggle learning in conventional learning environments.
I also have a Spanish Teacher certification from International House Barcelona and I am an official DELE
Look for me in LinkedIn for more information about me and check my art portfolio Red Summers Tea at Carbonmade dot com.
I can help you improve your current level of Spanish, help your children with Spanish at school, or teach you Spanish from scratch!
I live in Bloomingdale and work in the DuPage county area. I meet most of my students in local coffee shops like Starbucks or Panera, but at-home lessons are possible as well.
It would depend on your goals. School tutoring usually requires less time because Spanish at school is extremely basic and it's doesn't really lead to fluency in the language. Anything else needs a greater degree of commitment! I meet my students for one hour once or twice per week AT LEAST.
For school tutoring I try to adapt to your school's method. For other types of lessons, I prefer avoiding translation and memorization and make use of effective Spanish textbooks, technology, games and free conversation.
I mostly teach Monday-Friday afternoons and weekends in the morning.
I understand flexibility is convenient and appreciated, so I allow rescheduling and cancellations in case of emergency or with enough advance notice. I recommend students to stick to their agreed schedule if they want to achieve their goals, even if that means to meet at another time during that same week. If I am already on my way to your lesson and you need to cancel, I will charge for the lesson. If you're going to be late, please let me know, and I can't guarantee that I can stay later than our scheduled time.
During our first lesson we will take time to go over any important information, set our goals and answer questions regarding nature of our lessons. We can talk about fees and teaching materials during this lesson as well.
For any more details or any questions, please don't hesitate contacting me!
· Spanish · Online
· Spanish · Online
· Drawing · In home
Christelle L.
Christelle L.
About Katherine V.Close
View Full Profile
This class is for those who ready have some drawing skills and want to illustrate using Adobe Illustrator and Photoshop.
About Katherine
I graduated from the Art Center College of Design, in Pasadena, CA. and later took some additional classes at UCLA. I taught graphic design and illustration at Woodbury University. I've worked for advertising agencies and large corporations.
I now have my own business and also enjoy teaching young students through adults.
Businesses and academic institutions around the world use PowerPoint. It is important at all levels to be an effective communicator and presenter.
I will use my academic knowledge joined with my new world digital technology skills, to make you able to express yourself.
· Drawing · In home
· Adobe Photoshop · Online
· Adobe InDesign · Online
Katherine V.
Katherine V.
About Amber R.Close
View Full Profile
I can show you everything from the basics, to color theory, to light and shadow, to line work, to how to set up a strong composition!
About Amber
I specialize in photo realism, and 90% of the private commissions I get are portraits. However, I work in a broad range of styles and mediums, from line work to abstract to sketch, with charcoal to paint to clay. I love expanding my knowledge and trying new things, but above all I love creating!! I feel that imagination and expression through art/music/literature are crucial to a person's development, and this is something I pass on to my daughters, and frequently fundraise for, in an attempt to keep art programs in our schools.
I love meeting new people and sharing my knowledg
Art is my passion and so important in our world, with proven benefits! I'd like to think with teaching, I'm helping to keep it alive, even if just in my small way.
· Drawing · Online
· Drawing · Online
· Drawing · Online
Amber R.
Amber R.
How it Works
From finding the perfect teacher to managing payments, scheduling and tracking your progress, we take care of all the details, so you can focus on learning. Learn More
Search for a teacher
Compare hundreds of teachers based on the criteria that matter to you, including background checks, age and experience.
Schedule your lessons
When you've found the perfect match, schedule your lessons online using the teacher's real-time availability.
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Your teacher will welcome you with a personalized curriculum to meet your specific goals and you'll be able to manage your entire schedule through our free online account.
Can't find a teacher in Forest Hills, NY?
No problem. Our online lesson platform connects you with any teacher, anywhere. All you need is a reliable Internet connection, a webcam and a microphone.
Zero travel time is great for a busy schedule.
Typically priced lower than local lessons.
Online students stick with lessons as long as local students.


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701: It Takes A Village
A summer has passed since the events of last season, and it was an eventful one for the BAU. The team stands trial in Washington, facing disciplinary action for an unauthorized takedown of Ian Doyle, the international terrorist who tried to kill Emily Prentiss. (Ep. 617 & 618). We flash back to see that Morgan and Garcia, acting on their own, decided to trace down Doyle's son Declan in the hopes that the terrorist would eventually attempt to contact him. Their plan works, but while the team takes Doyle into custody, someone else kidnaps Declan. With the clock ticking on the boy's safe return, the team must choose whether or not to trust Doyle when he says that the only person who can save his son is his nemesis: Agent Prentiss. This episode marks the return of AJ Cook as Jennifer "J.J. Jareau and Paget Brewster as Emily Prentiss.
702: Proof
The BAU's latest case takes them to rural Oklahoma, where two blonde, attractive women were abducted, blinded with acid, and brutally murdered. At first it seems as though the UnSub is specifically targeting his victims' sight, but as the killer escalates the team learns that his obsession is with denying these women any of their five senses. As the BAU zeros in on their profile, the UnSub makes his boldest move yet and kidnaps the seventeen-year-old daughter of the woman he's been obsessing over since the 1980's.
703: Dorado Falls
A massacre at an internet security company attracts the attention of the BAU, and the team travels to Charlottesville, Virginia in order to investigate. It isn't long before the team figures out that their UnSub is a highly trained Navy SEAL who is targeting his friends and family. The evidence points to PTSD at first, but Reid is able to diagnose the UnSub with Capgras Syndrome, a disease where one believes that loved ones have been replaced by impostors. The killer is working under the assumption that there is a conspiracy surrounding one of his SEAL missions, and he will kill anyone who comes between him and what he believes to be the truth " including an attack on Quantico itself.
704: PainlessTonight 2|1cAM
It's been ten years since a Columbine-style high school massacre, and the survivors are returning for a ceremony of remembrance and reflection. While the school shooter/bomber died in the act, a new killer is now on the loose " an UnSub targeting survivors using the same methods as the original attacker. As the BAU team races to profile the UnSub, Dr. Reid makes a chilling discovery: whoever is doing the killing seems to be suffering from a rare disorder where he can not feel pain.
705: From Childhood's HourTomorrow 11|10cAM
The BAU investigates the abduction of a young boy who was taken off the street after being left in front of his grandmother's house. He was left there by his mother, who suffers from severe depression, because she didn't want him to see her self-mutilation. She is their initial suspect, but that theory is soon dismissed when she turns up dead and another child goes missing. The team ends up focusing their search on 911 first responders, theorizing that the UnSub is reenacting his own childhood trauma by "saving children who have distressed or disturbed parents.
706: EpilogueTomorrow 12|11cPM
The BAU travels to Southern California's Angeles National Forest when a series of bodies turn up in mountain lake. Unusually, the UnSub's behavior runs counter to the normal progression of a serial killer. Instead of moving from weaker victims to stronger ones, this UnSub is attacking ever easier targets. When autopsy reports show that each victim has been resuscitated multiple times before finally being killed, our team learns the truth " they are chasing a terminally ill UnSub who is killing and reviving people in order to find out if their near-death experiences prove that there is life after death.
707: There's No Place Like HomeTomorrow 1|12cPM
When a series of late season tornadoes hits Kansas, the BAU is called in to investigate the bodies of several young teenage males that have turned up in the aftermath of the storms. The victims were all killed by a blow to the head before having several of their limbs posthumously removed. They were then placed in the path of the coming storm. As the weather intensifies, the team learns that the UnSub lost his brother in a tornado and appears to be harvesting the body parts of young men in order to re-build him.
708: HopeTomorrow 2|1cPM
Seven years after the abduction of her little girl, grieving mother Monica is kidnapped by the very same UnSub. Because Garcia is friends with Monica and was the last person to see her before she was taken, the BAU is able to get a head start on the case. But while Monica willingly follows the UnSub into his lair in the hopes of recovering her daughter, our team learns that it was likely the little girl's death that triggered the UnSub's recent escalation.
709: Self-fulfilling ProphecyTomorrow 3|2cPM
When a small group of troubled youths stage a mass suicide at a military academy, the BAU investigates the true nature of the deaths. Because five of the suicides occurred during an unsupervised wilderness expedition that originally had six participants, the team quickly realizes that the missing boy holds the key. And when the headmaster starts acting more elusive as the search continues, it becomes apparent that someone at the school is hiding a dark secret.
710: The Bittersweet ScienceTomorrow 4|3cPM
After two men are found bludgeoned to death in an alley, the team flies to Philadelphia in search of a particularly brutal UnSub. Triggered by the imminent death of his terminally ill child, the killer " an amateur boxer with a history of losing " has been enveloped by an all-encompassing blood lust. As the window between kills starts to shrink, the BAU begins to run out of time.
711: True GeniusTomorrow 5|4cPM
When a couple is murdered in Golden Gate Park, the initial investigation suggests that the Zodiac killer is back. As the team investigates the possibility that the most famous uncaught serial killer of all time has returned after forty years, Reid works to decipher a series of clues and codes left by the UnSub. Through investigation and profiling, the team learns that they are dealing with a genius-level psychopath " and unlike in the original Zodiac case, this killer is working fast.
712: Unknown SubjectTomorrow 6|5cPM
The BAU team investigates a serial rapist known as "The Piano Man who roofies his victims before violating them and leaving permanent scars with piano wire. After a few months lying dormant, the UnSub has begun to strike again " this time re-assaulting all of his previous targets a second time. As the team builds a profile and tracks the UnSub's escalation, one of the victims takes matters into her own hands and captures the man she believes to be her rapist " with the intent to end his life.
713: Snake EyesTomorrow 7|6cPM
When an Atlantic City casino boss turns up dead with a ring of eight dollar bills around his head, the BAU is called in to investigate the ritualistic killing. The UnSub they're chasing is a compulsive gambler who has stumbled upon a unique system: he believes that if his luck sours, he can kill someone in order to turn his fortunes around. And with bad luck all too common in the casinos of Atlantic City, it's a race against the clock for the BAU to find their man before he kills again.
714: Closing TimeTomorrow 8|7cPM
On the beaches of Southern California, the BAU team discovers a series of bodies hidden in lifeguard towers with their genitals removed. After identifying the victims, a common link is found between them " they've all had a romantic relationship end recently due to infidelity. As the killer's pace increases, the team learns that the UnSub is a bartender suffering from a psychotic break. Unable to deal with the betrayal of his own wife, he has decided to ˜help' his victims put their own problems permanently behind them.
715: A Thin LineTomorrow 9|8cPM
A formerly affluent suburban community in California's inland empire is hit hard by a series of brutal home invasions and murders. At first, it appears as if the killings are gang related " the bodies of young black men with drugs in their system are found dead in the houses of the murdered families. But the BAU soon comes to the realization that these scenes are elaborately staged - someone is trying to incite a race war. With the local mayoral race heating up, the team's first lead is to look at the staff of a candidate who is using the killings to successfully push a campaign of racism and fear.
716: A Family AffairMon, Jul 22 11|10cAM
Haunted by a car accident that left him paralyzed from the waist down, a twenty-five-year-old man acts out his sexual frustrations by murdering prostitutes. The BAU team travels to Atlanta in order to work the case and soon deduce that the UnSub they're tracking isnt' acting alone. As the kills start to increase in boldness and frequency, we learn that the UnSub's parents are complicit in his crimes. Driven by guilt, they have taken to hunting down victims for their son to slay in the hopes that he'll walk again.
717: I Love You, Tommy BrownMon, Jul 22 12|11cPM
A serial killer targeting married couples leads the BAU to Seattle, where they learn that the UnSub is going after foster families in the search for a young child. As the killer begins to unravel and escalate, the team zeroes in on their target " a female teacher who had a baby with her 16-year-old student. After being released from prison, she has begun a murderous rampage in order to get her ˜family' back together.
718: FoundationMon, Jul 22 1|12cPM
When a frightened, emaciated young boy is found in the Arizona desert, the BAU begins their search for the kidnapper. Their search intensifies when the team learns that another young child was taken from his neighborhood in Flagstaff just hours before the first boy was discovered. While Morgan bonds with the recovered child in the hopes that he will be able to identify his tormentor, the rest of the team investigates the claims of a woman who says that she glimpsed a similarly captured child thirty years prior.
719: Heathridge ManorMon, Jul 22 2|1cPM
The BAU are called to Oregon in order to investigate body of a young woman that was found displayed in Shakespearian garb inside a burned out insane asylum. When another woman falls victim to the same type of ritualistic murder, the team begins to suspect that the UnSub might be a Satanist. In truth, they are chasing a delusional man who is attempting to fulfill the wish of his equally delusional mother " to rid the world of ˜Satan's brides.'
720: The CompanyMon, Jul 22 3|2cPM
While driving through Chicago, Morgan's sister catches a glimpse of a woman she believed to be dead " her cousin Cindi, who has been missing for nine years. Forced to come clean about the lie he told last year to help his family move on (Ep. 623), Morgan and the team re-open Cindi's case in the hopes of bringing her home. In order to do so, they must enter a world of sadomasochism where women are brainwashed into believing that a shadowy company will kill everyone they love if they don't submit to their master's every whim.
721: Divining RodMon, Jul 22 4|3cPM
Mere minutes after the execution of an infamous serial killer, a copycat begins to commit crimes in the same town with the same MO. The BAU is forced to act fast " the UnSub isn't wasting any time, and bodies are being found every six hours. As the team meets with the executed killer's ex wife in a search for suspects, the UnSub begins to escalate his plan. While the first two women murdered are found with cut hair, the third is discovered with a shaved head. The fourth body is found after having been scalped entirely.
722: Profiling 101Mon, Jul 22 5|4cPM
Rossi leads the BAU in presenting one of his longest tenured cases to a class of college students who are learning about profiling. Through this lecture, Rossi tells the story of an UnSub who was a victim of constant physical and emotional abuse throughout his childhood. After becoming an adult, he began to kill women and remove their wombs. Rossi chases the UnSub up and down the west coast over the course of nearly twenty years, and in the process he shows the class how far the science of criminal profiling has come.
723A: Hit, Pt. 1Mon, Jul 22 6|5cPM
In the first part of a two-hour season finale, the BAU goes up against a gang of bank robbers who are also serial killers. Highly trained and organized, they wear masks depicting the king, queen, and jack in a deck of playing cards. Over the past several months, they've robbed seven other banks, killing someone in every single heist. This time, however, they're caught in standoff with the police in a Washington, D.C. bank. When one of the UnSubs is shot by a cop, the others begin threatening to start executing their hostages if their demands aren't met. As the BAU team tries to manage the situation, things become personal when JJ learns that her boyfriend Will was the cop who fired on the bandits " and unless he gives himself up to them, they'll kill everyone on the inside.


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On the cusp of 2013, I've invited 11 of the greater Houston area's top minds to write about something they believe, but cannot prove. A new entry in the 11 for '13 series will be published each morning during the holidays.
Today's mini essay comes from Seamus Curran, a physicist at the University of Houston…
There has been a huge investment in renewable energy in the last decade, from the fundamental research side looking for better performance in the materials used in solar cells to the more direct installation of large wind farms across the country. The consequence of which is that we now see power generation from wind and solar making a mark on the power equation for the U.S.
In some ways, solar use is somewhat behind where it should be when compared to the success of wind, and this is in part due to current economics. In 2003, the U.S. was behind the rest of the world when it came to solar cell manufacturing, significantly less important than the powerhouses of Germany and Japan. Of course, at the close of 2012 this has all changed. China is the biggest producer of traditional silicon solar cells, the cost of manufacturing, as well as significant subsidies from the government, has made this possible. But unlike 2003, the U.S. is now becoming a real competitive player in this industry.
It has done this by looking at other micro materials other than silicon to generate electricity. We now see the use of CdTe and CIGS, also known as 'thin film' solar cells being the next competitor to silicon, and possibly the replacement. The U.S. has benefitted from considerable research done in this form of power generation and will benefit in the long term.
There is what we call in the field the 3rd generation of solar cell technology, and that's the use of nanomaterials such as plastics for power generation. Imagine materials 10,000 – 100,000 times smaller than a human hair being the active material being used to generate power for your home. These solar panels would be so thin and light, it would not require the current framing required for our solar panels. Can you imagine a world where your solar cells would look like cling film, except thinner, and their installation a process of unrolling them on a roof or elsewhere? Their use could include being used on windows to make the glass semi-transparent, reducing the cooling bills of our large buildings in the city, as well as having the ability to scavenge power.
The big use of solar in the future will move beyond 'solar farms.' I see it being used in non-conventional ways, such as off-grid applications, replacing diesel generators with portable solar generators. Just think – a portable solar-grid….
To see other 11 for '13 entries, click here. And you can click here see entries from the 11 for '11 series that I published a year ago, and here for the 11 for '12 series.


text: Thermal and acoustic comfort is crucial in vehicle air conditioning. However, the blower is one of the main sources of noise in the vehicle cabin. Our current blower design concepts meet three separate requirements: they save valuable package space in spite of increased air flow performance, they are highly efficient, and they form the basis for excellent HVAC system acoustics.


text:
PORTSMOUTH — Stages of the construction project are running on schedule for the new Memorial Bridge, contractor Archer Western said Thursday afternoon.
"We're on schedule to finish in July," Steve Delgrosso, senior project manager for contractor, Archer Western, said.
Despite losing about a week of time due to Hurricane Sandy, things are moving along smoothly, he said.
Welcoming the press for a guided visit to the New Hampshire Port Authority work area where spans of the bridge are being constructed and deliveries of steel are being made, Delgrosso provided an update on the project and said the Port Authority has been one of the better work areas his crews has worked.
"From a quality standpoint it's going together very well," he said.
While there have been some glitches on the manufacturing side, he said those were overcome easily.
On Thursday, the Scott Avenue superstructure, weighing roughly 600 tons, was resting at the port while workers continued to complete their tasks on the span of bridge.
Delgrosso said there would be three 300-foot spans that would be constructed for that end of the bridge. Everything for the southern end is being constructed in a familiar barge, the Cape Cod, the same barge used in the float out of the lift span.
In January, the reverse of the demolition process is expected to take place with a "float-in" of this span, which Delgrosso said will need to be even more precise than the care taken with the float out. Crews will need to line the spans up within a quarter of an inch to where they'll be connected when moving the new spans in.
Unique to the new bridge will be the interior corners of the tressel triangles which are curved instead of pointed. Delgrosso said this makes the span much faster to erect in the field and there's less bolting to be done. He said, in some cases, piece can also be made stronger by curved corners.
Steel for the project is provided by Structural Bridge in Claremont and during the press briefing Thursday, a new piece, a bottom chord, arrived on scene. Remaining steel for the Southern portion of Memorial Bridge, all of which will be built on the barge, was expected to arrive within the next two weeks and the "float in" is anticipated for early January.
Also unique to the new bridge is the "metallizing," or sprayed-on zinc which will last longer than paint traditionally used for bridges. This gray-colored spray won't chip and peel as paint would, but will just fade over time making the life-expectancy much longer than paint. Archer Western is "metallizing" the bridge for the same cost as painting it would have been.
The installation of new micropyles, 18 at each pier, has been the most challenging part of the whole process, Delgrosso said.
Crews continue to work two 10 to 12 hour shifts a day, six days a week to complete the project.
Moving the span from its current location to the Memorial Bridge will take about an hours time once started and, as with the float out last February, be dependent on weather and tide cycles.
Getting the pieces through the Sarah Mildred Long Bridge, however, won't be a problem.
"In comparison to the ships that go through the Sarah Long (Bridge), the span is fairly small," he said.
Memorial bridge right on schedule in Port City
PORTSMOUTH — Stages of the construction project are running on schedule for the new Memorial Bridge, contractor Archer Western said Thursday afternoon.


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Why is git not designed for agile? Because git, or more importantly, the workflows most readily apparent on the internet all focus on the idea of isolating changes or playing around with branches instead of getting stuff done. This is great if you have a benevolent master who's sole job is to integrate disparate changes into a common code base (you know, someone like Linux Torvalds), but awful if you have a team of 10 people hacking away on a common codebase. Aside from some very epic fails in the cvs and svn designs, git by itself doesn't really help in this situation. I'd dare to say that git actually gets in the way 3x more than it helps.
To make matters worse, if you peruse the internet, you'll find a plugin called gitflow that
I think I've made my first point about the type of team and type of goals that the normal usage of git will cause problems with. If you're not in that group and/or you like playing around with git, and/or you like sitting down at night with a copy of "pro git" and spending hours analyzing gitk diagrams... read the rest of this posting with caution because it's probably inflammatory and wrong in your world view.
First off... If you're working together writing a rails/struts/springmvc application, there are common files that everyone is going to be editing. That's just the way it works, if you try to architect your solution by carving your application up into 10 pieces and give a piece to every developer, you're probably making a very big mistake. The fact is, a version control tool is about SHARING CODE and software development teams are supposed to WORK TOGETHER, not in isolation. Please repeat that sentence until you git it (hahah, I crack me up sometimes)...
Anyway, for MANY projects, especially small agile projects... branching should be a bad thing. Every branch incurs the overhead of both keeping it up to date, but also resolving conflicts as well as reintegrating (and testing) changes. These costs are n^n as the team gets larger (actually, it might be n^n-1, maybe a math guy could help me out here?) and your objective should be to minimize them because they don't add value.
The simplest way to minimize these costs? Have everyone integrate with a central repository (like github) and resolve incoming conflicts/test their code before pushing back to central. If you follow that workflow, you're essentially using the central svn/cvs style coding on top of a decentralized tool, and there's NOTHING wrong with that.
So, how do you do it? First, if you're using github, DON'T FORK, clone the repo to your local machine. Once you've done that, follow this workflow (more detail can be found here):
- write software and test it
- git commit -a -m 'My work here is done'
- git pull --rebase
- test and/or resolve conflicts
- git push origin
- repeat
That's it... don't let the DVCS gods make you feel ashamed, just do it and all will be well. There are certainly a few wrinkles that might happen in this workflow... notably, if #1 while you're fixing your rebase, someone else does a push, or #2 someone doesn't use rebase and is creating branches and merge commits.
#1 is easily fixable by perusing the interweb
#2 is a bit more tricky, but also fixable by perusing the interweb
In short, don't create branches on top of branches and screw around merging all over the place, rebase is your friend, use him wisely and all will be well. Another note I will add is-- NEVER do a "git push -f" (force push) in this mode. You will screw with everybody on the team's head and they will likely need to start drinking early in the morning to figure out what is going on.


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The surge of unaccompanied migrant children (UAC) that dominated the news cycle in June and July of this year has receded – so much so that many emergency shelters established to handle the inflow are shutting down. At the height of the surge, many commentators and government officials expected 90,000 UAC to be apprehended by the end of the fiscal year (FY). As the end of the FY approaches, the number of apprehended UAC stands at roughly 66,000 - far below the estimates.
Now that the surge has receded, here are some of the most absurd overreactions to it. Never before have so many commentators been so angry over so few migrants.
1. U.S. Representative Phil Gingrey (R-GA) quoted in "POLITIFACT: Deadly viruses part of border crisis?" Tampa Bay Times (July 29).
Rep. Gingrey said: "Reports of illegal migrants carrying deadly diseases such as swine flu, dengue fever, Ebola virus and tuberculosis are particularly concerning." [Emphasis added]
Ebola is a terrifying virus and a recent outbreak in West Africa shared the headlines with the surge in UAC, but that doesn't mean the two events are linked. Rep. Gingrey's office indicated that he heard about child migrants carrying Ebola from border agents. The rest of us are still waiting to hear about it.
2. Mackubin Thomas Owens, "Camp of the Saints, 2014 Style?" National Review Online (June 13).
Apparently the terrible consequences of an influx of child migrants, which was only equal to about 6 percent of the total number of legal immigrants admitted this year, was predicted by a controversial 1973 French novel entitled The Camp of the Saints – which described the end of Western Civilization due to an influx of third-world immigrants.
Owens' comments reveal a Western tradition that should be abandoned – that every small issue signals the downfall of Western Civilization.
3. Marine Corps Gen. John Kelly, "SOUTHCOM chief: Central America drug war a fire threat to U.S. national security," Military Times (July 8).
"In comparison to other global threats, the near collapse of societies in the hemisphere with the associated drug and illegal alien flow are frequently viewed to be of low importance. Many argue these threats are not existential and do not challenge our national security. I disagree." [Emphasis added]
There are certainly national security challenges that accompany America's disastrous prosecution of the war on drugs and there is a security component to regulating immigration. But it is quite a leap to go from pointing out problems that could potentially get worse to then stating they are "existential."


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Affirmation: Froch Knocks Out Groves in the Eighth/
By Oliver Goldstein
Before a record-breaking 80,000 fans in the first fight at the new Wembley Stadium, George Groves arrived on a double-decker bus only to be sent to the deck himself, as Carl Froch, now 33-2, with 24 knockouts, provided conclusive evidence of his superiority at last. Having been denied the opportunity to produce such affirmative judgement in their first fight in Manchester, Froch, of Nottingham, England, on this occasion retained his 168-pound title belts with a knockout victory of the most devastating variety.
These were not the nights that the Football Association built the new Wembley for, but, in the twilight hours of a fresh Saturday night, it felt nonetheless that the stadium, magnificent not only in its capacity, but also in its beauty, had finally found its rightful partner. Boxing is not beautiful in its nature, and neither Carl Froch nor even George Groves, whose fighting style could be described as a kind of ragged sleekness, would lay claim to beauty. But at its best, boxing is doubtlessly magnificent; and when men like Froch and Groves meet, moreover, its particular brand of violence seems barely a pulse from the aesthetic. On this night, the action proved less frequent than their previous encounter, and long spells of feinting were often punctuated only by jabs and occasional crosses. But the conclusion, provided by a thudding right hand that collapsed Groves's legs beneath him, was infinitely more satisfying.
Certainly, the powerbrokers behind this occasion knew they were dealing with a fight of unprecedented magnitude in post-war Britain. Sure, as many have noted, all sorts of superlatives are thrown around nowadays to provide hype for a sport that has slipped ever further from its cultural and sporting heyday. But this rematch, which gained its magnitude after Groves had rushed, rag-dolled, and nearly ransacked Froch in Manchester in November, before Howard Foster's now infamous stoppage, deserved all the fervor and more. Froch, who had fallen off a lofty career peak in the first bout, when the cheers that had followed him to the ring turned swiftly to boos in its aftermath, had a significant reputation to restore. His opponent, Groves, had a first world title to capture.
But Froch, who has forged a memorable career despite considerable disadvantages, presented a significant challenge to surmount, even after Groves had so nearly incapacitated him in their previous encounter. Yes, the Nottingham fighter, with his basic approach and disregard for defense, had seemed an easier puzzle to crack than the Rubik's Cube taken by Groves to press conferences before the bout. Froch's style is hardly complex, after all, built on virtues like pride, ruggedness, and spite, but lacking in the nuance shared by many of his contemporaries. Nonetheless, with the benefit of time, focus, and added motivation to affirm his credentials once more, Froch was able to prepare a different enigma for Groves to solve.
Indeed, while Groves had insisted beforehand that the first round of this meeting would resemble the curtailed tenth of the last, the circumspection that Froch brought to the ring evidenced a significant change in approach. This was not furious, no matter the declarations made before the fight, but rather considered and cautious: Froch had no desire to surrender his senses in the opening round again, while Groves likewise proved reticent to bite. Even after the 26-year-old Londoner checked the champion with a short left hook, Froch refused to cede his strategy to whimsical violence.
Nonetheless, the silence of 80,000 spectators can prove pervasively loud, and when intermittent whistles began to circulate through the tremendous throng, Froch started to fire. To Groves's credit, he was again equal to the task, and his sharpness on the counter and slickness inside guaranteed an early lead. When his right hand, ominously cocked beside his jaw throughout, started to land with authority, a different ending seemed possible.
Froch, so often unwilling to persist with trainer Robert McCracken's instructions, was this time ready to tarry. The sixth, so pivotal in November, and punctuated memorably by Froch's shock in the corner, passed largely without note, and Groves, after shunting his opponent's head back in revelatory fashion in the seventh, could hardly have seen the ending awaiting him. As Froch pivoted from back foot to front while feinting his jab, Groves fatefully relaxed, allowing a right cross to crash viciously home on his jaw, disrupting sense and sensation and thought, and delivering his legs to the canvas. If the shot came out of the ether, then Groves was left staring thereto, his dreams now a matter of the Wembley sky and a knockout loss. Carl Froch had his victory.
Groves will undoubtedly come again. Though his slate, now 19-2, tells only of losses in his two biggest fights, he has yet proven himself a worthy competitor. Other opportunities will loom on the horizon.
Nonetheless, in Froch, he found an opponent who could not be deterred. Now, with the benefit of hindsight, that first bout, and in particular its turn in the late rounds, seems increasingly prophetic. Then, an unprepared Froch proved impossibly persistent. This time, a prepared one was simply too much. The 36-year-old veteran can now look forward to a possible third bout with Mikkel Kessler, while names like Andre Ward and Julio Cesar Chavez Jr. are never far from his lips.
Yet on this night, after eight tense rounds, Froch finally terminated a rivalry that has dogged him for months. With that thudding stoppage, he might have found the most compelling evidence for his growing legacy yet.


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The 10 Largest Hispanic Origin Groups: Characteristics, Rankings, Top Counties
I. Overview
Among the 50.7 million Hispanics in the United States, nearly two-thirds (65%), or 33 million, self-identify as being of Mexican origin, according to tabulations of the 2010 American Community Survey (ACS) by the Pew Hispanic Center, a project of the Pew Research Center. No other Hispanic subgroup rivals the size of the Mexican-origin population. Puerto Ricans, the nation's second largest Hispanic origin group, make up just 9% of the total Hispanic population in the 50 states and the District of Columbia.1
Overall, the 10 largest Hispanic origin groups—Mexicans, Puerto Ricans, Cubans, Salvadorans, Dominicans, Guatemalans, Colombians, Hondurans, Ecuadorians and Peruvians—make up 92% of the U.S. Hispanic population.2 Six Hispanic origin groups have populations greater than 1 million.
Hispanic origin groups differ from each other in a number of ways. For instance, U.S. Hispanics of Mexican origin have the lowest median age, at 25 years, while Hispanics of Cuban origin have the highest median age, at 40 years. Colombians are the most likely to have a college degree (32%) while Salvadorans are the least likely (7%). Ecuadorians have the highest annual median household income ($50,000) while Dominicans have the lowest ($34,000). Half of Hondurans do not have health insurance—the highest share among Hispanic origin groups. By contrast, just 15% of Puerto Ricans do not have health insurance.
Top Regions and Counties
Hispanic subgroups also differ in their states, regions and counties of geographic concentration. Mexicans, Salvadorans and Guatemalans are largely concentrated in western states, while Cubans, Colombians, Hondurans and Peruvians are largely concentrated in the South. The largest numbers of Puerto Ricans, Dominicans and Ecuadorians are in the Northeast.
The nation's Cuban population is the most concentrated. Nearly half (48%) live in one county—Miami-Dade County in Florida. Miami-Dade County is also home to the nation's largest Colombian, Honduran and Peruvian communities.
For Mexicans, Salvadorans and Guatemalans, Los Angeles County in California contains each group's largest community. Los Angeles County alone contains 9% of the nation's Hispanic population. Bronx County in New York contains the largest Puerto Rican and Dominican populations. And Queens County in New York contains the largest Ecuadorian population.
Changes since 2000
This report also includes an analysis of changes in the characteristics of the 10 largest Hispanic origin groups from 2000 to 2010.
During the decade, the foreign-born share of each major Hispanic origin group declined. Among all Hispanics, the share foreign born fell from 40% in 2000 to 37% in 2010. Meanwhile the share holding U.S. citizenship increased from 71% in 2000 to 74% in 2010. Among all foreign-born Hispanics, the share holding U.S. citizenship increased from 28% in 2000 to 29% in 2010.
Hispanics have made gains in terms of their educational attainment during the decade. In each of the 10 groups, the share ages 25 and older with a college degree increased. Among all Hispanics, the share with a college degree increased from 10% in 2000 to 13% in 2010.
Defining Hispanic Origin
Hispanic origin is based on self-described family ancestry or place of birth in response to a question on the Census Bureau's American Community Survey. Ancestry is not necessarily the same as the place of birth of the respondent, nor is it indicative of immigrant or citizenship status. For example a U.S. citizen born in Los Angeles of Mexican immigrant parents or grandparents may (or may not) identify his or her Hispanic origin as Mexico. Likewise, some immigrants born in Mexico may identify another country as their origin depending on the place of birth of their ancestors.
However, most Hispanic origin groups had lower median household incomes in 2010 than in 2000 (adjusted to 2010 dollars). Overall, median household income among Hispanics fell from $43,100 in 2000 to $40,000 in 2010—a decrease of 7%. And the share living in poverty increased two percentage points, from 23% in 2000 to 25% in 2010.3 Among all U.S. households, median household income (in 2010 dollars) fell from $54,200 in 2000 to $49,800 in 2010—a drop of $4,400 or 8%.4 The poverty rate for all Americans increased by three percentage points over the same period.
Hispanics are the nation's largest minority group, representing 16.4% of the U.S. population. By comparison, non-Hispanic blacks, who are the nation's second largest minority group, represent 12.3% of the nation's population and non-Hispanic Asians rank third at 4.7%.5
Hispanics are also the nation's largest immigrant group and one of its fastest growing populations. According to the Census Bureau, Hispanic population growth between 2000 and 2010 accounted for more than half of the nation's population growth (Passel, Cohn and Lopez, 2011). Among the nation's 40 million immigrants, nearly half (47%) are Hispanic (Pew Hispanic Center, 2012).
2011). Among the nation's 40 million immigrants, nearly half (47%) are Hispanic (Pew Hispanic Center, 2012).
This report compares the 10 largest Hispanic origin groups in the U.S. on several characteristics. In addition, accompanying this report are 10 statistical profiles—one for each Hispanic origin group. Each statistical profile describes the demographic, employment and income characteristics of a Hispanic origin population residing in the 50 states and the District of Columbia. The characteristics of an origin group are also compared with all Hispanics and the U.S. population overall.
This report uses data from the 2010 American Community Survey (ACS), the 2010 U.S. Census and the 2000 U.S. Census (5% IPUMS). The accompanying Hispanic origin profiles use data from the 2010 ACS.
About this Report
This report examines the Hispanic population of the United States by its 10 largest origin groups.
The data for this report are derived from the 2010 American Community Survey (1% IPUMS), which provides detailed geographic, demographic and economic characteristics for each group. The 2000 Census (5% IPUMS) provides data for comparisons in the summary.
Accompanying this report are profiles of the 10 largest Hispanic origin groups—Mexicans, Puerto Ricans, Salvadorans, Cubans, Dominicans, Guatemalans, Colombians, Hondurans, Ecuadorians and Peruvians. Also accompanying this report is an interactive graphic ranking these groups on several characteristics.
About the Authors
Seth Motel is a research assistant at the Pew Hispanic Center. Motel earned his B.A. in political science from Brown University.
Eileen Patten is a research assistant at the Pew Hispanic Center. Patten earned her B.A. in sociology and English from the University of Michigan.
The authors thank Paul Taylor for editorial guidance. Mark Lopez and Rakesh Kochhar provided comments. Antonio Rodriguez checked numbers in the report. Molly Rohal was the copy editor.
- Population estimates presented in this report are for Hispanics living in the 50 states and the District of Columbia. Those living in Puerto Rico are not included in population estimates for the nation's Puerto Rican origin population. According to the 2010 Puerto Rican Community Survey, some 3.7 million people lived in Puerto Rico. ↩
- Percentages are computed before numbers are rounded. ↩
- Throughout this report, all poverty figures reflect poverty rates. Poverty rate is based on individuals in housing units and non-institutional group quarters. The poverty universe excludes children under age 15 who are not related to the householder, people living in institutional group quarters and people living in college dormitories or military barracks. For detailed information on how poverty status is determined, see http://usa.ipums.org/usa-action/variables/POVERTY#description_tab. Due to the way in which the IPUMS assigns poverty values, these data will differ from those that might be provided by the U.S. Census Bureau. ↩
- These results are based on Pew Hispanic Center tabulations from the 2010 American Community Survey and differ from those reported by the U.S. Census Bureau (http://www.census.gov/prod/2011pubs/p60-239.pdf). ↩
- Reference to whites, blacks and Asians refers to the non-Hispanic components of each population. ↩


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<link href="//db.onlinewebfonts.com/c/132573baebc9026d7be63bfb2363758d?family=P22FoxtrotW01-talic" rel="stylesheet" type="text/css"/>#2 Using @import CSS directive, put the following line in add to your css file.(http | https)
@import url(//db.onlinewebfonts.com/c/132573baebc9026d7be63bfb2363758d?family=P22FoxtrotW01-talic);#3 Use font-face declaration Fonts.(http | https)
@font-face {font-family: "P22FoxtrotW01-talic"; src: url("//db.onlinewebfonts.com/t/132573baebc9026d7be63bfb2363758d.eot"); src: url("//db.onlinewebfonts.com/t/132573baebc9026d7be63bfb2363758d.eot?#iefix") format("embedded-opentype"), url("//db.onlinewebfonts.com/t/132573baebc9026d7be63bfb2363758d.woff2") format("woff2"), url("//db.onlinewebfonts.com/t/132573baebc9026d7be63bfb2363758d.woff") format("woff"), url("//db.onlinewebfonts.com/t/132573baebc9026d7be63bfb2363758d.ttf") format("truetype"), url("//db.onlinewebfonts.com/t/132573baebc9026d7be63bfb2363758d.svg#P22FoxtrotW01-talic") format("svg"); }
Copyright (c) 2010 by Torleiv Georg Sverdrup. All rights reserved.
Copyright (c) 2010 by Torleiv Georg Sverdrup. All rights reserved.
P22 Foxtrot Pro Italic is a trademark of Torleiv Georg Sverdrup.
P22 End User License Agreement and Limited WarrantyThank you for purchasing P22 fonts. To ensure that P22 continues to bring you more exciting, historically relevant type, please take the time to read this agreement. It might not be the most fascinating read, but its very important and may answer many questions that you may have. Please register your fonts and remember that free software is an exception, not the rule. 1. Notice to user. You (End User) have not purchased the ownership rights to this font, but rather a license to use this font on a limited basis. Purchasing a license for any P22 font or font distributed by P22 (International House of Fonts, Sherwood Collection and other) via download, or e-mail, constitutes an agreement between P22 type foundry, Inc (P22) and the end user of the enclosed typefaces (software) that the terms and conditions of this contract will be followed. If the fonts are purchased in hard copy format (CD-ROM or floppy disk), removing the media from its protective sleeve (paper pouch, DVD cases, or other) in which the media is contained constitutes the same agreement. If you do not agree with the terms of this agreement, return the complete package with the CD or floppy disk sleeve unopened to the place of purchase. If downloaded or received by e-mail, all files must be deleted. A signed affidavit may be required to receive a refund.2. Grant of License. The basic P22 distributed software license is limited for use on a total of 5 devices at one site for use on a single platform. A device is defined as a computer, printer, character generator, server or any other machine that uses font data to rasterize letterforms. A site is defined as one physical location. Platform refers to operating systems designated as 'Macintosh', 'Windows' or other. A laptop may be one of the devices in the basic license of 5 devices as long as the laptop is associated primarily with the licensed location. Simply working offsite on a laptop is permissible in the basic license and is regarded as an extension of the site. Work transported from one distinct network to another distinct network, via a laptop requires each network to be licensed properly.Additional licensing is also required if you are installing the font(s) on more than 5 devices (Site License), or a LAN/WAN Server with more than 4 devices, or, if you and/or additional users will have access to the font(s) at more than one location (Corporate License), or, if your printer/service bureau is installing the fonts for job output for more than one-time use (Service Bureau). Upon completion of job, service bureau must delete the font software or purchase their own license.--To calculate the required additional license, call P22 at 716 885 4490 or visit: http://www.p22.com/licensing.html to receive a quote.One copy of the font software may be made for backup. You may transfer the original software to another party provided All materials, including back-up copies are transferred and that the recipient agrees to the licensing terms and conditions contained in this agreement, and all copies are removed from the originating end user's (your) devices. 3. Fair Use. The basic P22 license is intended to accommodate personal use as in the course of everyday correspondence and document writing, or in the design of self-promotion pieces like business cards, newsletters and brochures. Other uses designated as professional or commercial may require additional licensing.Professional use is work performed by, not limited to, freelance designers, small design firms and corporate advertising firms that incorporate P22 fonts within a design for a client or self-promotion. Most alphanumeric fonts are allowable without additional licensing provided that the Grant of License guidelines are met. However, the use of illustrative elements (also known as dingbats, extras, ornaments) within logo design requires an additional one-time license. If you have purchased the font(s) license for use on a large scale campaign such as in the course of entertainment promotion, advertising, corporate identity design, product packaging, store signage or in any way that requires the multi media (television, internet, print or other) output of the font(s), an additional license may be required. This applies to in-house or client based work. Call P22 at 716 885 4490 to receive your large scale campaign quote. A royalty based Commercial license is required when P22 font software is used to create a product sold for profit. If you have purchased the font(s) license for use as the principle design element to create a product to be sold such as, not limited to, rubberstamps, refrigerator magnets, or if the usage of the font adds value (value added) to a product to be sold such as wrist watches, house numbers, stencil kits, decals, digital art (screensavers, 3-D models, or other computer application), please call P22 at 716 885 4490 if you have any questions, for permission or to receive your commercial license quote or visit: http://www.p22.com/comlicensing.html for examples.The font may be modified if properly licensed for non-commercial or in-house use. The modified font software may not be sold or distributed.4. Font Embedding. The basic P22 license allows for the embedding of P22 fonts only if the document created is set to Print and Preview. If P22 fonts can be extracted, edited and therefore transferred in any way, an additional license is required to account for each recipient of the document and font file(s)5. Copyright. The software and accompanying documentation are copyrighted and contain intellectual property information protected by law. You may not make or distribute copies of this software or accompanying documentation without the express written consent of P22.6. Disclaimer and Limited Warranty. P22 warrants that the font software is free of errors and will be replaced within 90 days of purchase in the event of defective media. If failure of the font software results from accident, abuse, or neglect, P22 assumes no responsibility to replace the software. THE SOFTWARE AND ACCOMPANYING WRITTEN MATERIALS ARE PROVIDED AS IS, WITHOUT WARRANTY OF ANY KIND, EXPRESSED OR IMPLIED, AND P22 SPECIFICALLY DISCLAIMS THE WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE AND MERCHANTABILITY. IN ADDITION, P22 DOES NOT MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SOFTWARE OR THE WRITTEN MATERIALS IN TERMS OF CORRECTNESS, ACCURACY, RELIABILITY, CURRENTNESS OR OTHERWISE. THE ENTIRE RISK AS A RESULT OF THE PERFORMANCE OF THE SOFTWARE IS ASSUMED BY THE USER.7. Update Policy. At the option of P22, there may be updated versions of the software which will be offered to registered users.8. Purchaser's Indemnity. You agree to inform any person (employee/co-employee/employer) having access to the P22 Software and copies thereof, of the terms and conditions of this Standard License Agreement and to ensure that these terms and conditions are abided. You agree to indemnify and hold P22 harmless from any and all claims, liabilities, and costs including attorney's fees, arising out of your breach of this agreement or promises you made. If these terms are not agreed to and respected P22 reserves the right to revoke Grant of License.9. Construction. This agreement is governed by and constructed in accordance with the laws of the State of New York. All disputes between P22 and the end user whether or not arising hereunder shall be conducted within the courts and jurisdiction of Erie County, New York.Please register your fonts. If you have purchased your font(s) directly from P22 you have been automatically registered. If you ordered your font from an authorized P22 reseller please keep a record of the time and place of the purchase; or if you purchased a CD, send in the reply/registration card enclosed within each package. (c)2004 P22 type foundry, Inc. -- Not Your Typical Type(tm) -- http://www.p22.com -- PO BOX 770 -- Buffalo, NY 14213
Linotype Syntax Letter W01 BkIt
Linotype GmbHTrademark
Syntax is a trademark of Linotype GmbH and may be registered in certain jurisdictions.Copyright
Copyright 2006 Linotype GmbH, www.linotype.com. All rights reserved. This font software may not be reproduced, modified, disclosed or transferred without the express written approval of Linotype GmbH. Syntax is a trademark of Linotype GmbH and may be registered in certain jurisdictions. This typeface is original artwork of Hans Eduard Meier. The design may be protected in certain jurisdictions.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
Eclypse W00 Regular
Typeface (your company). 2012. All Rights ReservedDescription
This font was created using FontCreator 6.0 from High-Logic.co
Savigny W01 Bold Cond Italic
Jeremy DooleyAuthor
Jeremy DooleyTrademark
Savigny is a trademark of Jeremy Dooley.Copyright
Copyright (c) 2011 by Jeremy Dooley. All rights reserved.Description
Copyright (c) 2011 by Jeremy Dooley. All rights reserved.
Beep Beep
Beep BeepStyle
1.00 November 20, 2013, initial releaseCopyright
Beep Beep (TattooWoo.com). 2013. All Rights ReservedDescription
This font was created using FontCreator 6.0 from High-Logic.com
Xtreem Thin Demo
Xtreem Thin DemoStyle
Mns GrebckAuthor
Mns GrebckTrademark
Xtreem is a trademark of Mns Grebck.Copyright
Copyright (c) 2012 by Mns Grebck. All rights reserved. Personal use only. Please visit www.mawns.com to obtain a commercial license.Description
Copyright (c) 2012 by Mns Grebck. All rights reserved.License
This font is for personal use only. Please visit www.mawns.com to obtain a commercial license.
Mousse Script W00 Regular
Alejandro PaulAuthor
Alejandro PaulTrademark
Mousse Script is a trademark of Alejandro Paul.Copyright
Copyright 2005, Alejandro Paul, Buenos Aires, Argentina. All rights reserved. Designed by Alejandro Paul based on a Glenmoy Stephenson Blake specimen from 1932.Description
Glenmoy, the 1932 Stephenson Blake typeface, is a prime example of what display typography was in the per-WWII American ad art. It graced the pages of many magazines, sold many products and services, then simply died out when the typographic trends shifted towards the more personalized, stylized and handwritten kinds of calligraphy.The current trend in typography, the first in this new millenium, is the sort of revivalism that brings all distinctive display typography of the 20th century, without chronological discrimination, back in the name of retro. And who are we to deny the masses what they want?Mousse Scripts doesn't merely bring Glenmoy back from the ashes of the 20th century. It expands its limited metal character set to almost twice what it was and takes advantage of the latest type technologies to make Mousse Script a striking font functionally and visually.A simple attractive display font on the surface, Mousse Script is quite unique in that it is bold upright calligraphy, which is something rarely found these days. This makes it perfect for packaging work, especially for cosmetics and high-end feminine products.License
Please visit http://www.sudtipos.com for licensing information.
Mingler W00 Ritzy
Chank DieselTrademark
Mingler Ritzy is a trademark of Chank Co.Copyright
Copyright 2008 Chank Co. All rights reserved. From www.chank.com. Do not redistribute or alter this font without permission.License
The Chank Company End User License AgreementPersonal Use LicenseThank you for choosing to purchase one of the worlds great typefaces for your personal use. This license entitles you to perpetual, limited, non-exclusive, non-commercial personal use of this font.By downloading and/or installing Chank Company software (the 'Software'), you expressly agree to the following terms (the 'License'):1. This Chank Company Software, the design of the font embodied in it, and the name of the typeface are the exclusive property of The Chank Company, and all rights not granted to you herein are specifically reserved to The Chank Company. This Software is licensed, not sold to you, and this License does not transfer any right in the designs produced by the Software, or in the Software itself. The Software and all copies made of it remain the property of The Chank Company.2. You are granted the non-exclusive, non-assignable, non-transferable (except as provided herein) right to use this Software on up to five (5) CPUs or other electronic devices at a single office or location. You are not permitted to share this Software between parent, subsidiary or affiliated companies. If you wish to use the Software on more than five (5) devices, please contact a friendly Chank Company representative, toll-free, at 1-877-GO-CHANK to purchase a supplementary multi-device license.3. If you do not agree to the terms of this License, please return the Software to us immediately and certify that no copy of the Software remains in your control.4. The copying of this and all other copyrighted software is prohibited by law. You may, however, make one copy of this Software for backup purposes. Any copies that you make must carry the same copyright and trademark notices displayed on the original. The Software and its documentation may not be sublicensed, sold, leased, rented, lent or given away to any other person or entity.5. This License permits professional users to embed or otherwise include the font outlines in a multimedia CD, DVD, PDF or flash movie distributed online only if that distribution is non-commercial and without charge and strictly for personal use and only if the font characters cannot be extracted and the document is not for resale.6. You agree not to modify, adapt, create derivative works, translate, re-sell, sublicense, reverse-engineer or otherwise tamper with the source code of this Software in any way without the written consent of the Chank Company.7. You may provide a copy of this Software to a printer or service bureau you have hired to output film, printed material, proofs or plates provided that the printer or service bureau deletes the Software or obtains its own license for the Software when the job is completed.8. The Chank Company reserves the sole right to amend, modify and/or create commercially distributed derivative works based on this Software and any images created with it, including letters, numbers, dingbats and other images.9. Prohibited Uses. You are not permitted to use the Font Software for certain commercial purposes without the purchase of a special supplemental license, issued at the sole discretion of The Chank Company. For example, this License does not entitle you to use this software to create products like the following:A. Alphabet or letterform-type products for resale. These sorts of products include scrap-booking kits, sign or number-creation kits, rubber stamps, die-cut products or other commercial products that use images or letterform shapes derived from this Software.B. Film or broadcast television titles, commercials, credits or other displays that incorporate the font characters into other works and/or advertising. In the event that a supplemental license for such use is obtained, you agree to credit The Chank Company by name as owner of the trademark and copyright in this software.C. Electronic devices or commercial software with embedded copies of this Font Software. This Software may not be used in any screen display for an electronic device, such as a kiosk, gaming console, gambling, embroidering or sewing machine, nor may it be used in derivative software products like an electronic game without first obtaining a supplemental license. This limitation applies irrespective of whether the device or machine generates font outlines electronically or merely displays images or words containing or showing letterform(s) comprising the Font.D. Other commercial derivative works. This Software and the images created by this Software may not be embedded in derivative works created by you for commercial distribution of any kind. Such uses might include, but are not limited to, the use of the font in commercial product packaging, television, brand identity materials, advertisements for television or other media, films, television, games, greeting cards, books and their packaging or album artwork. The right to create derivative works from this Software is specifically reserved to The Chank Company and is protected by domestic and international copyright, trademark and unfair competition laws.E. Brand or Business Identity Materials. This software is not intended for use in business identity materials or for the creation of brand logos. If you wish to use this font for those purposes, please contact The Chank Company to purchase a supplemental license.F. Book or Sound Recording or Audiovisual Artwork or Packaging. This license does not permit the use of this software for the creation of commercial packaging for books, sound recordings or audiovisual works. If you wish to use this font for those purposes, please contact The Chank Company to purchase a supplemental license.G. Use by a publication or advertising campaign with a printed circulation in excess of 10,000 copies per issue or advertisement.If you have any doubt as to whether a particular use of this Software is prohibited or permitted by this License, please contact The Chank Company by telephone at 1-877-GO-CHANK (outside the US: 612-782-2245) or by email at firstname.lastname@example.com for more information or to request a supplemental license. We will do our best to accommodate your specific circumstances with a reasonably priced supplemental license if we determine it to be necessary.10. Any breach of the terms hereof shall automatically terminate this License and The Chank Companys remedies hereunder shall be cumulative. In the event of termination, you agree to immediately return the Software to The Chank Company and certify that you retain no copy of it within your possession or control. This License may be modified only by writing signed by an authorized agent of The Chank Company.11. You agree to comply with all laws restricting the exportation of software or technology in the use of this software.12. The Chank Company reserves the right to audit your use of this software and compliance with the terms of this license by reviewing your records related to the use of the software and surveying the number and type of devices on which the software has been installed. In the event that you are found to be in violation of the terms of this license, you agree to pay the expense of the audit. Audits shall occur with no less than 7 days prior notice and no more frequently than once per year.13. This Software is provided AS IS. THE CHANK COMPANY DOES NOT WARRANT THE PERFORMANCE OR RESULTS YOU MAY OBTAIN BY USING THE FONT SOFTWARE. THE FOREGOING STATES THE SOLE AND EXCLUSIVE REMEDIES FOR THE CHANK COMPANYS BREACH OF WARRANTY. EXCEPT FOR THE FOREGOING LIMITED WARRANTY, THE CHANK COMPANY 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 THE CHANK COMPANY 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 THE CHANK COMPANY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES, OR (II) FOR ANY CLAIM AG
Markin LT W01 Bold Italic
Linotype GmbHTrademark
Linotype Markin is a trademark of Linotype GmbH and may be registered in certain jurisdictions.Copyright
Copyright 2002 - 2008 Linotype GmbH, www.linotype.com. All rights reserved. This font software may not be reproduced, modified, disclosed or transferred without the express written approval of Linotype GmbH. Linotype Markin is a trademark of Linotype GmbH and may be registered in certain jurisdictions. This typeface is original artwork of Alfred Tilp. The design may be protected in certain jurisdictions.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


text:
Vivica A. Fox has mocked Stacey Dash after she endorsed Mitt Romney by donning a sexy swimsuit to promote his campaign.
The "Clueless" star has received a barrage of criticism for backing Romney instead of Barack Obama ahead of next month's election, and recently opened up about how she was "saddened and shocked" by the backlash over her political leanings.
Now her "Getting Played "co-star Fox has also lambasted Dash for deciding to show her allegiance to the Republican nominee by posing in a red swimsuit for a sexy political shoot.
She told TheGrio, "I didn't know she was a Republican. I will start there. Second, I don't know why she had to do a photo shoot in a Baywatch red swimsuit with the boobs and the whole flag behind her. And she doesn't have a job or something to promote right now. I just didn't get it.
"Most politicians when you support them, you try to support them with class, you don't need to do a swimsuit shoot."