DOCSLIB.ORG

Regional Atmospheric Transport Code for Hanford Emission Tracking, Version 2 (RATCHET2)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Regional Atmospheric Transport Code for Hanford Emission Tracking, Version 2 (RATCHET2) PNNL-16071 Regional Atmospheric Transport Code for Hanford Emission Tracking, Version 2 (RATCHET2) RATCHET2: Modification and Implementation of RATCHET for Use in SAC J. V. Ramsdell, Jr. J. P. Rishel July 2006 Prepared for the U.S. Department of Energy under Contract DE-AC05-76RL01830 DISCLAIMER This report was prepared as an account of work sponsored by an agency of the United States Government. Neither the United States Government nor any agency thereof, nor Battelle Memorial Institute, nor any of their employees, makes any warranty, express or implied, or assumes any legal liability or responsibility for the accuracy, completeness, or usefulness of any information, apparatus, product, or process disclosed, or represents that its use would not infringe privately owned rights. Reference herein to any specific commercial product, process, or service by trade name, trademark, manufacturer, or otherwise does not necessarily constitute or imply its endorsement, recommendation, or favoring by the United States Government or any agency thereof, or Battelle Memorial Institute. The views and opinions of authors expressed herein do not necessarily state or reflect those of the United States Government or any agency thereof. PACIFIC NORTHWEST NATIONAL LABORATORY operated by BATTELLE for the UNITED STATES DEPARTMENT OF ENERGY under Contract DE-AC05-76RL01830 Printed in the United States of America Available to DOE and DOE contractors from the Office of Scientific and Technical Information, P.O. Box 62, Oak Ridge, TN 37831-0062; ph: (865) 576-8401 fax: (865) 576-5728 email: [email protected] Available to the public from the National Technical Information Service, U.S. Department of Commerce, 5285 Port Royal Rd., Springfield, VA 22161 ph: (800) 553-6847 fax: (703) 605-6900 email: [email protected] online ordering: http://www.ntis.gov/ordering.htm This document was printed on recycled paper. PNNL-16071 Regional Atmospheric Transport Code for Hanford Emission Tracking, Version 2 (RATCHET2) RATCHET2: Modification and Implementation of RATCHET for Use in SAC J. V. Ramsdell, Jr. J. P. Rishel July 2006 Prepared for the U.S. Department of Energy under Contract DE-AC05-76RL01830 Pacific Northwest National Laboratory Richland, Washington 99352 Summary In 1999, the U.S. Department of Energy initiated the development of an assessment tool that enables users to model the movement of contaminants from all waste sites at Hanford through the vadose zone, groundwater, and Columbia River and estimate the impact of contaminants on human health, ecology, and the local cultures and economy. This tool was named the System Assessment Capability (SAC) and is an integrated system of computer models and databases used to assess the impact of waste remaining on the Hanford Site. This manual describes the atmospheric model and computer code for the Atmospheric Transport Module within SAC. The Atmospheric Transport Module, called RATCHET2, calculates the time- integrated air concentration and surface deposition of airborne contaminants to the soil. The RATCHET2 code is an adaptation of the Regional Atmospheric Transport Code for Hanford Emissions Tracking (RATCHET), as described by Ramsdell et al. (1994). The original RATCHET code was developed to perform the atmospheric transport for the Hanford Environmental Dose Reconstruction Project. Fundamentally, the two sets of codes are identical; no capabilities have been deleted from the original version of RATCHET. Most modifications are generally limited to revision of the run-specification file to streamline the simulation process for SAC. In this regard, many model parameters that were set within the RATCHET run-specification file are now set internally to the RATCHET2 code. New variables have also been added to the RATCHET2 run-specification file to allow for flexibility in implementing the code into SAC. For example, the center of the model domain is now specified in the run-specification file rather than set internally within the RATCHET code. Other notable changes from RATCHET to the RATCHET2 code include: • Meteorological data input has been changed from direct access files to sequential files, and the file format has been modified to accommodate the meteorological data available from the current meteorological data acquisition system at Hanford. • The format of the meteorological station file has been modified so that station locations are specified in latitude and longitude. • The portions of RATCHET that dealt with determining mixing-layer thickness have been changed in RATCHET2. The mixing-layer thickness is determined for each station and then interpolated to nodes following the procedure described for RASCAL Version 3. • For SAC, the RATCHET code has been revised to estimate annual, time-integrated concentrations normalized to the annual release rate for each analyte class (noble gas, iodine, and particle). • The code is run for a single-source with a unit release; SAC scales the results from RATCHET2 to the appropriate emission rate. • Decay calculations have been disabled within RATCHET2; SAC calculates radionuclide decay where appropriate. iii This manual has three major sections: a description of the model, a user’s guide, and a programmer's guide. These sections discuss RATCHET2 from three different perspectives. The first section provides a technical description of the code with emphasis on details such as the representation of the model domain, the data required by the model, and the equations used to make the model calculations. The second section is the user’s guide to the model and provides information on the model input, output, and instruction for running the code. The third and final section is a programmer’s guide to the code. It discusses the hardware and software required to run the code and discusses the program’s code structure and code elements. iv Contents Summary......................................................................................................................................................iii 1.0 Introduction ....................................................................................................................................... 1.1 1.1 Relationship to Other Atmospheric Dispersion Models......................................................... 1.2 1.2 Quality Assurance .................................................................................................................. 1.2 1.3 Manual Organization.............................................................................................................. 1.3 2.0 Technical Description........................................................................................................................ 2.1 2.1 Model Domain........................................................................................................................ 2.1 2.1.1 Cartesian Representation...........................................................................................2.1 2.1.2 Coordinate Transformations......................................................................................2.3 2.2 Topography ............................................................................................................................ 2.4 2.2.1 Surface Roughness ....................................................................................................2.6 2.3 Meteorology ........................................................................................................................... 2.6 2.3.1 Meteorological Stations.............................................................................................2.7 2.3.2 Meteorological Data Input.........................................................................................2.7 2.3.3 Calculated Meteorological Parameters....................................................................2.11 2.3.4 Spatial Representation of Meteorological Conditions.............................................2.15 2.4 Source Term ......................................................................................................................... 2.16 2.4.1 Release Times and Rates.........................................................................................2.16 2.4.2 Plume Rise and Effective Release Height...............................................................2.16 2.5 Transport .............................................................................................................................. 2.19 2.6 Diffusion............................................................................................................................... 2.21 2.6.1 Calculation of Time-Integrated Air Concentrations................................................2.22 2.6.2 Estimation of Diffusion Coefficients ......................................................................2.24 2.6.3 Estimation of Turbulence Parameters .....................................................................2.27 2.7 Transformation, Deposition, and Depletion ......................................................................... 2.28 2.7.1 Chemical and Physical Transformation...................................................................2.28 2.7.2 Dry Deposition ........................................................................................................2.29 2.7.3 Wet Deposition........................................................................................................2.32 2.7.4 Surface Contamination............................................................................................2.33
Load more

Recommended publications
  • Grime + Gentrification
    GRIME + GENTRIFICATION In London the streets have a voice, multiple actually, afro beats, drill, Lily Allen, the sounds of the city are just as diverse but unapologetically London as the people who live here, but my sound runs at 140 bpm. When I close my eyes and imagine London I see tower blocks, the concrete isn’t harsh, it’s warm from the sun bouncing off it, almost comforting, council estates are a community, I hear grime, it’s not the prettiest of sounds but when you’ve been raised on it, it’s home. “Grime is not garage Grime is not jungle Grime is not hip-hop and Grime is not ragga. Grime is a mix between all of these with strong, hard hitting lyrics. It's the inner city music scene of London. And is also a lot to do with representing the place you live or have grown up in.” - Olly Thakes, Urban ​ Dictionary Or at least that’s what Urban Dictionary user Olly Thake had to say on the matter back in 2006, and honestly, I couldn’t have put it better myself. Although I personally trust a geezer off of Urban Dictionary more than an out of touch journalist or Good Morning Britain to define what grime is, I understand that Urban Dictionary may not be the most reliable source due to its liberal attitude to users uploading their own definitions with very little screening and that Mr Thake’s definition may also leave you with more questions than answers about what grime actually is and how it came to be.
    [Show full text]
  • Most Requested Songs of 2019
    Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence music request system at weddings & parties in 2019 RANK ARTIST SONG 1 Whitney Houston I Wanna Dance With Somebody (Who Loves Me) 2 Mark Ronson Feat. Bruno Mars Uptown Funk 3 Journey Don't Stop Believin' 4 Cupid Cupid Shuffle 5 Neil Diamond Sweet Caroline (Good Times Never Seemed So Good) 6 Walk The Moon Shut Up And Dance 7 Justin Timberlake Can't Stop The Feeling! 8 Earth, Wind & Fire September 9 Usher Feat. Ludacris & Lil' Jon Yeah 10 V.I.C. Wobble 11 DJ Casper Cha Cha Slide 12 Outkast Hey Ya! 13 Black Eyed Peas I Gotta Feeling 14 Bon Jovi Livin' On A Prayer 15 ABBA Dancing Queen 16 Bruno Mars 24k Magic 17 Garth Brooks Friends In Low Places 18 Spice Girls Wannabe 19 AC/DC You Shook Me All Night Long 20 Kenny Loggins Footloose 21 Backstreet Boys Everybody (Backstreet's Back) 22 Isley Brothers Shout 23 B-52's Love Shack 24 Van Morrison Brown Eyed Girl 25 Bruno Mars Marry You 26 Miley Cyrus Party In The U.S.A. 27 Taylor Swift Shake It Off 28 Luis Fonsi & Daddy Yankee Feat. Justin Bieber Despacito 29 Montell Jordan This Is How We Do It 30 Beatles Twist And Shout 31 Ed Sheeran Thinking Out Loud 32 Sir Mix-A-Lot Baby Got Back 33 Maroon 5 Sugar 34 Ed Sheeran Perfect 35 Def Leppard Pour Some Sugar On Me 36 Killers Mr. Brightside 37 Pharrell Williams Happy 38 Toto Africa 39 Chris Stapleton Tennessee Whiskey 40 Flo Rida Feat.
    [Show full text]
  • Hannah Edwards Costume Designer
    Lux Artists Ltd. 12 Stephen Mews London W1T 1AH +44 (0)20 7637 9064 www.luxartists.net HANNAH EDWARDS COSTUME DESIGNER FILM/TELEVISION DIRECTOR PRODUCER LE MONDE OU RIEN Romain Gavras Iconoclast Cast: Vincent Cassel, Isabelle Adjani CATCH ME DADDY Daniel Wolfe Emu Films Cast: Sameena Jabeen Ahmed, Connor McCarron, Gary Lewis Film 4 Official Selection, Cannes Film Festival (2014) Official Selection, London Film Festival (2014) DIRECTORS/COMMERCIALS FLEUR FORTUNÉ Nike NINIAN DOFF Temptations ARNI THOR JONSSON Gumtree DANIEL WOLFE Honda, Chivas Regal, Tesco, Guiness, Cobra Beer, Tourism Ireland, Vodafone, Thalys, Mars, Kopparberg Cider, San Miguel, Three Mobile, Hennessy ROMAIN GAVRAS Louis Vuitton, Bacardi, Samsung Winner, Best Styling, Silver British Arrow Awards, 2014, Blue Lagoon, Blu NICK GORDON Chambord, GreenFlag, Boots, Stella Artois, Axe CANADA Tomorrowland, SFR, Cravendale GUSTAV JOHANSSON Samsung SAAM FARAHMAND Guinness, Nokia ERIC LYNN HSBC, John Lewis Christmas, Lactose Free Milk DAWN SHADFORTH Right Move, Matalan KIM GEHRIG Sport England, Netflix, Vodafone, Cadburys, Ikea, Clearasil, Channel 5, Honda, John Lewis, Sport England BOB HARLOW Nokia CHRISTIAN LARSON Nexxus STIAN SMESTAD Tesco AB/CD/CD Samsung BEN CONRAD Castro Oil DIRECTORS/MUSIC VIDEOS DAWN SHADFORTH Metronomy “Old Skool” DANIEL WOLFE Plan B “Writing’s on the Wall”, “Love Goes Down”, “The Recluse”, “Prayin”, “She Said”, “Stay Too Long” Winner, Best Styling, MVA 2010, The Joy Formidable “The Greatest Light”, Chase and Status “Blind Faith” Winner, Best Styling, MVA 2011, James Morrison “Get To You”, The Energies “Born Again Runner”, Take that “Up All Night”, Duffy “Warwick Avenue”, Hadouken “Declaration of War”, Roisin Murphy “Let Me Know” ROMAIN GAVRAS Jay Z feat.
    [Show full text]
  • Download Rymez Bio &
    As a producer, Rymez has enjoyed a meteoric rise that has seen him reach the absolute peak of the UK Pop Charts (“Heatwave” by Wiley) while displaying his diversity as a producer who has crafted numerous chart topping hits across a multitude of genres. Rodney Kumbirayi Hwingwiri was born in Kariba, Zimbabwe where he quickly adopted a love of music that was nurtured by his parent’s eclectic tastes that ranged from UB40 to the late Dr. Oliver Mtukudzi. At 13 Rymez immigrated from Zimbabwe to the United Kingdom where he quickly ingratiated himself in music and the arts as an escape. At school he was given the moniker Rymez by classmates for the poems and raps he performed in-between lessons. It was during these formative years as an artist that Rymez was introduced to software like Dance eJay and Adobe Audition which is where he began producing and recording music on his mother’s desktop computer. While in high school Rymez would make regular trips from Derby to London to try and network with artists and offer his beats. After graduating Highschool Rymez then attended University of Wolverhampton where he studied Business Studies. Rymez would work in his dorm studio after class until he passed out. It was during this time that he developed his work ethic as he plunged himself into music and school. He was also able to use the marketing skills he was learning at University to reach out and network with artists. Rymez quickly caught the attention of a then upcoming rapper named Tinie Tempah and Rymez’ first official producer credit came on Tinie’s 2009 “Sexy Beast Mixtape”.
    [Show full text]
  • W ACT Oscar Lang KEY TRACK: Trash Last Year at School Ended, Celebrating LABEL: Dirty Hit with a Show at Thousand Island in MANAGEMENT: SB Management the Capital
    frontline aimed at encouraging positive discussion around body image. Music supervisor Jack Derbyshire heaps praise on Boasty, which has more than 35 million Spotify streams. “It was the standout choice from the beginning,” he tells Music Week. “We had the rare luxury of having time on our side and were able to assess many options, but everyone kept coming back to Boasty, it speaks for itself, and all parties involved were enthusiastic and instrumental in getting this over the line.” The track, which peaked at No.11, marks a successful move into the singles world for BMG. “We were really pleased to land Boasty in this fun advert Here comes the summer: The new Sainsbury’s ad and (below) the single artwork with such a positive message,” SYNC STORY says Mark Levin, BMG director “Boasty was the of sync. SAINSBURY’S/WILEY/SEAN “We’ve seen a significant uplift standout choice, off the back of the ad, which is it speaks PAUL/STEFFLON DON helping us build on an already for itself” very successful single campaign.” Expect this one to hang Q BY BEN HOMEWOOD Jack Derbyshire Youth Mode around all summer long. Forget 1967, this year the words ‘summer of love’ belong to Sainsbury’s and Wiley. The grime legend’s track Boasty Spot: Sainsbury’s Tu - Summer Of Love Title: Boasty Artist: Wiley, Sean Paul & Stefflon Don (feat. Idris Elba) – made with Stefflon Don and Sean Paul with a guest spot Master: BMG Publishers: BMG, Universal, Sony/ATV, EMI, Bucks Music Supervisor: Jack Derbyshire from Idris Elba – complements this new spot perfectly.
    [Show full text]
  • The Hunting Lodge
    CONTROLS .....................................................................2 INSTALLATION ................................................................3 LET THE HUNT BEGIN! .....................................................4 THE HUNTING LODGE ......................................................6 SCORING ........................................................................9 CREDITS .......................................................................11 CUSTOMER SERVICE AND WARRANTY ..........................13 Remington trademark used under license from RA Brands, LLC by Mastiff, LLC. Magnum Research trademark used under license from Saeilo Enterprises Inc. WILEY X, the WILEY X Eyewear Logo, WX, the WX Eyewear logo, the WX Wiley X logo and product names are trademarks or registered trademarks (marca registra - da) of Wiley X, Inc., in the U.S. and other countries. All other names and marks are property of their respective owners. Logos © 2007 – 2009 Wiley X, Inc. All rights reserved. The WEAVER, SUPER SLAM and GRAND SLAM marks are trademarks of Alliant Techsystems Inc. and are used under license. This product contains software technology licensed from GameSpy Industries, Inc. © 1999 – 2010 All rights reserved. © 2010-2011 Mastiff LLC. All rights reserved. CONTROLS INSTALLATION Keyboard and Mouse INSTALLING THE GAME Left Mouse Button ................................Fire 1. Insert the Remington Super Slam Africa disc into the CD-ROM drive of your computer. The game installation and launch menu will Right Mouse Button ..............................Reload
    [Show full text]
  • The Future of Music Production Is Here, Now... 2 Contents
    The Future of Music Production Is Here, Now... 2 Contents Foreword ...................................................................................... 4 The Leadership Team ................................................................ 6 Spotlight On: The Leadership Team (Production) ....................... 8 Interview With Marwan PKA King Tut ......................................... 10 Meet The Production School Team .............................................. 12 Production Tutors ....................................................................... 13 Spotlight On: The Role Of The Modern Producer ......................... 16 Spotlight On: What Will You Learn? ............................................. 19 Spotlight On: Electives For Producers ...................................... 20 Deconstruction Of A Final Production ......................................... 22 Anatomy Of A Successful Producer ............................................ 23 Spotlight On: Cross-Pathway Business Education ..................... 24 Spotlight On: Brands .................................................................. 26 Spotlight On: Podcasts ............................................................... 27 Spotlight On: Musical Directors ................................................. 29 Spotlight On: Arrangement ....................................................... 31 Spotlight On: Production Career Opportunities ........................ 41 Spotlight On: Metropolis ............................................................ 34 Message
    [Show full text]
  • “One Line Flows, Yeah I Got Some of Those”: Genre, Tradition, and the Reception of Rhythmic Regularity in Grime Flow
    “ONE LINE FLOWS, YEAH I GOT SOME OF THOSE”: GENRE, TRADITION, AND THE RECEPTION OF RHYTHMIC REGULARITY IN GRIME FLOW Alexander Harvey Marsden A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfilment of the requirements for the degree of Master of Arts in the Department of Music Chapel Hill 2017 Approved by: Jocelyn R. Neal Allen Anderson Mark Katz © 2017 Alexander Harvey Marsden ALL RIGHTS RESERVED ii ABSTRACT Alexander Harvey Marsden: “One Line Flows, Yeah I Got Some of Those”: Genre, Tradition, and the Reception of Rhythmic Regularity in Grime Flow (Under the direction of Jocelyn Neal) In its musical style and performance practices, the British rap genre grime bears the traces of London’s electronic dance music scene, out of which it emerged in the early 2000s. One such trace is grime’s characteristic style of flow—the rhythmic dimensions of a rapper’s delivery of text—and the role that this plays in encouraging grime’s listeners to move. This thesis argues that grime flow exhibits a tendency towards rhythmic regularity, which differentiates it from flow styles that tend toward irregularity. Drawing from music cognition and music-theoretic work on the pleasures of repetition for listeners, particularly in electronic dance music, it asks what listeners find engaging about grime flow’s regularity. It argues, through an analysis of Skepta’s “That’s Not Me,” that grime flow encourages a participatory mode of listening from its audience, which in turn contributes to a broader orientation towards communality in the genre.
    [Show full text]
  • Who Is Wearing Rap Star Wiley's Rolex? What About Tupac Shakur's
    Rolex: Who is wearing Rap Star Wiley’s Rolex? What about Tupac Shakur’s Rolex? Released on: November 14, 2008, 7:43 am Press Release Author: MJ Rolex Watch Blog Industry: Media Press Release Summary: Rolex: Rapper Wiley wears a Rolex but who is wearing Tupac Shakur’s Rolex Day Date President or, for that matter, Kanye West’s Cartier, T.I.’s Omega, or any of P. Diddy’s luxury watches? Press Release Body: Rolex: Who is wearing Rap Star Wiley’s Rolex? What about Tupac Shakur’s Rolex? Rap star Wiley is helping to make wearing Rolex watches popular again with his single “Wearing My Rolex” that is now #2 on the UK Singles Charts. The last rapper to make wearing a Rolex watch so popular was Tupac Shakur who wore a gold and diamond-encrusted Rolex Day Date President until the day he died. Rappers Jay- Z, T.I., Outkast, Nas, Snoop Dogg, and Kanye West have also been seen wearing Rolex President watches although Notorious B.I.G. wore a Two Tone Rolex Datejust (18k/SS). To see this article in its entirety visit the MJ Rolex Watch Blog at:http://www.melrosejewelers.com/ro lex-watch-blog/wiley-rolex-tupac-rolex/ In 1993 Tupac Shakur was shot in a robbery and what some feel to be an attempted murder by rivals Sean “Puffy” Combs a.k.a. P. Diddy and others affiliated with Bad Boy Records. Although the robbers stole $35,000 of diamond and gold jewelry, they left Tupac's diamond- encrusted gold Rolex Day Date Presidential.
    [Show full text]
  • (IN)VISIBLE ENTREPRENEURS: CREATIVE ENTERPRISE in the URBAN MUSIC ECONOMY Joy White
    (IN)VISIBLE ENTREPRENEURS: CREATIVE ENTERPRISE IN THE URBAN MUSIC ECONOMY Joy White A thesis submitted in partial fulfilment of the requirements of the University of Greenwich for the Degree of Doctor of Philosophy June 2014 DECLARATION “I certify that this work has not been accepted in substance for any degree, and is not concurrently being submitted for any degree other than that of Doctor of Philosophy being studied at the University of Greenwich. I also declare that this work is the result of my own investigations except where otherwise identified by references and that I have not plagiarised another’s work”. Signed: Signed: Dated: June 2014 ! "" ACKNOWLEDGEMENTS I would like to acknowledge the unwavering support of my supervisors, Dr Gauti Sigthorsson and Dr Stephen Kennedy. In particular, for letting me know that this research project had value and that it was a worthwhile object of study. Also, Dawn, Maxine, Dean and Alvin who proofread the final drafts - without complaining and resisted the temptation to ask whether I’d finished it yet. Lindsey and Gamze, for their encouragement and support throughout all of the economic and social ups and downs during the life of this project. My mum, Ivaline White whose three-week journey in 1954 from Jamaica to London provided the foundation, and gave me the courage, to start and to finish this. My daughter Karis, who once she had embraced her position as a ‘PhD orphan’, grew up with the project, accompanied me while I presented at an academic conference in Turkey, matured and evolved into an able research assistant, drawing my attention to significant events, music and debates.
    [Show full text]
  • Darley America
    Hard Spun 2012 Stud fee – $40,000/2014 Stud fee – $60,000 One of three stallions in the U.S. this year with at least two G1 winners. Wicked Strong in the Wood Memorial and Hard Not To Like in the Jenny Wiley. No stallion has sired so many first-crop Stakes winners (14) after two seasons of racing. Also sire of Eclipse Champion and multiple G1 winner Questing as well as G1 winner Zo Impressive. Best Progeny HIERRO 2009C Brief Bliss (Navarone) G3w WICKED STRONG 2011C Moyne Abbey (Charismatic) G1w 4 wins (7-8f) at 2 to 5, $271,301, won The Cliff’s Edge Derby 2 wins (8-9f) at 2 and 3, $1,224,610, won Wood Memorial G1 Trial G3 (8f) (9f), Jim Dandy G2 (9f), 3rd Remsen S G2 (9f) HARD ENOUGH 2010C Grecian Wings (Mr. Greeley) G3w QUESTING 2009F Chercheuse (Seeking The Gold) G1w 5 wins (6-8f) at 3 to 5, $327,004, won Red Bank S G3 (8f) 4 wins (7-10f) 2 to 3, $876,876, won CCA Oaks G1 (9f), Ala- Current BT Horses bama S G1 (10f), 2nd Oh So Sharp S G3 (7f) WICKED STRONG 2011C Moyne Abbey (Charismatic) G1w HARD NOT TO LIKE 2009F Like A Gem (Tactical Cat) G1w 2 wins (8-9f) at 2 and 3, $1,224,610, won Wood Memorial G1 6 wins (6-8.5f) at 2 to 5, $721,671, won Jenny Wiley G1 (8.5f), (9f), Jim Dandy G2 (9f), 3rd Remsen S G2 (9f) Marshua’s River S G3 (8.5f), 2nd Ashland S G1 (8.5) HARD NOT TO LIKE 2009F Like A Gem (Tactical Cat) G1w ZO IMPRESSIVE 2009F Zoftig (Cozzene) G1w 6 wins (6-8.5f) at 2 to 5, $721,671, won Jenny Wiley G1 (8.5f) 3 wins (6f-8.5f) at 3, $439,800, won Mother Goose S G1 (8.5f), RELOAD 2009C Hidden Reserve (Mr.
    [Show full text]
  • Reload Josema Urós
    Reload Josema Urós Reload WWW.TYPE-O-TONES.COM Description Reload 1 Josema Urós Author Josema Urós Reload is condensed, readable, simple and Creation 2004 honest. With almost non-existant descenders Version 2 (2010) and the maximum x-height designed by its 1 style Fifteen author to date. Character Basic Latin For sizes of 15 points in 72 dpi screens. Sets Latin-1 Supplement License Types Desktop, Webfont, ePub, App, Server WWW.TYPE-O-TONES.COM Waterfall Reload 2 Upper & Lowercase Josema Urós Ministry song Metallica album New York reload SCQ Reload Wiley song Energy drink A pixel font Reload 52pt WWW.TYPE-O-TONES.COM Waterfall Reload 3 Uppercase Josema Urós MINISTRY SONG METALLICA ALBUM NEW YORK RELOAD SCQ RELOAD WILEY SONG ENERGY DRINK A PIXEL FONT Reload 52pt WWW.TYPE-O-TONES.COM Waterfall Reload 4 Text Josema Urós Reload 24/26 In order to properly merge and articulate these core assets, an acquisition statement outlining the information architecture, leading to a racheting up of convergence across the organic platform is an opportunity without precedent in current applicability transactional Reload 16/18 In order to properly merge and articulate these core assets, an acquisition statement outlining the information architecture, leading to a racheting up of convergence across the organic platform is an opportunity without precedent in current applicability transactional modeling. Implementing these goals requires a careful examination to encompass an increasing complex out sourcing disbursement to ensure the extant parameters are not
    [Show full text]