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Reece City, Alabama

Reece City is a town in Etowah County, United States. It was incorporated in May 1956, it is part of the Gadsden Metropolitan Statistical Area. At the 2010 census the population was 653. Reece City is located in central Etowah County at 34°4′28″N 86°1′50″W, it is in the valley of Little Wills Creek, bordered by Big Ridge to the west and Lookout Mountain to the east. U. S. Route 11 passes through the center of the town, running up the valley, Interstate 59 runs parallel to US 11 along the east side of the town, with access from Exit 188. Alabama State Route 211 intersects US 11 and I-59, leads south across Lookout Mountain 6 miles to Gadsden, the county seat. Via I-59 it is 33 miles northeast to Fort Payne and 63 miles southwest to Birmingham. According to the U. S. Census Bureau, Reece City has a total area of all land; as of the census of 2000, there were 634 people, 246 households, 203 families residing in the town. The population density was 204.9 people per square mile. There were 262 housing units at an average density of 84.7 per square mile.

The racial makeup of the town was 98.74% White, 0.16% from other races, 1.10% from two or more races. 0.63 % of the population were Latino of any race. There were 246 households out of which 29.7% had children under the age of 18 living with them, 70.7% were married couples living together, 8.1% had a female householder with no husband present, 17.1% were non-families. 16.7% of all households were made up of individuals and 8.9% had someone living alone, 65 years of age or older. The average household size was 2.58 and the average family size was 2.87. In the town, the population was spread out with 22.6% under the age of 18, 7.6% from 18 to 24, 24.8% from 25 to 44, 27.3% from 45 to 64, 17.8% who were 65 years of age or older. The median age was 41 years. For every 100 females, there were 103.2 males. For every 100 females age 18 and over, there were 100.4 males. The median income for a household in the town was $37,262, the median income for a family was $39,444. Males had a median income of $30,833 versus $21,000 for females.

The per capita income for the town was $16,384. About 10.7% of families and 13.2% of the population were below the poverty line, including 29.2% of those under age 18 and 6.8% of those age 65 or over

Texas Plates

Texas Plates is the second album by the singer-songwriter Vince Bell. It was released on April 13, 1999 and found Bell comfortably ensconced in the upper echelon of the songwriting guild and signed to a major record label. Whatever marketing there was presented him as just another singer/songwriter, as if they were all cut from the same Texan cloth, the album remains unheard. "Poetry, Texas" "All Through My Days" "Push Comes to Shove" "2nd Street" "All The Way to the Moon" "Place to Call Our Own" "Best Is Yet to Come" "Have Not, Will Travel" "100 Miles from Mexico" "The Fair" "Last Dance at the Last Chance" "All The Way to the Moon," "Best Is Yet to Come," "Have Not, Will Travel," "100 Miles from Mexico," "Place to Call Our Own," "Poetry, Texas": Vince Bell, TVB Publishing, administered by Bug Music "The Fair," "Push Comes to Shove," "2nd Street": Vince Bell, Bug Music /TVB Publishing, administered by Bug Music "All Through My Days": Vince Bell and Connie Mims, Bug Music /Black Coffee Music, administered by Bug Music "Last Dance at the Last Chance": Vince Bell, Bug Music /Black Coffee Music, administered by Bug Music The photograph on the front cover of the album is of Bell's great grandparents, Emily Louise and William Strickland, circa 1940s.

According to the liner notes: "They sold gas and feed and cold drinks, anything else anyone needed from their general store on Highway 67, outside of Red Water, Texas." Vince Bell - vocal, guitar Pat Bergeson - harmonicas Lewis Brown - trombone Pat Buchanon - guitars, sitar Chris Carmichael - strings Robin Eaton - bass, baritone guitar, acoustic guitar, jaw harp Mickey Grimm - drums, cajón Dave Jacques - electric and acoustic bass Brad Jones - upright bass Al Perkins - banjo, dobro, pedal steel, Kona guitar Ross Rice - piano, Moog, Vox organ, Wurlitzer, organ and Omnichord Elijah Shaw - E-Bow Aly Sujo - violin Fireworks: Tennessee State Fair Kami Lyle: guest vocalist Maura O'Connell: guest vocalist Alex Eaton: guest vocalist Producer: Robin Eaton Engineer and Mixer: Elijah ShawRecorded and mixed at Alex The Great Recording, Tennessee Mastered by James DeMain, Nashville, TN CD Shakedown review by Randy Krbechek, July 23, 1999 Allmusic review by Bill Ashford Vince Bell official site Vince Bell's MySpace page Daryn Kagan profiles Vince Bell Vince Bell's artist bio at the H.

A. A. M. Website “Introducing the Vince Bell "Handmade Hardtop Acoustic Dreadnaught Line”: lutier Vince Pawless describes custom-making a guitar for Vince Bell

Indian route (United States)

An Indian route is a type of minor numbered road in the United States found on some Indian reservations. These routes are part of the Bureau of Indian Affairs Road System, which includes federal aid roads, interior or locally funded roads, highway trust fund roads, tribal public roads, county or township roads, parts of the state highway system, other federal agency public roads. Indian routes are signed by shields featuring a downward-pointing arrowhead with varying designs depending on the state and/or reservation. Maintenance of these routes varies by locality and could be the responsibility of the BIA, a given tribal nation, or both. BIA route numbers are used on sign posts, atlas maps, programs and other bureau records requiring similar identification. A spur to an existing route is always assigned its own route number; the term "Indian route" referred to one or more components of an extensive network of trails used by indigenous peoples for war and migration, long before the advent of railroads and highways.

These routes were along high ground or ridges where the soil dried after rains and where there were few streams to be crossed, following important mountain passes to connect river drainages, while trails traveling across rather than along rivers followed the Fall Line. Oral tradition is the major source for route identification, but this is sometimes supplemented by field notes of land-grant surveys, old county maps, historic narratives from scientists, explorers and law enforcement officials. Explorers and colonists followed some of the major routes, such as the Iroquois trail, up the Mohawk River, the Great Warrior Path that connected the mouth of the Scioto River to the Cumberland Gap and Tennessee Country, the Chickasaw-Choctaw Trail, which became the noted Natchez Trace, the Occaneechi Trail, from the site of Petersburg, southwest into the Carolinas. Contemporary Indian routes are divided into sections, each of which represents a discrete and defined portion of the route. Sections are numbered 10, 20, 30, etc. in one of the orders that the sections would be traversed during travel.

A section break occurs when it is necessary to report data associated with a change in the nature of the route. In particular, a section break is required whenever any of the following occur: The route crosses a state boundary The route crosses a county boundary The route crosses a reservation boundary The route crosses a congressional district boundary A bridge begins A bridge ends; the surface type changes The standard to which the road was constructed changes There is a significant change to the condition of the roadThe main span of a bridge together with all its approach spans is a single section. Indian Reservation Roads Program Indian Route 1, Hualapai Indian Reservation Indian Route 1 starts at Peach Springs and ends at the bottom of the Grand Canyon

Jay Alan Yim

Jay Alan Yim is an American composer and recipient of a 1994 Guggenheim Fellowship. Yim was born in St. Louis, Missouri on April 24, 1958, he attended the University of California, Santa Barbara College of Creative Studies and graduated with a B. A. in 1980. He received a M. Mus. in 1981 from the University of London and the Royal College of Music, with a Ph. D. from Harvard University earned in 1989. During the 1995–96 concert season, he served as Composer/Fellow for the Chicago Symphony Orchestra, his works have been performed by the National Symphony Orchestra, Radio Filharmonisch Orkest, Residentie Orchestra, Los Angeles Philharmonic, Sendai Philharmonic, Tanglewood Music Center Orchestra, London Sinfonietta, Arditti String Quartet, New Music Consort, Het Trio, Nieuw Ensemble. He serves as a professor of music at Northwestern University. Former students include composers Marcos Balter, Kirsten Broberg, Rodrigo Cadiz, Aaron Cassidy, Mark Engebretson. Yim is a 1994 recipient of a Guggenheim Fellowship for music composition in the creative arts category.

He placed third for the 1994 Kennedy Center Friedheim Award, tied with John Anthony Lennon. Yim is married to artist Marlena Novak. Official website Northwestern University biography


In time series data, seasonality is the presence of variations that occur at specific regular intervals less than a year, such as weekly, monthly, or quarterly. Seasonality may be caused by various factors, such as weather and holidays and consists of periodic and regular and predictable patterns in the levels of a time series. Seasonal fluctuations in a time series can be contrasted with cyclical patterns; the latter occur when the data exhibits falls that are not of a fixed period. Such non-seasonal fluctuations are due to economic conditions and are related to the "business cycle". Organisations facing seasonal variations, such as ice-cream vendors, are interested in knowing their performance relative to the normal seasonal variation. Seasonal variations in the labour market can be attributed to the entrance of school leavers into the job market as they aim to contribute to the workforce upon the completion of their schooling; these regular changes are of less interest to those who study employment data than the variations that occur due to the underlying state of the economy.

It is necessary for organisations to identify and measure seasonal variations within their market to help them plan for the future. This can prepare them for the temporary increases or decreases in labour requirements and inventory as demand for their product or service fluctuates over certain periods; this may require training, periodic maintenance, so forth that can be organized in advance. Apart from these considerations, the organisations need to know if variation they have experienced has been more or less than the expected amount, beyond what the usual seasonal variations account for. There are several main reasons for studying seasonal variation: The description of the seasonal effect provides a better understanding of the impact this component has upon a particular series. After establishing the seasonal pattern, methods can be implemented to eliminate it from the time-series to study the effect of other components such as cyclical and irregular variations; this elimination of the seasonal effect is referred to as de-seasonalizing or seasonal adjustment of data.

To use the past patterns of the seasonal variations to contribute to forecasting and the prediction of the future trends. The following graphical techniques can be used to detect seasonality: A run sequence plot will show seasonality A seasonal plot will show the data from each season overlapped A seasonal subseries plot is a specialized technique for showing seasonality Multiple box plots can be used as an alternative to the seasonal subseries plot to detect seasonality An autocorrelation plot and a spectral plot can help identify seasonality. A good way to find periodicity, including seasonality, in any regular series of data is to remove any overall trend first and to inspect time periodicity; the run sequence plot is a recommended first step for analyzing any time series. Although seasonality can sometimes be indicated by this plot, seasonality is shown more by the seasonal subseries plot or the box plot; the seasonal subseries plot does an excellent job of showing both the seasonal differences and the within-group patterns.

The box plot shows the seasonal difference quite well. However, for large data sets, the box plot is easier to read than the seasonal subseries plot; the seasonal plot, seasonal subseries plot, the box plot all assume that the seasonal periods are known. In most cases, the analyst will in fact, know this. For example, for monthly data, the period is 12. However, if the period is not known, the autocorrelation plot can help. If there is significant seasonality, the autocorrelation plot should show spikes at lags equal to the period. For example, for monthly data, if there is a seasonality effect, we would expect to see significant peaks at lag 12, 24, 36, so on. An autocorrelation plot can be used to identify seasonality, as it calculates the difference between a Y value and a lagged value of Y; the result gives some points where the two values are close together, but other points where there is a large discrepancy. These points indicate a level of seasonality in the data. Semiregular cyclic variations might be dealt with by spectral density estimation.

Seasonal variation is measured in terms of an index, called a seasonal index. It is an average that can be used to compare an actual observation relative to what it would be if there were no seasonal variation. An index value is attached to each period of the time series within a year; this implies that if monthly data are considered there are 12 separate seasonal indices, one for each month. The following methods use seasonal indices to measure seasonal variations of a time-series data. Method of simple averages Ratio to trend method Ratio-to-moving-average method Link relatives method The measurement of seasonal variation by using the ratio-to-moving-average method provides an index to measure the degree of the seasonal variation in a time series; the index is based on a mean of 100, with the degree of seasonality measured by variations away from the base. For example, if we observe the hotel rentals in a winter resort, we find that the winter quarter index is 124; the value 124 indicates that 124 percent of the average quarterly rental occur in wi

Peter Holmes à Court

Peter Holmes à Court is an Australian businessman. He is the eldest son of the late millionaire businessman Robert Holmes à Court and Janet Holmes à Court, he was well known as a joint owner of the National Rugby League team South Sydney Rabbitohs together with Russell Crowe from 2006 until 2014. After completing his schooling at Geelong Grammar School in Corio, he read law at Oxford University and received his BA in economics and theatre from Middlebury College, Vermont. In 1993 Holmes à Court formed Back Row Productions, operating in New York City and Sydney. Back Row produced at least twenty live shows in 300 cities worldwide. In 1994 Holmes à Court put together Fallen Angel; the show was open for three weeks and lost most of Holmes à Court's available capital as well as the capital put in by investors. Peter's mother, Janet Holmes à Court's official biography states: "Newly married, Peter Holmes à Court was impatient for success and not interested in working in a hands-on way to learn the theatre business, as someone like Cameron Mackintosh had done.

Peter had some tough lessons early. Billy Boesky's rock and roll musical, Fallen Angel, was Peter's first off-Broadway show, which he put together in 1994, it stayed open three weeks and lost most of Peter's available capital and that of some investor's close to home who weren't happy with the result". In 1996 Holmes à Court became involved in a dispute over a contracted tour of Lift-Off Live, a spin-off of an Australian Broadcasting Corporation educational television show, Lift Off, booked and scheduled. Holmes à Court wanted to close the show down, despite contractual obligations. To make things more complicated his mother Janet's company, was an investor in Lift Off and was entitled to income from ancillary rights. Janet Holmes à Court's biographer, Patricia Edgar, details the incident in another book, Bloodbath: a memoir of Australian television, stating that Back Row Productions was in financial trouble. Edgar describes how Janet reacted to the situation by attempting to force Peter to meet his obligations, but wanted to assume the Back Row Productions' debt and pay out of her own pocket to save her son from ignominy."Janet suggested that she assume Back Row's debt with the Foundation and pay out of her own pocket.

She knew Peter was in financial difficulties and this was a way to avert further damage..."In 2000 Holmes à Court settled out of court with his family to gain his inheritance from the family company, Heytesbury. Holmes à Court's father, Robert Holmes à Court, died intestate leaving his wife Janet one third of the family fortune with the four children getting the other two-thirds; the amount Peter Holmes à Court received was reported as A$35 million. At the same time he took up the position as chief executive officer of the Australian Agricultural Company and was responsible for re-listing AACo on the Australian Stock Exchange. With his younger brother Paul Holmes à Court in charge of Heytesbury, Peter had set himself up in competition with his family's primary business. In 2004 Holmes à Court stood down from the post of CEO of the AACo. In March 2006 Holmes à Court and Russell Crowe gained 75% ownership of the South Sydney Rabbitohs through a vote of the Membership of the club. Holmes à Court became Executive Chairman of the club.

In early 2008 he became CEO of the Rabbitohs after Shane Richardson resigned and took up a position as Director of Sports Operations in Holmes à Court's company The Passionate Group in October 2007. In May 2008 Holmes à Court resigned as Executive CEO of the South Sydney Rabbitohs; some reports suggested that Holmes à Court had been forced to stand down after his relationship with Crowe had deteriorated. At the same time as Holmes à Court stood aside, the previous CEO, Shane Richardson, was subsequently re-appointed to the role of CEO of the Rabbitohs. Nick Pappas was re-appointed as chairman. In April 2009, Holmes à Court was recalled to the witness box in the NSW Supreme Court in a defamation case brought against him by Tony Papaconstuntinos, known as Tony Papa, a Member of the South Sydney Rabbitohs. Holmes à Court said that Russell Crowe had hired San Francisco-based husband-and-wife team Palladino & Sutherland, to do surveillance work on people opposed to their planned takeover of the South Sydney Football Club.

Holmes a Court admitted that Crowe had engaged the investigators but that he had given instructions to Sandra Sutherland and the firm had used its "Australian associates" to conduct surveillance of the "no" campaign. In August 2009 it was revealed by The Sydney Morning Herald that Holmes à Court had ignored NSW Supreme Court orders for payment of costs to several people, subpoenaed by Holmes à Court in the Tony Papa defamation case; the newspaper revealed, on 22 August 2009, that writs for levy of property had been taken out by two long-time members of the South Sydney Rabbitohs. This action designated Holmes à Court a "judgement debtor" and enabled the NSW Sheriff's office to seize property on behalf of the two Rabbitohs Members. On 4 September 2009, Holmes à Court was found, by Justice Lucy McCallum in the NSW Supreme Court, to have defamed Tony Papaconstuntinos. Justice McCallum ordered Holmes à Court to pay all costs. Holmes à Court claimed a "moral victory". In March 2010 Holmes à Court resigned as a director of the Rabbitohs, but remained a 37.5% shareholder in partnership with Russell Crowe until 2014.

In October 2014, less than a month after the club's 2014 premiership, Holmes à Court sold his stake in the club to casino entrepreneur and Sydney Roosters fan James Packer. Holmes à Court is the Chairman of a private investment company, he is a director of ISFM