Second Mesa is a census-designated place in Navajo County, Arizona, on the Hopi Reservation, atop the 5,700-foot mesa. As of the 2010 census, the CDP population was 962, spread among three Hopi Indian villages, Musungnuvi and Songoopavi; the Hopi Cultural Center is on Second Mesa. Second Mesa is located at 35°49′3″N 110°30′15″W. According to the United States Census Bureau, the CDP has a total area of 26.5 square miles. As of the census of 2000, there were 814 people, 209 households, 169 families residing in the CDP; the population density was 30.8 people per square mile. There were 255 housing units at an average density of 9.6/sq mi. The racial makeup of the CDP was 96.93% Native American, 1.23% White, 0.12% Asian, 0.12% from other races, 1.60% from two or more races. 0.37 % of the population were Latino of any race. There were 209 households out of which 45.9% had children under the age of 18 living with them, 45.0% were married couples living together, 33.5% had a female householder with no husband present, 18.7% were non-families.
17.2% of all households were made up of individuals and 8.1% had someone living alone, 65 years of age or older. The average household size was 3.89 and the average family size was 4.39. In the CDP, the population was spread out with 40.4% under the age of 18, 10.2% from 18 to 24, 24.6% from 25 to 44, 17.1% from 45 to 64, 7.7% who were 65 years of age or older. The median age was 25 years. For every 100 females, there were 95.2 males. For every 100 females age 18 and over, there were 90.9 males. The median income for a household in the CDP was $22,981, the median income for a family was $23,947. Males had a median income of $22,679 versus $21,898 for females; the per capita income for the CDP was $6,089. About 32.7% of families and 36.3% of the population were below the poverty line, including 36.6% of those under age 18 and 23.8% of those age 65 or over. Second Mesa is a part of the Cedar Unified School District. Hopi High School serves Second Mesa; the Hopi Lavayi Nest Model Program, a pilot Hopi language revitalization project for families with children birth through age five was launched in the village of Sipaulovi."
Hopi Cultural Center, Second Mesa
Flat3 is a New Zealand comedy web series written and directed by Roseanne Liang. It stars co-creators JJ Fong as Jessica, Perlina Lau as Perlina, Ally Xue as Lee. Flat3 premiered on YouTube and Vimeo on 22 February 2013; the show focuses around three Asian Kiwi girls living together in Auckland. Lee and Perlina are young roommates looking for romance and self-confidence in creative and comedic world; the style is self-described as "sometimes smart silly, a little rude and a lot awkward". JJ Fong, Perlina Lau and Ally Xue were inspired to create a comedy web series after experiencing a lack of roles as Asian actresses working in the New Zealand screen industry. Flat3 formed when Roseanne Liang of My Wedding and Other Secrets joined the team as writer and director. After missing out on funding from New Zealand On Air, the creators called upon friends to help shoot the first season; the show was screened at the Friars Comedy Club Festival 2013 in New York. Season three received NZ$100,000 funding from New Zealand on Air.
It was the shows final season, although there were suggestions of a possible television show. Season one features six 7-minute episodes; the plot follows Lee and Perlina as they try to "figure out who they are, what they’re doing in this life, whose turn it is to buy toilet paper."CAST MAIN CAST: Ally Xue as Lee J. J. Fong as Jessica Perlina Lau as Perlina RECURRING CAST: Katrina Wesseling as Katrina Simon Ward as Simon Matariki Whatarau as Aiden Mike Ginn as Jackie Chan GUEST CAST: Nic Sampson as Nic Dan Cowley as Dan/Career Consultant Hweiling Ow as Hweiling Keira Christina as Keira Season 2 continues to follow Lee and Perlina. CAST MAIN CAST: Ally Xue as Lee J. J. Fong as Jessica Perlina Lau as Perlina RECURRING CAST: Katrina Wesseling as Katrina Calum Gittins as Calum SPECIAL GUEST CAST: Rose Matafeo as Rose Kerry Warkia as Kerry/Maitre'd Paul Gittins as Paul Kiel McNaughton as Hitchiker GUEST CAST: Simon Ward as Simon Nic Sampson as Nic Hweiling Ow as Hweiling Keira Christina as Keira Susanna Tang as Xana Jordan Selwyn as Leon Season 3 continues to follow Lee and Perlina in their FINAL SEASON, 2014.
CAST MAIN CAST: Ally Xue as Lee J. J. Fong as Jessica Perlina Lau as Perlina RECURRING CAST: Katrina Wesseling as Katrina Nic Sampson as Nic Dan Cowley as Dan Yoson An as Yoson Taofia Pelesasa as Fia SPECIAL GUEST CAST: Madeleine Sami as Madeline Kerry Warkia as Kerry Shannon Ryan as Shannon Ryan Shavaughn Ruakere as Mascot Lady Olivia Tennet as Lee Kimberley Crossman as Jessica Chelsea McEwan Miller as Perlina Pua Magasiva as Winston Johnny Barker as Director GUEST CAST: Simon Ward as Simon Susanna Tang as Xana Jordan Selwyn as Leon Flat3 official site
Roads of Destiny was a 1921 American silent drama film produced and distributed by Goldwyn Pictures. The film is based on the story of the same name by O. Henry, turned into a play by Channing Pollock starring Florence Reed. Frank Lloyd directed and stage actress Pauline Frederick starred; the film is now considered lost. As summarized in a film publication, David Marsh, an inventor, is in love with Ann Hardy, but his brother Lewis loves her. Lewis loved Rose Merritt, but betrayed her and has cast her off; when he sees the success of David with Ann, Lewis reproaches his brother and threatens to end his own life unless he can marry Ann. David, overcome with these events, falls asleep. In his dreams, the figure of Fate appears and tells him that no matter which road he takes, he will find happiness with Ann and will marry her only. Follow three dreams, one taking place in the North, one in the West, one in his home town; when he awakes, he finds that Lewis was greeted with the same apparition and has decided to marry Rose, while David marries Ann.
Pauline Frederick - Rose Merritt John Bowers - David Marsh Richard Tucker - Lewis Marsh Jane Novak - Ann Hardy Hardee Kirkland - Mr. Hardy Willard Louis - McPherson Maude George - Fate Maurice B. Flynn - Colby Roads of Destiny on IMDb Roads of Destiny at AllMovie
The 176th Perevolochna Infantry Regiment was a reserve infantry regiment in the Imperial Russian Army that fought during World War I as part of the 44th Infantry Division. The regiment traced its seniority back to the formation of the 27th Reserve Infantry Battalion from a cadre of the Poltava Local Battalion on 31 July 1877, it was redesignated as the 64th Reserve Infantry Battalion on 10 October 1878, granted an unadorned banner on 31 March 1880. The battalion received the designation Perevolochna Reserve Battalion on 25 March 1891, expanded into the two battalion-189th Perevolochna Reserve Infantry Regiment on 1 December 1892, it was reorganized as the four battalion-176th Perevolochna Infantry Regiment on 1 January 1898. At the outbreak of World War I, the 176th Perevolochensky Regiment was part of the 21st Army Corps and quartered at Chernigov. Upon mobilisation, the regiment was transferred to its winter barracks so that the summer camp could be used by the 316th Khvalinsky Regiment. At that time, the regiment was under the command of Mikhail Dmitriyevich Bonch-Bruyevich, who gave the troops a patriotic speech before marching them to the railway station at Kruty.
Bonch-Bruyevich experienced some problems with maintaining discipline. However, he was lenient with a group of 100 soldiers who had gone AWOL and another group of drunken reservists who had tried to give a beating to Captain Kotsubinsky, the unpopular commanding officer of the 7th Company; the unit travelled via Kiev to Lutsk. Battle of Gnila Lipa Shenk, Vladimir. Гренадерские и пехотные полки. Saint Petersburg: V. D. Smirnov
The Very Best of the Doors is the ninth compilation album by the rock band The Doors. It was released on September 2007 to commemorate the band's 40th anniversary; the masters were drawn from the same remixes/remasters used for the 2006 Perception box set and 2007 Doors reissues. Three versions of the album were released. First conceived in the UK, the single CD version of this compilation is only available in the UK. There are minor differences between the U. S. and UK versions of the double CD version. Slated to be released on March 26, 2007, the release date was delayed to September 25, 2007. There was confusion as to the album's title prior to an official announcement; the Doors have an album called The Very Best of The Doors, released in 2001, that caused confusion among fans and critics. Several sources, including fan sites, claimed; the album was put up for pre-sale on some online music merchants' sites under the Jim Morrison's The Doors title. On June 18, 2007, a message was posted on The Doors' official MySpace page confirming that the title of the album would be The Very Best of The Doors 2007.
A spokesperson for Elektra Records has said that the title and theme of The Doors’ ninth compilation album is about "a new beginning and their 40th anniversary."On September 25, 2007, U. S. retailer Wal-Mart released a special edition of The Very Best of The Doors with an exclusive concert filmed during their world tour in London, England. The album was well promoted on music channels. There were many commercials on many other websites; the album has received positive reviews. AllMusic titled its review "Amazing" and called the album "an amazing greatest hits". All songs credited to The Doors unless otherwise indicated; this 2 CD and 1 DVD set contains the UK track listing. The DVD highlights performances from Live in Europe 1968; the package itself is a rectangle. Marketed as a soft/paper book with an overlapping inlay for both CD's; the book features photos, an essay, lyrics to each song found on the release. The DVD is in the back. Jim Morrison – vocals Robby Krieger – electric guitar Ray Manzarek – piano, organ John Densmore – drums Bruce Botnick – co-producer of the L.
A. Woman tracks, engineer for all tracks including the former tracks except for disc 2, track 18, remixing job for all releases Paul A. Rothchild – producer for all tracks except for the L. A. Woman selections Jerry Scheff – bass guitar on the single disc version tracks 7-8 & 15/disc 2, tracks 2-3, 7-8, 11, & 14 Larry Knechtel – bass guitar on the single disc version tracks 2, 14, & 16/disc 1, tracks 5 & 11 and disc 2, tracks 1 & 9 Douglass Lubahn – bass guitar on the single disc versions tracks 3-6, 12, & 18/disc 1, tracks 2, 4, 10, 12, & 14 and disc 2, tracks 4, 5, 6, & 16 Kerry Magness – bass guitar on the single disc version track 19/disc 1, track 8 Leroy Vinnegar – acoustic bass on disc 1, track 6 Curtis Amy – saxophone solo on the single disc version track 9/disc, tracks 4, 11, & 13 George Bohanan – trombone on the single disc version track 9/disc 2, tracks 4, 11, & 13 Harvey Brooks – bass guitar on the single disc version track 9/disc 2, tracks 4, 11, & 13 Jimmy Buchanan – fiddle on the UK version disc 2, track 5 Jesse McReynolds – mandolin on the single disc version track 9 and disc 2, track 13 Champ Webb – English horn solo on the U.
S. version disc 2, track 15 Paul Harris – orchestral arrangements on the single disc version track 9 and disc 2, track 11 Lonnie Mack – bass guitar on the single disc version track 10/disc 2, track 19 Ray Neapolitan – bass guitar on the single disc version track 11/disc 2, tracks 10 & 12 John Sebastian – harmonica on the single disc version track 10/disc 2, track 19 Marc Benno – additional guitar on the single disc version track 8/disc 2, track 11
The Industrial Designs Act, 2003 is a Ghanaian act to revise the enactments on the protection of industrial designs and to provide for related matters. The Act is one of the Seven Acts. Before the coming into force of the Act, the following are reasons the Parliament of Ghana considered to be the purpose of which the Bill should become an Act to cater for industrial designs; the purpose of the Bill is to enhance the operation of the laws on the protection of industrial designs. This is being effected by expanding the law on the industrial designs to include the accepted international provisions under the TRIPS Agreement. In the course of this, the existing legislation on textile designs have been revised and incorporated into this Bill; the definition of an industrial design includes everything which in the appearance of a product, causes an aesthetic impression, in other words, anything which gives an impression received by the sense of sight can be an industrial design. This definition excludes from protection elements in a design which are only for obtaining a technical result and hence cannot be claimed to be as a result of personal creativity.
Such elements may be within the domains of Patent Law and outside the protection conferred under Industrial Design Law. Under this Bill, an industrial design is registrable if it is new, it has not been disclosed to the public anywhere in the world and it is not contrary to public order or morality. Another purpose is to cater for the situation in which two or more persons have created the same industrial design independently of each other, clause 3 applies the first-to-file system to determine who has the right to the registration of an industrial design; the Industrial Designs Act was enacted by the Parliament of Ghana and came into force on December 31, 2003 after receiving Presidential assent and named, INDUSTRIAL DESIGNS ACT, 2003 to cater for issues surrounding Industrial Designs in Ghana. The Act was expressed as an act to revise the enactments on the protection of industrial designs and to provide for related matters. Before the birth of the Act, there was the United Kingdom Designs ordinance and the Textiles Designs Decree, 1973, the decree provided for the registration and protection of textile design and is presently the law regulating the registration and protection of textile designs in Ghana.
The Act comprises 27 sections and is categorized into the following headings: The industrial Designs Act has its main objective stated in the preamble of the Act. It seems to provide for related matters. Sections 1 & 2 define what forms an Industrial Design may take; the Act defines an Industrial Design as a composition of lines or colours, any three-dimensional form or any material, whether or not associated with lines or colours. A textile design is considered as industrial designs where the composition, form or material gives a special appearance to a product of industry or handicraft and can serve as a pattern for a product of industry or handicraft. In essence, it limits the scope of applicability to designs that impact the aesthetic character of the industrial product. Though the Industrial Design Act is not express on the fact that, protection of Industrial Design in Ghana is contingent upon registration that can be inferred from the Act, however a greater part of the sections of the Act deals with the issue of Registration of Industrial Designs by creators.
Industrial Designs are nonetheless registered if they are original or different from known designs. Section provides for designs; the protection under Act 660 is not applicable to anything in an industrial design which serves to obtain a technical result to the extent that it leaves no freedom as regards arbitrary features of appearance. Key terms in the Act are defined in the Interpretation Section of the Act. Section 26 provides unless the context otherwise requires the following definitions to the known terms; the Act is applicable where, An industrial design does not serve to obtain a technical result to the extent that it leaves no freedom as regards arbitrary features of appearance. Any international treaty in respect of industrial property to which the country is a party in matters dealt with by this Act; the industrial design is made within the country. The protection provided under the Act is limited to the country because the