click links in text for more info

Ronald Laurence Hughes

Major General Ronald Laurence Hughes, was a senior infantry officer in the Australian Army, seeing service during the Second World War, the Korean War and the Vietnam War. Joining the Australian Army in 1937, after graduating from the Royal Military College, Duntroon in 1939 he served in New Guinea and Borneo during the Second World War, he commanded the 3rd Battalion, Royal Australian Regiment during the static phase of the war in Korea in 1952–1953. He commanded the 1st Australian Task Force in South Vietnam in 1967–68, during some of the heaviest fighting of the war experienced by the Australians, he subsequently filled a number of senior command and staff positions before retiring in 1977. Hughes was born in Adelaide, South Australia, on 17 September 1920; the son of a light horseman who served in the Gallipoli and Palestine campaigns during the First World War, Hughes joined the Australian Army in 1937 and graduated from the Royal Military College, Duntroon as a lieutenant in the infantry in 1939.

Following the outbreak of the Second World War, he was posted to the Darwin Mobile Force as a platoon commander in 1940 as the threat of Japanese aggression in the Pacific grew. As a regular officer in the Permanent Military Force Hughes subsequently undertook a variety of regimental and training positions in 1942, including postings to Headquarters 2nd Australian Corps, the Australian Staff College and Advanced Land Headquarters, Brisbane. In 1943 Hughes was posted to Headquarters 1st Australian Corps and was involved in the amphibious landing at Nassau Bay, as a liaison officer with the American forces during the New Guinea campaign. By 1944 he was a company commander in the 2/3rd Battalion fighting the Japanese at Wewak in New Guinea, was involved in the amphibious landing on Tarakan in Borneo in 1945 while attached to 26th Brigade. Hughes finished the war as a major serving with the Australian Military Mission in Tokyo, in 1945–46. Hughes was married in 1947 and he and his wife Joan had three sons, Alan and Geoffrey.

In 1951 he assumed command of the 2nd Battalion, Royal Australian Regiment at Puckapunyal, involved in training officers and soldiers as reinforcements for Australian forces fighting in Korea. In July the following year Hughes took over command of the 3rd Battalion, Royal Australian Regiment in Korea, a position he filled until March 1953, his younger brother, had served in the battalion as a platoon commander, had been awarded the Military Cross for his actions during the Battle of Maryang San. He too would also reach the rank of major general. Commanding 3 RAR during the static phase of the war he believed in active patrolling, but was doubtful of the value of operations to capture Chinese prisoners and the casualties that were incurred during these missions. For his leadership which he was awarded the Distinguished Service Order. In 1956, Hughes was posted as a student to the Joint Services Staff College in the United Kingdom, instructed there. In 1964 he went to Indonesia as Military Attaché during the Indonesia–Malaysia confrontation.

Returning to Australia in 1966, Hughes was promoted to brigadier, taking over command of the Queensland-based 6th Task Force. During 1967–68 Hughes commanded the 1st Australian Task Force based in Phuoc Tuy Province, South Vietnam, involved in counter-insurgency operations against the Viet Cong. Hughes took over command from Brigadier Stuart Graham on 20 October 1967. By the second half of 1967 the Viet Cong seemed to have melted away in Phuoc Tuy Province, abandoning many of their bunker systems and avoiding the main roads and towns, causing Graham to speculate that the Viet Cong may have fled to the border leaving the province altogether. Meanwhile, 1 ATF was reinforced, with 3 RAR arriving in December 1967 to bring the task force up to full strength with three infantry battalions supported by armour, artillery and engineers. Throughout 1968 1 ATF spent much of its time deployed away from Phuoc Tuy Province, assisting US forces countering a number of major offensives. Hughes' period in command witnessed heavy fighting during Operation Coburg, mounted in response to the communist Tet Offensive, the Battle of Coral–Balmoral.

For this he was subsequently made a Commander of the Order of the British Empire. Hughes returned to Australia in October 1968, he subsequently filled the position of Plans, Army Headquarters. In 1974 he was posted as General Officer Commanding 1st Division, a position he held until 1975. During his career he commanded a company, a battalion, a brigade and a division, he was posted as Chief of the Reserve, Army Headquarters, before retiring in 1977. In his life Hughes was involved in the Returned and Services League of Australia, the United Services Institution and the Military History Society of Australia. During his retirement he was a keen gardener and tennis player and he and Joan travelled around Australia for six months in a caravan. Hughes died in Canberra on 2 February 2003, aged eighty-two

Holy House of Mercy

The Holy House of Mercy of Macau, is a historic building in Senado Square, China. Established as a branch of the Santa Casa da Misericórdia, it was first built in 1569 on the orders of the Bishop of Macau, Belchior Carneiro Leitão, it was several other social welfare structures in early Macau. It served as an orphanage and refuge for widows of sailors lost at sea, it is part of the Historic Centre of a UNESCO World Heritage Site. Santa Casa da Misericórdia List of Bishops of Macau Leal Senado Macau General Post Office Holy House of Mercy, Information from Macau Government Tourist Office 265433529 Holy House of Mercy on OpenStreetMap Holy House of Mercy, Archival Background from the Archives of Macao

Baganda music

Baganda music is a music culture developed by the people of Uganda with many features that distinguish African music from other world music traditions. Parts of this musical tradition have been extensively researched and well-documented, with textbooks documenting this research. Therefore, the culture is a useful illustration of general African music. In addition to voice, a range of instruments are used, including the Amadinda, the Akadinda xylophones, the Ennanga harp, the Etongoli lyre and the Kadongo lamellophone. Amadinda, akadinda and entongoli, as well as several types of drums, are used in the courtly music of the Kabaka, the king of Buganda; the kadongo, on the other hand, was more introduced to Baganda music, dating to the early 20th century. For this reason, budongo music is not part of the traditional court music. Baganda music is based on an equidistant pentatonic scale. Therefore, the octave is divided into five intervals of 240 cents. There is some variation in the interval length between instruments, it might vary in one instrument during a performance.

This means that in an emic description, the scale can be called an equipentatonic scale while on an etic level of description, there might be different variations of implementing that conceptual scale. Because this music is not harmony-based, chords are not used and only the octaves are consonant. In Baganda culture, like in many African cultures, the musical scale is not perceived as pointing from "low" to "high" tones but the other way around, from "small" to "large" or "big" tones. Despite this, the notation used for the music denotes the deepest tone as "1" and the highest as "5"; as in many African cultures, there is a preference in Baganda music for "noisy" timbres. In the Kadongo lamellophone, metal rings are put around the lamellas to create a buzzing sound. In the ennanga harp, scales of a kind of goana are fixed on the instrument in such a way that the vibrating strings will touch it; this gives a crackling timbre to the sound. In tuning the instruments, the octave is deliberately not tuned resulting in an intended acoustic beat effect.

In singing, "coarse" timbres are used. The music is repetitive; the elementary pulses in the music are quite fast. There are i.e. number of elementary pulses in one cycle, in Baganda music. Besides the more usual 24, 36 and 48, which are widespread in African music, there are instances of unusual form numbers: the amadinda piece "Bakebezi bali e Kitende" has 50, the pieces "Ab'e Bukerere balaagira emwanyi" and "Akawologoma" have 54 and the piece "Agenda n'omulungi azaawa" has a rare form number of 70. Much of the music is based on playing parallel octaves. For example, on the amadinda, two musicians play parallel octaves in an interlocking fashion, i.e. the tones played by one musician fall between those played by the other musicians. Both musicians play parallel octaves, moving their right hand and left hand in parallel within a distance of five xylophone bars. In perception, neither the pattern played by one nor the pattern played by the other musician is perceived, although the parallel octaves can be heard, they are hardly noticeable.

Instead, the music seems to consist of two to three pitch levels in which irregular melodic/rhythmic inherent patterns can be heard. The inherent patterns in the middle pitch level combine out of low pitch notes of the higher octave and high pitch notes of the lower octave; the patterns that can be heard are not played by any of the musicians but result from the combination of the actions of both musicians. Sometimes several conflicting ways of hearing patterns are present, perception might switch between them; the musicians can influence this by accentuating certain notes. There are close relationships between music of both the ennanga and entongoli, the amadinda. Pieces for the string instruments can be translated to the xylophone; the part for the right hand is assigned to one musician and the part for the left hand is assigned to another. The ennanga has only eight strings, so parallel octaves can only be played within a restricted interval, but the general compository principles applying to the xylophone music are the same in the chord instruments.

Luganda is a tonal language. As with many other African musical cultures, the language influences the music; the composer starts with the lyrics. The text's progression of tones determines the possible melodies of the song, he composes a tune that fits the song's melodic pattern. When the music is played, inherent patterns may appear, which, to native speakers, may evoke new text associations; these might belong to different semantic areas, creating a strong poetic effect. Sometimes, such text associations "suggested" by the music are included in the sung text. However, they might be present for the Luganda speaker if not made explicit in the text, adding an aesthetic level to the music, only accessible to someone knowing conversant in the language; the names of musical compositions refer to the text that can be associated with the music. Moreover, mnemonic phrases are used to memorize the sometimes long and irregular sequences of notes in xylophone playing; the amadinda is a xylophone of the type called log xylophone.

It consists of 12 wooden bars placed on two fresh banana stems. Sticks are inserted into the stems as separators between the bars; the bars are made from the wood of the Lusamba tree. The amadinda is played by three musicians called omunazi, omwawuzi and

Girlfriend's Day

Girlfriend's Day is an American comedy-drama film directed by Michael Paul Stephenson and written by Bob Odenkirk, Philip Zlotorynski, Eric Hoffman. The film stars Odenkirk and Amber Tamblyn and was released on Netflix on February 14, 2017. Rival greeting card companies owned by members of the same family operate in a California city and Ray Wentworth works for one. Celebrated for the quality of his romance cards, Ray's divorce leaves him with depression and writer's block, he is fired. California's governor declares a new holiday, Girlfriend's Day, which includes a contest to produce the best greeting card to commemorate it. Ray's former boss believes Ray can recapture his old magic and hires him under the table to create a card good enough to win the contest. Ray becomes involved in a tangle of deceit and murder as the rival companies fight to win the contest and the profits and prestige that will come with the victory. Bob Odenkirk as Ray Amber Tamblyn as Jill Rich Sommer as Buddy Toby Huss as Betcher David Sullivan as Sonnyboy Hannah Nordberg as Liz June Diane Raphael as Karen Lamb Stacy Keach as Gundy Andy Richter as Harold Lamb Larry Fessenden as Taft Natasha Lyonne as Mrs. Taft Alex Karpovsky as Styvesan Stephanie Courtney as Cathy Gile Echo Kellum as Madsen David Lynch as Narrator On June 4, 2013, it was announced that Bob Odenkirk would write and star as Ray, a greeting cards writer, in the comedy drama film Girlfriend's Day, which would be directed by Michael Stephenson.

Michael and Lindsay Stephenson would produce the film through their Magic Stone Productions along with Odenkirk and Marc Provissiero through their Odenkirk Provissiero Entertainment. On September 17, 2013, Amber Tamblyn joined the film to play a fan of greeting card writers. On November 23, 2015, Netflix acquired global distribution rights for the film, co-written by Philip Zlotorynski and Eric Hoffman, produced by M. Elizabeth Hughes. Principal photography on the film began on November 2015 in Los Angeles; the film was released worldwide on February 14, 2017. The film received mixed reviews from critics, where the review aggregator website Rotten Tomatoes, the film holds an approval rating of 43% with an average 5.5/10. On February 15, 2017 Paste Magazine gave the film an 8.0 rating. On January 8, 2019 New York Magazine ranked Girlfriend's Day #56 out of 201 Netflix Original Movies. Girlfriend's Day on IMDb Girlfriend's Day at Rotten Tomatoes Bob Odenkirk’s Girlfriend’s Day is an Eerie, Bizarre Noir Comedy by Paste Magazine February 15, 2017 Every Netflix Original Movie, Rankedby New York Magazine January 8, 2019

Maharaja's Sanskrit College, Mysore

Srimanmaharaja Samskrita Graduation and Post Graduation Center is an educational organization in Mysore, India. Sanskrit College, Mysore was established by king of Mysore. After his death, the next king Chamaraja Wodeyar formally opened a Sanskrit School in 1876; the colleges offers courses in Veda and Shastra in traditional methods. It is one of the most reputed Sanskrit colleges of India; the campus contains one of the oldest collection of Sanskrit manuscripts. The courses in the college vary from two years to 13 years; the minimum age for enrolment is eight years. Notable alumni include Mysore M. Vasudevacharya, Dr. S. Radhakrishnan, Prof. S. Hiriyanna, Maharaja Jayachamaraja Wodeyar and Naveenam Venkatesha Sastry. Sanskrit Prathama. Three Years Kavya. Two years Sahithya. Three years Vyakarana, Meemaamsa, Dharma Sastra, Shakti Vishistadwaita, Alankara Vidwat Madhyama Vidwat Uthama Rigveda, Shukla Yajurveda, Krishna Yajurveda, Sama Veda Jaina Shaivagama, Vaikhasana Agama, Pancharathra Agama and Jainagama.

Students are instructed without charging any fee. Hostel facility is free