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Douglas Beanland

Major-General Douglas Beanland was a senior British Indian Army officer of the Second World War. Beanland commissioned from the Royal Military College, Sandhurst onto the unattached list for the Indian Army on 22 January 1913, he arrived in India 6 March 1913 and was attached to the 3rd battalion Kings Royal Rifle Corps on 8 March 1913 however on the 22 October 1913 he was sent back to England on a medical certificate for up to 12 months. He joined the Indian army and the 22nd Punjabis on 13 October 1914, he served in Mesopotamia from 22 December 1914 to 24 April 1916. He was attached to the 51st Sikhs from 2 February 1916 to 24 April 1916 he was posted back to the 22nd Punjabis on 25 April 1916, he was attached to the 2nd battalion, 56th Punjabi Rifles on 16 June 1917 to 9 November 1918 and he was appointed Adjutant and Quartermaster of Quetta cadet college from 10 November 1918 to 30 April 1919, followed by appointment to Quetta staff college as Adjutant and Quartermaster from 1 May 1919 to 10 February 1924.

In 1922 the 22nd Punjabis were retitled 3rd battalion 14th Punjab Regiment and on 1 October 1925 he was appointed a company commander. Appointed Deputy Assistant Adjutant & Quarter Master General on the staff of Burma Independent District 14 February 1931 to 13 February 1935. For his services during the Burma rebellion of 1930-32 he was appointed an Officer of the Order of the British Empire and mentioned in despatches. Beanland was appointed second in command of the 3rd battalion 14th Punjab Regiment on 11 June 1934 he was appointed to command the 10th battalion 14th Punjab Regiment from 25 January 1938 until 8 August 1940, he served as an Assistant Adjutant-General at Army Headquarters India from 9 August 1940 until 1942, before being appointed as Commanding Officer, 106 Lines of Communication Area until 1944. Between 1944 and 1945 he was Chief Administration Officer of the North Western Army. From October 1945 to his retirement on 20 October 1947 Beanland was Deputy Quartermaster-General of the Indian Army.

He was invested as a Companion of the Order of the Indian Empire in January 1946 for his services during the Second World War

MiniDiscs (Hacked)

MiniDiscs is a compilation of demos, live performances and other material recorded by the English alternative rock band Radiohead while they were working on their 1997 album OK Computer. The recordings, taken from MiniDiscs belonging to singer Thom Yorke, were never intended for release. MiniDiscs contains over 16 hours of demos, rehearsals and live performances recorded while Radiohead were working on their third album, OK Computer, it includes unreleased songs, alternative mixes, early versions of OK Computer songs, versions of songs "Lift", "True Love Waits", "Nude", "Last Flowers", "Motion Picture Soundtrack" and "Life in a Glasshouse". The recordings are taken from MiniDiscs belonging to Radiohead singer Thom Yorke. Though some were released on the 2017 OK Computer reissue OKNOTOK 1997 2017, most were never intended for release. On 5 June 2019, the MiniDisc recordings were leaked online by a collector who claimed to have traded them for unreleased Beatles recordings; the recordings may have been stolen while archived material was being prepared for the OK Computer reissue.

According to conflicting reports, the thief had demanded a $150,000 ransom from Radiohead not to release the recordings. However, according to an investigation by Pitchfork, the thief, who used the name Zimbra, had instead hoped to sell them to fans. Zimbra told Pitchfork that "the whole $150k thing and'ransom' was taken way out of context". A fan who negotiated with Zimbra said he did not believe extortion was his intent: "He never told us anything to suggest he was trying to get money from the band, only from fans." Zimbra released. On 11 June, Radiohead made the recordings available to stream or purchase from the music distribution site Bandcamp for 18 days, with proceeds going to the environmentalist group Extinction Rebellion; the official release removed a 12-minute field recording and non-Radiohead material, such as several minutes of a James Bond score. Guitarist Jonny Greenwood wrote on Twitter, and very long." Yorke wrote on the Bandcamp page: "As it's out there it may as well be out there until we all get bored and move on."

Pitchfork wrote that MiniDiscs did not "make for an ideal listening experience" and would be of interest to "only to the most diehard Radiohead fans". They observed a "few moments of brilliance", including Yorke's acoustic songs, the extended "Paranoid Android", an alternative version of "Lift" that "could have topped the charts". However, The Guardian felt MiniDiscs had merit "even for less nerdish fans", wrote, "an endlessly interesting chronicle of a band reinventing the mainstream by rejecting it... the inner workings of what is regarded by many as the greatest album of the 1990s, showing how they walked alongside and turned away from the brash Britpop that surrounded them."New Statesman wrote that "starting and scrolling" through the lengthy tracks "makes for a liberating experience, akin to wandering Radiohead’s subconscious memory palace and encountering the familiar in a different form". The Quietus praised the "stunning" live performances and Yorke's demos, wrote of the "unromantic revealing" of the process of creating music.

Each MiniDisc is included as a single track lasting an hour. Fans assembled a Google document to identify timestamps. All tracks are written by Thom Yorke, Jonny Greenwood, Philip Selway, Ed O'Brien and Colin Greenwood. Radiohead on Bandcamp MiniDiscs at Discogs Fan-made document cataloguing the compilation contents – via Google Docs

Punky Reggae Party

"Punky Reggae Party" is a song by Bob Marley and released in 1977. Not appearing on any studio album, it was released in 1977 as a 12-inch single in Jamaica only on the Tuff Gong and Black Art labels, as a b-side to the "Jamming" single on the Island label in some countries and was released as a live single on Babylon by Bus. Subsequently, it appeared on a number of compilations and "Best of" albums as well as the Deluxe Edition of Exodus and the 2002 CD reissue of Legend; the two versions of the song on the Jamaican 12-inch single were both featured on disc 2 of the Deluxe Edition of Exodus. The version featured on the 2002 CD reissue of Legend is the b-side version from the "Jamming" 12-inch single. There is a version of the song released as a b-side on the "Jamming" 7-inch single, much shorter; the song was written by Bob Marley as a positive response to the release of a cover version of Junior Murvin's "Police and Thieves" by English punk band The Clash, on their first LP. Referring to the party of the title of the song, the lyrics mention several punk and reggae groups: "The Wailers will be there, The Damned, The Jam, The Clash – Maytals will be there, Dr. Feelgood too", Marley repeated the words "New Wave" during the song.

According to a January 2014 interview with Midnight Raver, Sly Dunbar revealed that he played drums on this track. According to Dunbar, the drum track was recorded at Joe Gibbs studio; the song was referred to in the Sublime song "Garden Grove" and the Robyn Hitchcock song "Antwoman". In 2001, French punk band Burning Heads covered the song, it appeared on It's a Frenchy Ska Reggae Party Vol. 3 compilation. In 2012, an American reggae band, Island Head, covered the song and named their debut album "Punky Reggae Party". Island Head musicians include legendary Jamaican guitarist Mikey "Mao" Chung, known for being part of the Peter Tosh band and Andy Bassford known for playing with Dennis Brown and Toots and The Maytals. 1977 12" single "Punky Reggae Party" – 9:19 "Punky Reggae Version" – 8:49 Lyrics of this song at MetroLyrics

Rubab (instrument)

Rubab, robab or rabab is a lute-like musical instrument originating from Central Afghanistan. The rubab is one of the national musical instruments of Afghanistan, it proliferated throughout West, Central and Southeast Asia. Rbab is an Arabic word. According to its Arabic diacritics, vowels between consonants - apart from Alif are not written but articulated. Harakat with Fatḥah similar to Acute accent Rabab (Arabic: رَباب‎, with Kasrah Rebab and with Ḍammah Rubab or Robab (Arabic: رُباب‎. In 1777 John Richardson wrote the first English-Arabic-Persian dictionary. Meanings mentioned there define Rabab or Rubab as: a beautiful woman, mirror, Persian instrument with a bow, long-necked lute. the name of the mother of Ali Asghar, a great-grandson of MohammadSince the introduction of Arabic script in the main Western languages such as Persian, Pashto and Balochi the original words are outdated for today's music instruments and are appear in dictionaries, et al listed by Thomas Hyde 50 Pharhang in his major work, published in 1700 in Latin.

In Latin writings before the time of Thomas Hyde terms like Persarum Citara. Ruwawah, Shashang, Saz or Rud, long-necked lute have been used.. The Arabic terms Rabab, etc. apply to Iranian musical instruments. The first poet of Persian literature and author of Shahnama, Firdoussi from Khorassan many times used the Rubab in his work; the European translator of Shahnama from Persian to German, Friedrich Rückert, translates the name Rubab as lute, stringed lute, sound of strings. Without exception, all Persian poets have used the name rubab. Large: Shah Rubab شاه رباب, 21 strings like, 15 sympathetic strings, Shahnai Ney in King Size, Shahtar. (see to Rubabnamah of Sultan Walad, son of Rumi from Balkh. Medium-sized: Rubab, 19 strings, 13 sympathetic strings small-sized: Zaliche, 5 sympathetic strings Kassah or Kasseh = bowl, Shell Badanah or Badaneh = body Safah or Safeh = side Dastah or Desteh = Neck Goshi = Tuning peg Sheitanak Nut Seemgeer = Site for binding the strings below the Corpus Sar Penjah or Ser Panjeh or Taj'fifty heads' Pust = Pelt or Skin of goat, Kharak = Bridge, secured on fur Mezrab = Plectrum The body is carved out of a single piece of wood, with a membrane covering a hollow bowl that provides the sound-chamber.

The bridge is positioned atop the membrane. It has three melody strings tuned in fourths, two or three drone strings and up to 15 sympathetic strings; the instrument is made from the trunk of a mulberry tree, the head from an animal skin such as goat, the strings from the intestines of young goats or nylon. The rubab is known as "the lion of instruments" and is one of the two national instruments of Afghanistan. Classical Afghan music features this instrument as a key component. Elsewhere it is known as the Kabuli rebab. In appearance, the Kabuli rubab looks different from the Indian rubab, it is the ancestor of the north Indian sarod. The rubab is attested from the 7th century CE, it is mentioned in old Persian books, many Sufi poets mention it in their poems. It is the traditional instrument of Khorasan and is used in countries such as Afghanistan, Azerbaijan, Iran, Iraq and Uzbekistan, as well as the Xinjiang province of northwest China; the rubab was the first instrument used by Sikhism. Whenever a shabad was revealed to Guru Nanak he would sing and Bhai Mardana would play on his rubab.

The rubab playing tradition is carried on by Sikhs such as Namdharis. In Tajikistan a similar but somewhat distinct rubab-i-pamir is played, employing a shallower body and neck; the rubab of the Pamir area has six gut strings, one of which, rather than running from the head to the bridge, is attached partway down the neck, similar to the fifth string of the American banjo. Aziz Herawi Afghan born Ustad, now residing in California Mohammad Omar, Rubab player from Afghanistan Abdurahim Hamidov Mohammad Rahim Khoshnavaz Homayun Sakhi, Rubab player from Afghanistan Sufiyan Malik, Rubab player from Srinagar, India Daud Khan Sadozai, Rubab player from Afghanistan Izhar Khan, Rubab player from Malakand District, Pakistan Gulab Afridi, Rubab player from Peshawar, Pakistan Qais Essar, Rubab player from Afghanistan Rebab Rebec Sarod Video, rubab being played. Part of performance is slide rubab, like slide guitar. Farabi School World Music Central - Ustad Mohammad Omar Music of the Uyghurs

Omicron Columbae

Omicron Columbae is a star in the southern constellation Columba. It has an apparent visual magnitude of 4.81, bright enough to be faintly visible to the naked eye. The distance to this star, as determined by an annual parallax shift of 30.82 mas, is 105.8 light years. The visual magnitude is reduced by an interstellar absorption factor of 0.06 due to intervening dust. Depending on the source, this star has been given a stellar classification of K1 III or K1 IV, suggesting that it is a K-type star in the subgiant or giant stage of its evolution, it has expanded to more than five times the radius of the Sun. The star appears to be spinning with a projected rotational velocity of 1.2 km/s, is around 2.2 billion years old. It is estimated to radiate 15.5 times the solar luminosity from its outer atmosphere at an effective temperature of 4,936 K. Omicron Columbae is a high proper motion star that may share a common proper motion with the object WISE J051723.87−345121.8. The two have an angular separation of 159 arc seconds