For the rugby league footballer of the same name, see David HatchSir David Hatch, was involved in production and management at BBC Radio, where he held many executive positions, including Head of Light Entertainment, Controller of BBC Radio 2 and BBC Radio 4 and managing director of BBC Radio. Born in Barnsley, he attended St John's School and Queens' College, where he arrived to study theology but switched to history, joined the Cambridge Footlights Club, he was a member of the cast of the 1963 Footlights revue A Clump of Plinths, so successful during its run at the Edinburgh Festival Fringe that the revue transferred to the West End of London under the title of Cambridge Circus and taken on tour to both New Zealand and Broadway in September 1964. Hatch was a student teacher at Bloxham School, Oxfordshire. A BBC Radio production of Cambridge Circus, entitled I'm Sorry, I'll Read That Again, launched many of the show's cast, including Hatch, into a radio comedy series of the same name. Meanwhile, he was responsible for the radio versions of Doctor in the House, Doctor at Large, Brothers in Law and All Gas and Gaiters.
Hatch co-devised the satirical show Week Ending and produced other comedy radio shows such as Just a Minute, Cheeky!, The Burkiss Way, Stiff Upper Lip, The Frankie Howerd Show, I'm Sorry I Haven't A Clue. Some of these overlapped with his earlier executive positions in the BBC: Radio Network Editor, BBC Manchester 1974–78. In 1990 he created the original Radio 5, he was appointed CBE in the 1994 Birthday Honours for services to radio broadcasting. Hatch left the Corporation and became Chairman of the National Consumer Council and of the Parole Board for England and Wales, for which he was knighted in 2003. In the latter role he caused consternation in some quarters in 2003 for describing Tony Martin, the farmer convicted of manslaughter, as a "very dangerous man" in a Times interview. Hatch was the chairman of SSVC between 1999 and 2004. After retiring, he retained the position of Life Vice-President on the SSVC Board of Trustees. SSVC operated many facilities on behalf of the MoD including BFBS Radio and TV.
Hatch was a Fellow of The Radio Academy. He was knighted in the 2004 New Year Honours for services to the Criminal Justice System. Hatch was a regular chairman of the radio panel quiz game Wireless Wise, made for BBC Radio 4 by Testbed Productions, presented or appeared in other programmes including an edition of Radio Heads, a three-hour omnibus collection of his radio programmes on BBC 7, a Radio 4 Archive Hour celebration of the BBC's Broadcasting House building in London. Wilmut, Roger. From Fringe to Flying Circus – celebrating a unique generation of comedy 1960–1980. London: Eyre Methuen Ltd. ISBN 0-413-46950-6. Hewison, Robert. Footlights! – a hundred years of Cambridge comedy. Methuen London Ltd. ISBN 0-413-51150-2. David Hatch at the Internet Broadway Database Radio performer Hatch dies at 68 BBC News The Independent Obituary
That Luang is the national symbol and most important religious monument of Laos. Vientiane's most important Theravada Buddhist festival, "Boun That Luang", is held here for three days during the full moon of the twelfth lunar month; the That Luang dates from 1566. It has been renovated numerous times; the site is sacred. Monks and laypeople from all over Laos congregate to celebrate the occasion with three days of religious ceremony followed by a week of festivities and night; the procession of laypeople begins at Wat Si Muang in the city center and proceeds to That Luang to make offerings to the monks in order to accumulate merit for rebirth into a better life. The religious part concludes as laypeople, carrying incense and candles as offerings, circulate That Luang three times in honor of Buddha. Folk and popular music troupes and drama performances provide entertainment at the festival; the Politics of Ritual and Remembrance: Laos Since 1975, by Grant Evans, University of Hawai'i Press ISBN 0-8248-2054-1 Ladwig, Patrice.
Où je pars is the first solo album recorded by French singer Emmanuel Moire. It was first released on 13 November 2006 on 21 May 2007 in its second version. Four tracks from the album were released as singles - "Le Sourire", "Ça me fait du bien", "Là où je pars" and "Si c'était ça la vie", but they were only available digitally and on airplay; the album achieved some success: it debuted at a peak of number eight on the French albums chart and totaled 70 weeks in the top 200. In Belgium, it started at number 71 on 25 November 2006 and reached number 34 seven weeks and fell off the top 100 after 18 weeks; the album passed unnoticed in Switzerland where it was ranked low for a sole week. "Celui que j'étais" – 3:50 "Le Sourire" – 3:56 "Je vis deux fois" – 3:29 "Là où je pars" – 4:34 "Ça me fait du bien" – 3:33 "Rien ni personne" – 3:49 "La femme qu'il me faut" – 3:32 "La Fin" – 4:21 "Si c'était ça la vie" – 4:01 "Plus que jamais" – 4:08 "Merci" – 4:03 "Le Sourire" – 4:00 "Si c'était ça la vie" – 4:27 RecordingSimon Hale – arranger Charles Mendiant – engineer, sound assistant Pete Schwier – mixing Raphaël Jonin – mastering Matthew Vaughan – programmingMusiciansEmmanuel Andre – violin Emmanuel Moire – piano, vocals Jean-Philippe Audin – cello David Braccini – violin Christophe Briquet – alto Johan Dalgaard – piano, keyboards Nicolas Fiszman – bass Maxine Garoute – percussion, drums Christophe Guiot – violin Pierre Jaconelli – guitar Jean Philippe Kuzma – violin Alain Lanty – piano Philippe Nadal – cello Daniel Vagner – alto
Anushka Jasraj is a fiction writer from Mumbai, India. She has twice been selected as Asia Regional Winner for the Commonwealth Short Story Prize in 2012 and 2017, she holds a BFA in Film Production from New York University and a MFA in Creative Writing from the New Writers Project as well as a MA in Women’s and Gender Studies from the University of Texas-Austin. She was a 2015-16 fellow at the Fine Arts Work Center in Provincetown and was awarded the 2017 Stars at Night emerging writer award by American Short Fiction, her work has been published in Scroll.in, Adda Stories, Granta. "The Short Story Interview: Anushka Jasraj". | TSS Publishing. Retrieved 10 March 2018
Raymond's was an eastern Massachusetts department store company of the 19th and 20th centuries, extant from the 1870s to 1972. The main store was at Franklin Street in downtown Boston. Shortly after the Great Boston fire of 1872 that destroyed much of the downtown shopping district, George J. Raymond pitched a tent downtown and sold an assortment of hats he bought at a fire sale, his store later became a permanent fixture on Washington Street. The store was more downscale and freewheeling than nearby competitors such as Filene's and Jordan Marsh. A typical sale would find the contents of an entire distressed or overstocked out-of-town clothing store bought up and dumped in random piles on tables and counters, but Raymond's did carry many good-quality items at good prices. The store's mascot was rustic bearded swamp yankee Unkle Eph. Typical advertising copy was "Moar! Jess Arrived!... Nother big shipment ov the overstock frum a Midwestern Dept. stoar..." An annual sales stunt in the early twentieth century was "originashun day", featuring the arrival of Uncle Eph from South Station in a hay wagon drawn by oxen, along with his hillbilly band and various rural vaudeville characters.
Unkle Eph was based on a real person, Congregational minister Harvey B. Eastman of Slatersville, Rhode Island. There were at times satellite stores in Dedham, Malden and Waltham; the first branch, in Quincy, opened around 1952. The second branch was created in 1954 by taking over the P. B. Magrane department store of Lynn. Beginning in the 1950s, the Boston Redevelopment Authority embarked on an aggressive program of urban renewal. In 1966 the city forced Raymond's out of its aging and somewhat ramshackle complex of attached buildings at Washington and Franklin Streets, which forced a move down Washington Street toward a less desirable location, the old R. H. White building near the so-called Combat Zone; the move was intended to be temporary, Raymond's was to return to a new, modern building at its old site. But sales fell badly at the new site, Raymond's lacked the capital to complete the project; the company held on in its new location until 1972, when it went out of business
Dastar bunga, or "towering fortress", is a style of turban used by a specific sect within the Sikhs, the Akali Nihangs. As an essential part of their faith the warriors used the turban as a store for their expansive range of weapons. "Their turban was tied in a unique way. Its method and style of tying was not aimed towards pleasing the Almighty, but was in accordance with the rank; the first form of the turban of the Singhs had a thick bamboo stick in the centre and was raised to a measure of nine inches or as long as a hand. And by circling step by step around the bamboo stick, that turban became similar to a tapering tube; when the last section of the turban reached the end of the wooden stick, abreast with the tip of the stick, a part, to the measure of a hand, was left flying loose. While riding or on foot, the flying movement of the loose end of the turban was like a flag, demonstrating their magnificence." Mufti'Ali ud-Din, Ibratnamah, 1:364-66. The dark blue tunic and turban surmounted with quoit and dagger were first worn in 1699 at the time of the first Khalsa initiation ceremony of the double-edged sword.
Next came the turban-flag, introduced by Guru Gobind Singh in 1702 during a clash with a Rajput hill king in the vicinity of Anandpur. The Khalsa's battle standard was cut down when Akali Man Singh Nihang, fell wounded. Henceforth, the Guru decided that the dark blue flag should be worn as a part of Man Singh's turban, fluttering from its peak for as long as its bearer had life in him, it is said. Guru Gobind Singh set a challenge to his gathered Khalsa warriors to reveal to him the perfect form of Maha Kal. After a while, his youngest son, four–year–old Fateh Singh swaggered into court in mesmerising dark blue apparel. Though a child, his uncommon and overpowering bearing was admired by his father. On his head was bound a large dark blue'turban fortress' intricately decorated with an array of sharpened steel daggers as well as a series of quoits and crescents descending in size towards its mountain like peak. A piece of blue cloth -- the farla -- was distinctively tied. Fateh Singh's manner was fiercer than that of seasoned Akali-Nihangs such as his mentor, Man Singh.
As he stood broad–chested, his eyes blood–red with effortful rage, he inspired awe as well as gentle laughter. With folded hands, the Guru bowed reverentially in front of the child; when his perplexed warriors asked the reason for doing so, the Guru explained that he had paid his respect not to his son but to the true personification of Maha Kal as worn by the inspired child. The Guru declared that the uniform thus revealed was eminently suitable for the Akali-Nihangs to adopt, it was that the Singhs bowed to Fateh Singh. Since he possessed a spirit most like Maha Kal, Baba Fateh Singh was acknowledged as the foremost Akali-Nihang Singh. "First introduced by Akali Naina Singh Nihang, this example of the towering turban bristles with miniature blades and a series of war quoits made from brightly polished, razor-sharp steel. The totemic gajgah bound at the front is secured with the blue turban cloth. Literally'grappler of elephants', the gajgah is thought to have been worn in ancient times as an emblem of distinction by powerful warriors, like Bhim of the epic Mahabharat fame, who were capable of single-handedly defeating war elephants.
The gajgah is intimately connected with Shiv's trident, an instrument of both destruction and grace. Its series of crescents climb towards the mountain like peak out of which emerges the flag, representing the Khalsa's battle standard. To achieve this effect, an under-turban was twisted around the long hair and wound to give the peaked appearance with the end forming the farla. To provide thickness and support at the base a second turban was tied. Quoits and braided wire secured everything in place; the farla was introduced in 1702 after Guru Gobind Singh saw the Khalsa's standard cut down in the thick of battle. He was prompted to tie the flag in the turban of Akali Man Singh Nihang. Henceforth, a wearer of the farla held a position of utmost respect amongst the Khalsa, so much so that it became the supreme insignia of the warrior brotherhood. Only a Nihang warrior of the Akali rank was permitted to display this mark of the Guru's honour." The Dastar Bungha consists of a number of weapons. The word dumalla is a term given to the turban worn by Nihangs that combines a small under-turban and a large over-turban.
The Bungha directly translate to a fort or residence. Nihang has various meanings including'sword','without care for life or death', and'alligator'. All Sikhs who were willing to fight under Guru Gobind Singh were called Nihangs, collectively they were known as the'ladlian fauja'. Nihang was the synonymous term used for the Akalis, they are now considered by some a sect of Sikhism. An Akali is a staunch believer in'Akal', the Timeless One; the original Sikh warriors raised by Guru Hargobind at the'Akal Takht'. They are known as Akali Nihangs and are distinguishable by the blue dress and speech of Guru Gobind