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Puriya Dhanashree

Puriya Dhanashree is a rāga in Hindustani classical music. It has been derived from the Janak raga. Raga Purvi, the "type-raga" of Purvi Thaat contains all seven notes, but the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from teevra to shuddh whereas the gandhar and the nishaad stay shuddh throughout. In Puriya Dhanashree, the aarohan or the ascent is as follows - -N r G M d N S+; this shows that pancham is not used often in the aarohan thereby making it a shaadav aarohan or an aarohan with six notes. Rishabh and Dhaivat are komal or flat in Raag Puriya Dhanashree wheres the Madhyam is teevra or sharp; the descent or the avarohan is as follows: S+ N d P M G M r G r S, the descent bears all seven notes with komal Dhaivat and Shadaj and a teevra Madhyam. The vadi of this raga is pancham and the samavadi is rishabh. Raag Purvi's structure is close to that of raga Puriya Dhanashree therefore in order to differentiate between the two shuddha madhyam is used in raga purvi unlike the teevra madhayam used in raga Puriya Dhanashree.

The gayan samay or the time of singing this raga is at dusk. Raag Puriya Dhanashree is sung at time of transition from the afternoon to the evening and thus it is known as a Sandhiprakash Raga; the pakad of this Raga or the catch phrase of this Raga under the Bhatkande system is -N r G, M r G P, M d P, M G M r G d M G r S. While expounding the uttaranga part of this Raga the phrase M d N d S+ is used to move into the taara saptak; the transition from the taara saptak Re to the Madhya Saptak Ni is through the use of a meendh. Each sruti or micro tonal interval has a definite character, thus for the sringara and the hasya rasa, the madhyama and the pancham are used. Every swara stands for a certain definite emotion or mood and has been classified according to its relative importance, it forms a different part of the `person' of the modal scale. Film Songs in Rag Puriya Dhanashree More details about raga PooriaDhanashri

We Still Have The Stars

We Still Have The Stars is the second album by The Resonance Association, was released via their own label mrsvee recordings in November 2008 as both a free download and heavyweight vinyl. The promotional campaign for We Still Have The Stars saw tracks on the cover CDs of Terrorizer and Classic Rock Presents Prog, as well as features in local press and a number of smaller music websites. provided a surrealistic animated promo video for None More Evil which appeared on YouTube in March 2009. Terrorizer praised the album’s "genre hopping exploration of sounds" and Classic Rock described it as "a challenging and enjoyable listen". Heathen Harvest, who had given the band’s debut a glowing review, re-introduced the band to its readers as "England’s wonderful new sensation", whilst DPRP in giving the album 9/10 concluded that "the duo carves a sound all their own". In 2010, We Still Have The Stars. All music is composed by Daniel Dominic Hemy. Written and produced by The Resonance Association except Unite, written by TRA and Scott Fuller.

Recorded under the stars January 2008 - August 2008. Mastered by Christopher Hemy September 2008. Artwork and design by Carl Glover for aleph studio

Leeds Permanent Building Society

The Leeds Permanent Building Society was a building society founded in Leeds, England in 1846 and was known in a shortened form as The Leeds. It should not be confused with the extant Leeds Building Society Originally the Leeds was known as The Leeds Building and Investment Society, to have been a temporary terminating society which would have been disbanded but demand soon outstripped the society's ability to build and The Leeds was converted to a permanent status. On 8 November 1848, the new permanent Society, known as the Permanent Second Leeds Benefit Building Society, was founded. By the end of its first year, 1,200 members had enrolled, £14,286. Had been advanced on mortgages.. The Society's first offices were located in Exchange Buildings in Lands Lane, where business was conducted from 10am to 4pm, 7pm to 9pm on Tuesdays, they moved to 32 Park Row, in 1876, to premises at the corner of Park Lane and Calverley, where the Society was to remain for the next 50 years. In 1930, head office moved to newly constructed premises at the corner of Cookridge Street and The Headrow – Permanent House - designed by Sir Reginald Blomfield and local architect C.

W. Atkinson. Permanent House was the Leeds’ home until the move to new premises in Lovell Park in 1992; the founders of the Leeds Permanent were'not men who let the grass grow under their feet'. Within six months, the Society had opened more than eight agencies across neighbouring towns, including Wetherby and Huddersfield. By the time of its tenth birthday in 1858, the Society had 3,500 members and was proudly proclaiming itself to be the largest building society in the world; the competent management of the Society won it a high reputation at national level, in 1871, the Society was asked to give evidence to a Royal Commission in London, gathering evidence on the operations of friendly societies. The Leeds was specially commended by the Commission as a model society. By the early years of the 20th century, the Leeds had assets of £2 million, the first telephones and electric lighting had been installed at its head office; the interwar years saw a period of unprecedented growth. Agents were appointed all over Britain and branch offices opened in every major city, including London, Birmingham and Manchester.

Between 1920 and 1940, total assets increased to over £40 million, while membership increased more than tenfold to over 200,000. Sir Charles Davies, one of Leeds’ best known public figures, oversaw much of the growth and charted the future direction of the Leeds during this time; the 1940s onwards saw the Leeds involved in a series of mergers with other societies, including the London North Eastern Railway Building Society, the Doncaster Building Society and the Midland Building Society. The 1950s and 1960s saw another phase of branch expansion, with the Leeds' 100th branch opening in 1970. Expansion to its Leeds Head Office took place in this period which included the construction of various adjacent annexes to its 1930s HQ including the 61 m tall Leeds Permanent Tower. Technology too was beginning to make an impact. In 1964 the board approved a research project to investigate the conversion of mechanical accounting to electronic data processing; the Society's first computer was subsequently installed in 1967.

Like many other Building Societies, the Leeds took advantage of changes brought by the Building Societies Act 1986, diversifying its business into share-selling, off-shore banking, estate agency and property development. Further amalgamations were considered in the 1980s and early 1990s including the Southdown Building Society which proceeded, but others were not forthcoming, it had a notable television advertising campaign featuring George Cole in the same period which featured the slogan Laughing all the way to The Leeds. In 1993 a new head office at Lovell Park replaced the Leeds's previous head office on The Headrow, replaced with The Light shopping and leisure complex. In 1995, the Leeds merged with the Halifax Building Society, which shortly afterwards converted to plc status. After its merger with the Halifax the use of the Leeds Building Society name had ceased. In turn the Halifax had merged with Bank of Scotland to form HBOS in 2001 which in turn became part of Lloyds Banking Group in 2009 due to the collapse of its share price and exposure to the credit crunch

7 (Seal album)

7 is the ninth studio album by British soul and R&B singer-songwriter Seal. The album was released on 6 November 2015 by Warner Bros. Records, its title comes from being the seventh album of his first since Seal 6: Commitment. The singles "Every Time I'm with You" and "Do You Ever" were released on 11 September 2015. Two promotional singles were released in advance of the album. All tracks produced by Trevor Seal. Seal - vocals, programming Joel Peters - drums, percussion Earl Harvin - drums, cymbals Ash Soan - drums Abe Rounds - drums Aaron Horn - programming Stephan Moccio - piano, programming Julian Hinton - keyboards, programming Jamie Odell - keyboards, programming Cameron Gower Poole - programming, percussion Dave McCracken - programming Justin Parker - keyboards, programming Anne Dudley - piano Tim Weidner - programming, sound FX Trevor Horn - bass guitar, guitar, backing vocals Chris Bruce - bass guitar, guitar Jamie Muhoberac - bass guitar, Hammond organ, programming Paul Turner - bass guitar Simon Bloor - guitar, keyboards, programming Phil Palmer - guitar Lol Creme - guitar, backing vocals Josh Campbell - guitar Luís Jardim - percussion Paul Spong - trumpet Steve Sidwell - trumpet Andy Wood - trombone Dave Bishop - saxophone Minnetonka - backing vocals Mr Probz - backing vocals orchestral arrangement/orchestra conducted by Anne Dudley, Nick Ingman, Hinton additional orchestration - Hinton, Bloor brass arrangement - Steve Sidwell

Bernardino de Villalpando

Bernardino de Villalpando, C. R. S. A. was a Roman Catholic prelate who served as Bishop of Santiago de Guatemala and Bishop of Santiago de Cuba. Bernardino de Villalpando was born in Talavera de la Reina and ordained a priest in the Canons Regular of St. Augustine. On 27 June 1561, he was appointed during the papacy of Pope Pius IV as Bishop of Santiago de Cuba and consecrated bishop in 1562. On 28 April 1564, he was appointed during the papacy of Pope Pius IV as Bishop of Santiago de Guatemala where he served until his death in August 1569. Cheney, David M. "Archdiocese of Santiago de Cuba". Retrieved June 16, 2018. Chow, Gabriel. "Metropolitan Archdiocese of Santiago". Retrieved June 16, 2018. Cheney, David M. "Archdiocese of Guatemala". Retrieved June 16, 2018. Chow, Gabriel. "Metropolitan Archdiocese of Santiago de Guatemala". Retrieved June 16, 2018