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LOS PIBES @ Django
Featuring some of Australia's most respected and renown Latin musicians, this dynamic trio/quartet performs a variety of authentic styles ranging from Son, salsa, rumba, samba, bossa nova, cumbia, bolero, cha cha cha, mariachi, Andean, funk, reggae, rnb and much more…
These ulti-instrumentalists combine intense rhythms and delicate harmonies with tight and exciting arrangements, performed at a world class standard… including over 10 string, wind and percussion instruments in each performance. Enrique Berbis: Lead vocal, guitar, zampona; Cesar Marin: Bass, quena, charango, vocal; Juan Mulet: Drums, cajon, congas, bass, vocal; Eric Aranda: Guitar, vocal
With over 20 years international experience, these Aria nominated musicians have been an integral part of the Australian-Latin music scene.
Playing all the favourite 'classics' plus contemporary hits, get ready to dance your socks off or just sit back and listen to the magic that is Latin American music, played and performed at its finest…
Sun 27 Oct – KIM SANDERS MUSIC BOOK LAUNCH with SANDY EVANS, CHRIS FIELD, JAMES GREENING, LLEW KIEK, & many others!
A rare night of music!! "This is going to blow the roof off Camelot" says Sandy Evans
The long awaited launch of the book of Kim's compositions is finally coming.
Members of legendary world jazz ensembles Brassov and Kim Sanders & Friends will join together for one night to play Kim's wild and haunting music and celebrate launching this book.
The stellar line-up will feature original members of both ensembles including jazz and world music luminaries Sandy Evans, Llew Kiek, Boyd, Mark Szeto, Peter Kennard, Chris Field and James Greening as well as special guest Ivailo Karamanliev on kaval. And other surprises.
"Kim's book is absolutely amazing. So beautifully, lovingly and carefully presented…and such an amazing resource and tribute." Sandy Evans
"On the one hand his composing is a celebration of disparate cultures and their sounds, but it is also a celebration of our commonality." John Shand
"Those familiar with Kim Sanders know that he … immersed himself first-hand in the cultures he [drew] from, living, travelling and making music in all these places." Bradfield Dumpleton
"Strip all else away and Kim Sanders' sinuous compositions are timeless and ebullient cries of elation at what it is to be human." John Shand "Sanders [was] a relentless champion of world music." Jaslyn Hall
LEONIE COHEN'S THREE+THREE QUINTET with special guest Daniel Weltinger
Sydney jazz pianist Leonie Cohen leads a genre bending ensemble that dives into, immerses itself in and celebrates a fusion of jazz, classical and klezmer. Debuting with record crowd and standing ovation earlier this year at Johnston St Jazz, THREE+THREE QUINTET is thrilled to have on board Berlin based violinist Daniel Weltlinger for the Camelot gig. "….the interplay of Weltinger's violin and Cohen's piano was outstanding…the ensemble's performance impassioned, moving and sublime." Amy McCabe, SBS 2019 Leonie Cohen – piano Daniel Weltinger – violin Anatoli Torjinski – cello Hugh Fraser – d.bass Nic Cecire – drums http://leoniecohen.com/
A Night Of Gypsy Swing with TINEL DRAGOI & JOSEPH ZARB + THE CAMERON JONES TRIO feat. ASAHI TAKAHASHI @ Django
Join us for a night of Gypsy and Gypsy Swing music at Django At Camelot. A concert full of l'amour de la vie and musical virtuosity featuring Joseph Zarb (Marsala) performing in a stunning duo setting with master of authentic gypsy violin Tinel Dragoi, plus the Cameron Jones Trio.
For Gypsies, music is religion and music comes from faith and from the soul. So whether we are in Paris or Bucharest, playing Swing or Bolero. The soul of the music tastes the same. Tinel Dragoi is from Romania; Rom Gypsy Father, Romanian Jewish Mother. Violin was his only option in life. Jose lives his professional life on the streets of Sydney, Gypsy Style, playing on every street corner. The combination is like an electrical storm in the Bohemian Mountains.
Cameron Jones (Spyglass Gypsies, Gadjo Guitars) is musician who draws inspiration from the driving rhythms and melodic honesty of the acoustic gypsy jazz guitar. In 2018 Jones recorded The Waterfall Way, his first album under his name, an album that draws repertoire and inspiration from his travels to France and The Netherlands. Journeys to the very heart and soul of the gypsy jazz music.
"It was several years ago when I first saw and heard Cameron Jones play guitar with the superb Gypsy Swing group 'Spyglass Gypsies". I remember being most impressed with his understanding and execution of the Gypsy Swing style. Since then I've not only had the pleasure of watching him grow in stature both as a player and composer, but also of jamming with him at the OzManouche Festival." Hank B Marvin
JAMIE HUTCHINGS ALBUM LAUNCH
Jamie Hutchings is known for his solo work as well as acts such as Bluebottle Kiss, Infinity Broke, The Tall Grass and more. Catch Hutchings as he returns to cosy stages across Australia to launch his new limited edition live solo LP King Hits And Goldfish Memories.
Recorded in one night at The Camelot Lounge in Sydney, his new album 'King Hits And Goldfish Memories' sees over two decades of Hutchings songs stripped of all accoutrements and presented in their barest form. Some radically reshaped, some faithfully restored.
Hutchings will be accompanied by double bassist Reuben Wills.
MINISTRY OF ROCK: AUSSIE ROCK SHOWCASE @ Django
Ministry of Rock make their Django debut with this high energy Rock show that is not to be missed!
They play your favourite Aussie classics from the 70s, 80s, 90s and beyond. Hit the dance floor and sing along to all the hits from Australian Crawl, AC/DC, The Angels, INXS, Hoodoo Gurus… plus plenty more!
Z-STAR TRINITY (UK)
Intense and powerful vocals, driving beats, phenomenal musicality, strength and spirit wrapped up in whiskey swiggin' wild shenanigans from the next dimension!!
The Z-STAR TRINITY trio comprise of Voice & Gtrs, Bass and Drums. Zee's Australian line-up features Beck Flatt on Drums (The Red Paintings, Hussy Hicks, Blues Arcadia) and Jez Klysz on Bass (Blue Arcadia, Sunset Junkies). They've just taken Australia by storm with a 50-date debut tour including headline festival and venue performances in Sydney, Melbourne, Brisbane, Adelaide and Townsville, as well as inland shows reaching regional and Aboriginal communities. Setting stages alight with their high-octane energy and raw passion, the trio have been touted as the highlight of many a festival this winter. From the Sydney Guitar Festival, to Palm Creek Folk Festival and Bello Winter Music Festival, "Z-Star Trinity blew minds with their high energy driving rock" – Regional Arts NSW.
"Exhilarating to watch!"
– Indulge Magazine
"Z-STAR TRINITY thunder into action with power and force…I could feel the beat through the floorboards, lifting me up out of my seat and onto the dance floor."
– Australian Stage
www.zstarmusic.com
COPE STREET PARADE + KATE WADEY @ Django
Sydney born & bred, The Parade does love songs like no others can. In their 10th year The Cope Street Parade are considered one of Australia's most established high energy music ensembles. They blend spicy rhythms with unique song writing that span the genres of folk, pop, gypsy & swing. With tender ballads & rollicking dance numbers they capture the spirit & warmth of early music styles & successfully blur the lines between the contemporary & the classic. Influences include Louis Armstrong, Louis Prima, Father John Misty & Leadbelly. This is Australian swing music. The hot sounds of gypsy swing mixed with element of New Orleans traditional jazz meld together is a hotpot of cold beers & sunshine to create a style of music that sounds both new & old yet always uniquely Australian. Think if Django Reinhardt met Louis Armstrong in a good old country pub.
Kate Wadey is quickly becoming a voice in Australian jazz to be reckoned with. With effortless charm & sophistication, Kate Wadey is winning the hearts of jazz fans around the country. Warmly embraced by a band of excellent & celebrated accompanying musicians, Wadey sings standards without fuss or bravado but with pure assurance. She navigates emotions & melody with equal skill; a brilliant young artist displaying a level of craft beyond her years, & producing fine, characterful & swinging jazz fare for the ears.
DUSTYESKY ALBUM LAUNCH (SOLD OUT!!!)
'Cult act? Definitely. Womad must-see? Indubitably'
-Andrew P Street, The Guardian
To celebrate 5 years on the road in a custom-built Lada, join our leading genuine fake Russian choir to launch their debut album: 'The Very Best of Dustyesky'.
These 28 men from Mullum make your heart soar. You will smile and cry. For sure. Festival favourites from Woodford to Womad, Falls to the Melba Spiegel Tent, Dustyesky is a must see.
Best served with gherkin liqueur.
"As rough as a sawmiller's beard as gentle as his touch, Dustyesky is elusive yet eternal…" – Anton Chekov
DUSTYESKY ALBUM LAUNCH: SUNDAY MATINÉE (SOLD OUT!!!)
FABER LIVES: THE MUSIC OF FABRIZIO DE ANDRÈ
A poet, a chansonnier, a troubadour, a storyteller Fabrizio De Andrè, Faber to friends, with passion, sarcasm, joy or sadness, gave voice to the marginalised, the outcast and the
rebellious.
Blessed is the day he swapped law studies for music probably making more impact on Italian
popular culture with his songs than in the courtroom. Twenty years after his departure his impact continues, proving his astuteness of mind and
one of the brightest Italian intellectuals of the 20th Century.
This show features Nadia Piave, Danilo Sidari, Mauro Colombis, Gino Pengue, Emilio Lomonaco and Jess Ciampa.
PACO LARA IN CONCERT: THE ANDALUSIAN GUITAR @ Django
After a HUGE sellout show in August at Camelot, "the Andalusian guitar" of Paco Lara returns with Carlito Akam (second guitar), & percussionist James Hauptmann. Embodying the unmistakeable Jerez style of flamenco guitar playing, PACO LARA presents the flamenco guitar in all it's authenticity, culture & artistry.
Apart from his skill as a formidable soloist Paco is also revered for his ability as an accompanist in the specialised world of flamenco singing (cante) & (dance), where he has performed with Flamenco's most significant artists including Beni de Cádiz, Juan Moneo "El Torta", Miguel Flores "El Capullo de Jerez", Tomasa Guerrero "La Macanita", Mercedes Ruiz, participating in prestigious festival programs including Bienal de Sevilla, (Spain) Casa de la Música, Moscow (Russia) & the Internacional Guitar Festival Jerez (Spain) (2017).
SIMON TEDESCHI & HETTY KATE
Fresh from the City of Light and Sydney Opera House, Camelot welcomes Paris-based vocalist, HETTY KATE with Australia's best-loved pianist, SIMON TEDESCHI for a night of jazz favourites and more. Gracing stages from New Zealand to New York, Hetty is one of the most sought-after jazz singers by audiences and musicians alike, including James Morrison. Described by critics as "the real deal" and "one of the world's leading swing vocalists", Hetty brings songs from her long-awaited new album, "Under Paris Skies" to this tantalising tête-à-tête with Simon Tedeschi.
Don't miss this irresistible duo with their impeccable musicality and infectious sense of fun, performing classics made famous by Frank Sinatra, Doris Day and Nat King Cole.
THE CLAPTON UNPLUGGED SHOW
Relive the most popular Unplugged Concert of all time. 26 million copies sold. 6 Grammy Awards.
Immerse yourself in Inspired guitar playing, soulful vocals, stories & Outstanding Musicianship.
Eric Clapton's career has spanned over 6 decades. Lauded as being the greatest guitarist of all time, his roots are firmly embedded in the blues tradition of which he remains both a student & visionary. In his unforgettable 'Unplugged' Concert, the music was minimalist, alternating between reworked major hits such as 'Layla', the traditional blues of Robert Johnson & Bo Diddley, and new songs , including 'Tears in Heaven', that were an outpouring & expression of a very difficult period of his life.
It was honest, real, fun, at times raw, & very very special!
Like many guitarists the world over, Mark Shelley was inspired by Eric Clapton . "the way he makes that guitar speak from his heart & soul, ….as a young man, well it just blew me away & I wanted so badly to be able to do the same. I enjoy playing this show so much, it is such a privilege to do so"
Mark is joined by his band – Australia's finest musicians whose credits include – Tommy Emmanuel, Moving Pictures, Dragon, and Marcia Hines to name a few.
WARMER + BREE DE ROME @ Django
Warmer is the project of singer-songwriter John Encarnacao, known to Camelot/Django regulars for The Nature Strip, XTC tribute Scarecrow People, the Nancy Sinatra/Lee Hazlewood Experience, and other delights. As Warmer, John has released three albums: A Prayer For Soft Honey (2002), The Cat's Miaow (2005) and Spider and Lamb (2011). Aside from a one-off show celebrating label Half a Cow's 25th anniversary, this is the first Warmer show for 8 years.
After this long hiatus, John returns with a new line-up ahead of a new album in early 2020: Susie Bishop on violin (Chaika, Monsieur Camembert's Leonard Cohen Show), Tim Byron on keyboards (Suzy and the Snakepit, Fallon Cush), Lloyd Swanton (The Necks, The catholics) and long-time collaborator Jess Ciampa on drums (Camembert, Marsala, Scarecrow People etc).
Expect folk rock with a sense of panache, big melodies, and a lot of heart. Recommended for fans of Elliott Smith, Laura Marling, and Bob Dylan's Desire period.
Opening the night will be Bree DeRome. "De Rome manages to effortlessly intertwine her vintage influences into songs with a strong pop sensibility and an engaging and mature approach to songcraft" – The Music.
PAT POWELL: THE FUNKY SOUL SESSIONS @ Django
Pat Powell is one of Sydney's most versatile singers, and once again he is collaborating with some of the finest musicians around to create a spellbinding night if sweet soul and pulsating funk.
Pat has supported James Brown, Queen, The Eurythmics, Boy George, Crowded House, Horace Andy and Luciano, Tina Arena and George Benson to mention a few.
He has toured extensively throughout Australia, Asia & Europe the USA and Canada, there must be a reason for this come and find out while you groove to some classics..
Joining Pat is Ray Cassar – Trumpet; Justin Di Leo; Bass; Bob Donaldson – Drums; Dev Gopalasamy; Bill Risby – Keys; Ed Shots – Sax.
THE SONGS AND TALES OF ANGRY OLD MEN
The music that defined moments and gave those baby boomers and the world the best music ever.
Highlighting the music of Dylan, Cohen, Waits, Morrison, Petty, Segar, Cave, Cash, Mellencamp and so many more. This production will reunite or introduce you to artists and music that will never be forgotten!
Delivering the music and tales is a cast of contented talented and happy musicians who have had thousands of hours of experience with a variety of national and international productions under their sometimes angry old selves, fearturing Jeremy Edwards (MD and Guitar) Matt Ross (Guitar) Wayne Kellett (Bass) Di Solomon (Keys) George Brugmans (Drums).
You will be taken on a trip that has no artificial additions and is drug free! It's pure, organic and simply great rock and roll. The Rockumentary Series delivers in words, music and imagery, The Songs and Tales of Angry Old Men.
CARLOTTA CENTANNI AND BAND PRESENT ROMAMORE: KISSES FROM ITALY @ Django
Join Carlotta Centanni and her band for an evening of Italian musical romance which celebrates, and is inspired by "La Dolce Vita" – the artistry of Fellini, the beauty of Sophia Loren and the voice of Mina; from Italian classic songs to original music, Carlotta takes you on a nostalgic tour of Italy.
Carlotta Centanni (known to her friends as Charlie) is an accomplished singer, songwriter and recording artist from Rome. She began her music career in 2001 and quickly became a popular fixture on the Rome jazz scene, with highly acclaimed shows at the famous La Palma Jazz amongst many others across Italy and Europe.
Carlotta is the authentic voice of Italy in Australia; with a wealth of live shows and two successful albums (Respiro and Rome to the Land of Australia) she is also the granddaughter of Armandino Zingone who performed with the legendary Renato Carosone during the golden age of Italian music.
In 2008 Carlotta migrated to Australia to pursue her passion for working with children in need through the power of music. She lives in Manly on Sydney's Northern Beaches and continues to write, record and perform live music in venues across Australia.
Carlotta possesses an sophisticated and powerful voice described as "smoother than silk" and has been compared with that of iconic Italian Superstar, Mina Mazzini. Her style glides from the elegance of jazz and bossanova to the energy of pop.
TRIBUTE TO HARIS ALEXIOU
Haris Alexiou, Greece's most versatile female artist, loved globally by generations of music lovers. With the highest number of successfull record sales for female artist, this is a celebration of the timeless songs that forged her spectacular career since the 70s. Songs written by Spanos, Kouyioumtzi, Loizos, Rasouli, Kaldaras, Nikolopoulos, Vardis, Mikroutsikos to name but a few, but also the gems that Haroula wrote herself.
Presented by CYANO; Irene Vacondios, Nikos Sousamidis, Anna Papoulia and special guest Sotiris Procopiou!
TIM FREEDMAN (SOLD OUT!!!)
Tim Freedman is a singer/songwriter from Sydney, best known at home as the lead singer of The Whitlams, an Australian Recording Industry Group of the Year with a trio of platinum albums. His songs of well-crafted charming cynicism can sound as if Randy Newman had joined Crowded House.
Tim's solo performances in Australia are renowned for a mixture of caustic wit and delicate piano. The Whitlams' success has always been about the emotional clout of the songs, so it was no surprise when demand rocketed for the performances where the songs were presented without their rock adornments.
In the past couple of years, The Whitlams have been in Orchestra mode and have played with Australia's best Symphony Orchestras, including the ASO, SSO, MSO, TSO, QSO & WASO, playing to three consecutive sold out tours all around the country. Join us as he returns to solo mode in the beautiful surrounds of Camelot.
CARUS THOMPSON: Shakespeare Avenue Album Launch @ Django
Australian songwriter and storyteller Carus Thompson returns with his 7th studio album Shakespeare Avenue and a national launch tour.
A genuine troubadour, Thompson is one of Australia's hardest working musicians, touring the world as an independent artist with family in tow, whilst building a loyal fan base over six studio and two live albums. And with 2017's Island, the critical plaudits flowed – a WAM Song of the Year, a finalist in the International Songwriting Competition, and high rotation on Double J.
A renowned live performer, Thompson will deliver these new songs as well as old over a special two set show, all with the energy and passion that has made him one of Australia's favourite acoustic artists. www.carusthompson.com
"The response we've been getting over the past twelve months from punters all over the country has told me that now is the time to show off this set with this line-up. People have been very concerned and understanding about Martin pulling out due to cancer and I've felt a responsibility to bring the band as close as I can back to the original recordings to protect the legacy."
LLOYD SPIEGEL ALBUM LAUNCH
Acoustic Blues master Lloyd Spiegel is proud to announce the release of his 10th album 'Cut and Run' and is headed to Sydney to launch the album at Camelot and to get people acquainted with the new tracks, and is not a show to miss for those who love incredible guitar playing, great songs and the odd tall tale.
As Lloyd celebrates his 30th year on tour in 2019, he can't recall a time before playing guitar. Picking up the instrument at age four, Lloyd played his first professional show at age ten and was touring the east coast of Australia at 12. By 16 he was on tour in the United States, cutting his teeth as a true travelling blues man. Lloyd's travels not only honed his craft, earned him a swag of awards and brought him to take counsel with the founding fathers of modern blues – it taught him the most important part of being a blues musician: connecting with everyday people.
Lloyd has toured extensively throughout Australia, New Zealand, the United States, Canada, Europe and Japan, viewing himself as a social worker more than anything else – someone to help people forget about their worries for a few hours and put a smile on their face.
DEBORAH CONWAY & WILLY ZYGIER (SOLD OUT!)
Conway & Willy Zygier are returning to Camelot!
There is not much you can say about the creative output of Deborah Conway & Willy Zygier that hasn't already been said:
Blessed with an angelic voice, deft at lyrical wordplay and armed with a seemingly inexhaustive melody well, Conway – and partner Zygier – create songs which become best friends for life. Daily Telegraph
If Bob Dylan or Leonard Cohen delivered an album with songs as good as these, the critical response would be rapturous. Conway and Zygier deserve no less.' Courier Mail
'Some of the most engaging songs I've ever heard from Deborah & Willy. Some of the music makes the little hairs on my neck and arms stand at attention. That doesn't happen often. '
Bill Riner, Network, Music Programmer, ABC Local Radio
FLAMENCO INTIMO @ Django
Sydney's newly acclaimed, rising Professional Flamenco dancer Lauren Majarrés is coming back to the Sydney performance scene with her latest show 'Flamenco Intimo'.
Having been a part of the flamenco scene here in Sydney for over 15 years and surrounded by her Spanish roots, Lauren brings 'Duende' (soul) and 'Arte' (art) to the performance scene. Known for her impressive footwork and deep connection to the music, conveyed throughout her performances.
'Flamenco Intimo' is definitely a show not to be missed and it is sure to live up to the expectations; fierce, powerful, intricate and high-speed footwork and a deep connection to the dance, demonstrated through delicate but powerful body movements.
Accompanying Lauren are three highly regarded and renowned musicians here in the Sydney Flamenco community. On guitar will be Paco Lara (Jerez, Spain), Percussion will be played by Byron Mark (Sydney) and Zoe Velez on vocals (Sydney) as well as a special guest appearance from the incredible Flamenco dancer, Deya Miranda Giner.
ALEXANDRE DA COSTA & JEAN-PHILIPPE SYLVESTRE (QUEBEC)
Canadian violinist, Alexandre Da Costa is currently one of the top and most sought-after violinists in the world: recipient of a JUNO award, the Virginia-Parker Prize (one of Canada's highest cultural distinctions), the Sylva Gelber Foundation Award from the Canada Council for the Arts, and first prize in the International Violin Competition Pablo Sarasate. Playing a Stradivarius from 1701 he has just released two new albums, including his new project 'Stradivarius BaROCK'.
He's appeared as guest soloist in more than 2000 concerts across 30 countries in four continents, in the world's most prestigious venues, with the most renowned orchestras and conductors – most recently the Royal Seville Symphony Orchestra (Spain), Bogotá Philharmonic Orchestra (Colmbia) and the Colorado Springs Philharmonic Orchestra (USA). Now Artistic Director and Chief Conductor for the Orchestre Symphonique de Longueuil (OSDL), in Montréal, and Artistic Director of the Festival International Hautes-Laurentides (Québec), on this tour he performs with fellow Quebecois, pianist Jean-Philippe Sylvestre.
Presenting music from around the world – including Sarasate's Gypsy Airs, Liszt's Hungarian Rhapsody no.6, John Williams' theme from Schindler's List, and a sonata by Brahms – join these two spectacular musicians in this intimate show at Camelot Lounge as part of Alex's 2019 Australian tour.
LOLLO MEIER (NETHERLANDS)
Raised on Gypsy Swing from an early age, Lollo Meier is a master guitarist, composer, bandleader and arranger; Lollo comes from an elite family of Gypsy musicians and is cousin to two of the greatest guitarists of the genre; Fapy Lafertin and Stochelo Rosenberg. His goal: to carry on the music of Django Reinhardt, with a style and technique that's traditional, melodious, lyrical, sensitive and joyful. His mellifluous compositions have a refreshing authentic Django flavour and are played with extraordinary talent, unique style and amazing suppleness that clearly reflects that he makes music he loves. His Quartet is sought after around the globe and is famous for playing the lesser-known Reinhardt tunes and his own compositions. A man of style, grace and humour, Lollo's pure melodious playing touches his audiences and makes Django's music as fresh today as it was 80 years ago.
"It felt like the legendary Django Reinhardt was performing again" Zutphen Paper
"We lit a candle and were given grace, so much beauty, so much harmony and so much variation and so much of Lollo". Pedro Ramacher Dutchnews.nl
PAT TIERNEY ALBUM LAUNCH + CAMERON JAMES HENDERSON @ Django
Slide – guitar slinging troubadour Pat Tierney will be hitting the road this October and November around the country to celebrate the release of his highly anticipated new album 'Red Moon'.
Recorded high on a mountain top amongst the beautiful hinterland of The Sunshine Coast, the new album dives deeply into the earthy folk tones of Bob Dylan and Neil Young whilst shining a brighter light on Pat's signature slide guitar sound and unique voice.
It follows a big 12 months for Pat, who recently embarked on his debut shows in The United States, supported the likes of Aussie rock legend Russell Morris, roots-reggae lords The Beautiful Girls and released the first two singles from the upcoming album to great success with features on Double J, Triple J and the 2019 Surfline film 'The Art Of Scoring'.
Audiences will be treated to a host of fresh songs including brand new folk-soul number 'My Sweet Love' and an array of tunes from the past 7 years including some unique covers.
Cameron James Henderson is a Sydney based songwriter, composer and session guitarist. He has worked as a guitar player internationally including major venues, festivals, radio and television appearances across the U.S.A, U.K. and Australia with indie rock band 'Middle Kids'. He also writes and performs his own material and has played at venues and festivals around Australia and also internationally.
PAPE MBAYE & CHOSANI AFRIQUE @ Django
Serving up a heavenly cocktail of African music, Chosani Afrique is catchy, soulful, energetic and powerful. This live show is a feast for the senses – bright traditional african costumes and irresistibly danceable songs. A captivating live band, Chosani Afrique invite you to one of the best african parties in town!
Pape Mbaye is an multi-instrumental percussionist, playing Djembe, Sabar, Balafon and Guitar. His original songs are based upon traditional proverbs and stories. Pape has an undeniable ability to unlock all inhibitions, igniting the senses in his dynamic compositions and powerful delivery.
BALTIC BAR MITZVAH @ Django
Baltic Bar Mitzvah are a formidable acoustic powerhouse bringing all the best Balkan, Gypsy, Klezmer Fusion beats from the streets and to the stage.
With the combination of wind, brass and percussion, the ensemble has forged a reputation as party favourites, known for their improvisational Jazz approach exploring the vibrant music of celebration from cultures around the globe.
Embracing the New Orleans Street Band tradition, variations of the troupe can also be spotted roving amongst the crowds bringing their Cobblestone Cabaret to festivals and markets, providing emotional and comic relief to unsuspecting passers-by as the European Minstrels once did.
Baltic Bar Mitzvah's first studio album 'Barely Kosher' presents a fresh take of Traditional tunes in the ensemble's distinct style, fusing contemporary groves from around the globe with some carefully selected Klezmer favourites. Sharing the spirit and stories behind these iconic standards, Barely Kosher is an album you can't Passover.
MARA! BAND AND MARTENITSA CHOIR
Legendary Australian World/Jazz ensemble Mara! celebrate their 35th Anniversary, together with long-time associates the Martenitsa Choir, in a concert featuring gems from their treasury of inspiring, inventive and virtuosic music, spanning a remarkable career of international touring and recording since 1984.
This exceptional ensemble, which features jazz and world music royalty – Sandy Evans on saxophones, Paul Cutlan on clarinets and saxophones, Lloyd Swanton on double bass, Llew Kiek on plucked strings with the inimitable Mara Kiek's voice and percussion – will perform highlights from their classic albums including 2 ARIA winners and 2 ARIA nominees, featuring their unique signature sound distilled over three and a half decades.
Martenitsa Choir with Bulgarian soloist Silvia Entcheva, will join Mara! to perform excerpts from their ground-breaking collaborative albums Sezoni and Tra Parole e Silenzio. Mara! remain in the vanguard of musical creativity in Australia, forging new directions in world music.
"….different sound-worlds kept opening up like fresh vistas on a maritime journey…ultimately it is the collective imaginative responses to its influences that makes Mara! such a bright jewel in Australia's world-music crown." SMH (Sydney) 2016 …
"The Dom Perignon of Australia's World Music Bands" – SMH (Sydney) 2005 …
MELANIE OXLEY & CHRIS ABRAHAMS with BAND
Melanie Oxley and Chris Abrahams rarely convene for live gigs, so when they do surface, it's a special event. Joining them this evening, will be critically acclaimed bassist, Jonathan Zwartz and the extraordinary Danny Heifetz (Mr Bungle) on drums. They will be performing new music from their soon to be released 6th album, as well as tracks from their previous releases, Resisting Calm, Welcome to Violet, Coal, Jerusalem Bay and Blood Oranges. A night not to be missed.
'Oxley is one of our most underrated vocalist with a distinctive searching range. Similarly, Abrahams' intuitive ways – best known as part of the spellbinding instrumentalists The Necks – …. a delicate balance of composure and fluidity.' (Khedoori). Their music gently unfolds before you as classic. Lyrically thoughtful, playful and clever, musically deceptively simple. Abrahams extraordinary talent reveals itself in every facet of every song while Oxley's voice continues to uplift and beguile. Extraordinary.
LIZ MARTIN BAND (SINGLE LAUNCH) + NIC CASSEY @ Django
Atmospheric, passionate, brooding, melodic, at times downright swaggeringly cool, and full of a mesmerising and captivating musical and lyrical diversity, Liz Martin is a powerful and distinctive Australian music talent.
And some of the country's most astute radio presenters and musicians agree.
'Evocative, alluring and strangely comforting' – Tim Ritchie, ABC RN
'From play one, I felt an instant connection and obviously I was not alone. Every spin on FBi provoked listener response, which I can assure is not the norm' – Stephen Ferris FBi
'Wildly eclectic… quirky, playful hipness coupled with emotional openness… an ever-changing, surprising ride of an album' – Lucky Oceans, ABC RN
'So fantastic, her voice has to be heard. Idiosyncratic and quirky, what I love about her voice is the honesty' – Paul Mac
And with the November release of the Liz Martin Band's new collection of songs – Led Me Down – that reputation is about to take a step up as Martin delivers an accomplished and genre-pushing array of songs that illustrate her prodigious talents.
Opening the night is Nic Cassey!
WALK ON THE WILD SIDE: Jeff Duff & The Coney Island Babes present a night of Lou Reed & The Velvet Underground
WALK ON THE WILD SIDE the music of Lou Reed & The Velvet Underground Including a performance of Lou Reeds album masterpiece 'TRANSFORMER'
starring: Jeff Duff and a killer band featuring John Encarnacao, Bill Gibson, Tim Byron and Jess Ciampa!
A gutsy and powerful night of very cool music – ground breaking music that evolved from Andy Warhol's famed Factory in New York during the creative madness of the 60s and 70s.Lou Reed & The Velvet Underground produced the trailblazing sounds that changed the nature of popular music forever.
Jeff Duff and a killer band salute Lou Reed with a performance of the entire 'Transformer' album plus a raunchy set of Lou Reed/ Velvet Underground classics.
PURPLE DOVES present PRINCE: 1958-FOREVER (SOLD OUT! Feb 29 Now On Sale)
The Purple Doves return after their last 10 SOLD OUT shows at Camelot Lounge to celebrate PRINCE. Be ready to party to all the hits and your favourite B sides LIVE with the country's no 1 PRINCE tribute band. 80s synth and falsetto vocal will have you partying like it's…. Yeh, party to hits such as 1999, Kiss, When Doves Cry, Little Red Corvette, Cream and so much more Minneapolis FUNK. Be quick to secure your tickets!
THE FLASHY DASH-BACKS featuring CLAYTON DOLEY & ELANA STONE @ Django
The Flashy Dash-backs, an epic new Hammond B3 Organ Trio project from the mind of Clayton Doley. This time collaborating with the amazing Elana Stone (All Our Exes Live In Texas, John Butler Trio) on Vocals and Accordion.
Both Doley and Stone have spent the last year touring the world playing music separately and now they come together for one night only right here in Sydney for a special performance at Django!
Inspired by the 60's Soul-Jazz Boogaloo movement, The Flashy Dash-Backs will have you groovin' in your chair or up and dancing to their soulful organic sounds as they dazzle you with their renditions of Blues, Folk and Jazz standards, as well as their original music prepared for the occasion.
Not to be missed.
STARS + KEVIN BENNETT
Iconic Aussie country rock band STARS are back again reunited after 40 years with the original line-up of Mick Pealing, Mal Eastick, Glyn Dowding and Roger McLachlan. Catch Stars with Nick Charles on guitar. Special guest KEVIN BENNETT will also be opening the night.
Originally from Adelaide Stars moved to Melbourne after being discovered by Beeb Birtles of Little River Band. By this stage the Andy Durant joined the band and began writing some of the most notable Australian songs before his untimely death at the age of 25.
STARS supported The Beach Boys, Linda Ronstadt, and Joe Cocker and toured extensively to sell out gigs Australia wide. Many have said their country rock blend coupled with Durant's lyrics were well ahead of their time and are often referred as Australia's Eagles.
BABY ET LULU
Baby et Lulu return to Camelot with all your favourite chansons, plus a new song or two.. ARIA-Nominated Baby et Lulu is a French extravaganza seeing Abby Dobson (Leonardo's Bride, Leonard Cohen shows) and Lara Goodridge (FourPlay, Miriam Lieberman) come together with a sterling band to bring you a selection of beautiful chansons, including Gainsbourg, Piaf, Aznavour, Camille and their own originals.
CHRISTMAS PARTY with DI BIRD, VIRGINIA LOWE, HELEN FENTON and SUSAN GAI DOWLING @ Django
Swing into Christmas with Di Bird, Virginia Lowe, Helen Fenton and Susan Gai Dowling! This legendary lineup will sing you into the festive season with a night of rollicking fun. A Christmas stocking full of Jazz, Blues, Latin and Pop and maybe a carol or two. They will be joined by with: Craig Scott (bass), Carl Dewhurst (drums), Michael Bartolomei (keyboard) and Ilmar Fred Olbrei (violin).
MICK THOMAS' ROVING COMMISSION + AERIAL MAPS
Mick Thomas' Roving Commission Wishing You a Coldwater Christmas….
Christmas is here as Mick Thomas' Roving Commission head off 'round the country in support of Coldwater DFU – possibly the only record to be released in graphic novel form (Coldwater Chronicles). There's a new full animated film clip and radio edit single of the album's iconic track Anything You Recognise, a brand new covers bootleg album Bipolar Request and a rocking new band lineup featuring alt-country songstress Brooke Russell and bass maestro Ben Franz (on sabbatical from the Waifs) along side long time cohorts Dave Folley (Tex Perkins, Archie Roach) and Squeezebox Wally.
Opening the show is Aerial Maps.
WELTER @ Django
From the Mountains of Tasmania to the coastal surf of NSW Welter are producing outstanding "Music For The Good Life" Fan's from all over the world describe their songwriting as being conscious, aware of the world and the community around them, uplifting and engaging their audience, almost connected to them.
Welter is Elliott Weston: Acoustic Guitar/Vocals, Dave Williams: Drums & Jacob Parker: Bass. Coming from different style's of Folk music through to hard rock/groove, their diverse musical influences are drawn from the US, Canada, England and Ireland, then blended in the Australian Landscape.
They are creating something very special in their style and sound, to produce Music That Matters in our lives. Their music will live long after they've moved on. Welter is a truly unique band, being they all work in the wine industry, as well as being very gifted musicians. They have an incredible amount of wine industry knowledge between them, this also plays a big part in who they are. "Music for the good life." Songs about things that matter, family, friendship, love and loss. Life events are always better with good company, delicious food, great wine and the power of Welter's music, Just Listen.
MICK THOMAS' ROVING COMMISSION + ALANA JAGT (SOLD OUT! THURSDAY SELLING FAST!)
Opening the show is fast rising Adelaide singer songwriter Alana Jagt.
ROB SNARSKI @ Django
Rob Snarski, the velvet-voiced troubadour and singer with our national treasures The Blackeyed Susans returns to Sydney for one show only at Django Bar.
After 25 years as the honey-voiced singer of the Blackeyed Susans who boast multiple ARIA nominations, tours with Johnny Cash, Leonard Cohen and Wilco, Rob Snarski released his 2nd solo album this year, "Sparrow & Swan".
Following his national tour earlier this year in support of the album, Snarski will perform songs from his latest offering plus gems from his previous solo albums, a cover or two and even maybe a reading from his book, "You're Not Rob Snarski – Crumbs From The Cake".
Expect an intimate evening of golden songs, haunting and elusive..
http://www.robsnarski.com/
https://www.facebook.com/RobSnarski
BERNIE HAYES QUARTET @ Django
The Bernie Hayes Quartet is heading back to Django @ Camelot!
Bernie, John, Jess and Bill will pick and choose tracks from across the four-album catalogue, trading duties on guitar, drums, vibraphone and brass as they go. The BHQ will be playing all night, providing them the time and space to delve into the furthest corners of that library of musical treasures, penned by Bernie.
STEVE POLTZ (SOLD OUT!)
In 20 years since his full-length solo debut, One Left Shoe, Steve Poltz blessed the world's ears with thirteen solo records, spanning the acclaimed 2010 Dreamhouse and most recently, Shine On in 2019. NPR summed it up best, "Critics and fans alike now regard Poltz as a talented and prolific songwriter."
Evoking themes of "hope, love, contemplation, celebration of Wednesday, pharmacists, and the fact that windows are not inanimate objects and they sometimes have conversations with each other," Shine On represents Steve at his most inspired and insightful. The opener and title track pairs a delicate vocal with lithely plucked acoustic strings as he urges everyone to, "Shine on, shine on."
THE PUNCH XMAS SESSIONS: PAULA PUNCH & THE FIREFLYS + MY SAUCE GOOD @ Django
Join Paula Punch & The Fireflys for this end of year Christmas Show!
The band includes Robin Gist on guitars, Mike Rix (Jason Walker) on Bass, and Reuben Alexander (Michael Crighton & Liz Martin Band) on percussion, and Marko Simec ( Waiting for Guinness & Soul Movers) on keys. Singer-songwriter Paula Punch's music is hard to define – but indie folk is probably closest.
My Sauce Good plays creative original music with the added MSG flavour. French-English-Italian-Spanish songs raw and tasty just like you need. Sexy Bohemian and Stark. Female Vocals, Male Guitar, a Drum Machine of indeterminate gender, and a grooving live percussionist. Influenced by 1960s Guitar Rock, Afro Grooves, New Wave, World Music, Ballads, and Lo-fi quirky beats.
Plus more guests to be announced.
AMY WINEHOUSE REMEMBERED IN SONG (SOLD OUT! Feb 28 Now On Sale!)
Commemorating the songstress Amy Winehouse. Back to Black comes to Camelot for an evocative and powerful evening. Paying tribute to the great tunes from Amy Winehouse from her pop and jazz repertoires.
UNLOCKING THE DOORS @ Django
Unlocking The Doors has rapidly built up a strong following throughout NSW – a must see outfit totally dedicated to bringing you the true sound of Jim Morrison and the powerhouse performances of The Doors. The band consists of 4 Wollongong-based musicians who have single-mindedly set out to capture the magic of this intoxicating music – taking you back in time with a stunning & unmissable showcase.


Good letter writing Abilities will Allow You to compose appropriate Contribution Request letters. Someone may be forced to write a cancellation letter after getting unsatisfactory quantity of services. When you've finished writing your cancellation letter, you need to make copies of the exact same. Just like with any other type of business letters, appeal letters must be proofread thoroughly. Repeat step until all of your Greek letters are put to the document. Writing a good resignation letter does not have to be a time consuming and stressful job.
If you Require a letter for yourself, ask somebody who has known you for a very Long time and may mention optimistic things about you, to write it. Add only a little imagination for this, and you will have one of the best invitations ready right away.
Authorization letters are necessary for approving someone to do your Legal, business, medical, and other pertinent transactions for your advantage. You may have heard that keeping your cover letter into one page is ideal. A cover letter is essentially a preface to your resume and it provides you the capacity to draw the attention of an employer to your qualities, skills, and processes. For the large part, obtaining a cover letter offers you an upper hand in ways your resume does not. You're able to customize the cover letter depending on your requirement.
The letter comes with an appeal which could bring about the potential audience. So be Very careful as soon as you draft such letters. The very first set letter you receive from a collection agency should have a validation notice.
Composing effective covering letters might not be your best skills. There Are various sorts of Bubble letters utilized in designing. Make sure that the tone of the letter remains earnest, and does not go on to become desperate. It turned out to be a cordial reminder correspondence. Writing character letters differs from composing many of the company letters. A character reference letter ought to be crisp and most importantly, believable. Composing donation request sample letter will ensure your probability of getting financial assistance in the ideal moment.
Even though your letter ought to be short, you should temporarily reiterate a couple Of things which cause you to stand out as a job candidate. Contract termination letters are business letters and ought to be written only on company letterheads. An excellent donation request letter can earn a major gap in raising the prospects for getting financial aid.
Especially if a document is long. If You Don't have access to that Record, the info can be obtained via the court clerk. Consequently, it's essential to attach copies of investment records and bank records in addition to the affidavit.
To get you started, this is a template using the framework I discussed Above along with an instance of a letter that follows it. The templates can be found in all colours and shape and in spite of help balloons to permit kids to learn writing letters independently. They've been created more kid compatible to allow them to appreciate and experience the pleasure of composing. You may use the exact same template, simply be sure to upgrade the collector and account information. You might also design and create your own worksheets. Kindergarten worksheets are often offered.
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As an example, D printing worksheets, there are various trends of worksheets To pick from. Provided that the details mentioned in the letter are correct, there should be no problem with the cancellation strategy. Make certain you receive the information you're searching for. It's vital to give references at the start of the letter to assist the reader form a connection to the letter's contents. The one below is an illustration that could be modified to fit various conditions. Please be mindful the i-864 form does not need to be notarized.
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Together with the practice that you provide, I am sure I'll Find an equivalent Appreciation of the needs of the plastic market. You ought to get upon the value of your request in a couple of short paragraphs. My understanding of the plastic company is extremely slim. Communication plays an very important function in everybody's professional and individual life. When it's to do with digital communication or communicating through writing, you should get things across definitely on your first work. As soon as you obey the directions and make certain you include all essential info, send your correspondence (notarized, in the event the visa office asks for that) to the person or individuals you are inviting to Canada.
As you may be aware, recess allows student to find exercise, build Friendships and take a rest from classroom work. The pupils will be provided a rubric together with the precise fundamentals of the project and what the aim of the project will be. Necessary Resources The literary work that he chooses to create a collage will determine how long is essential to fully complete the project. Each student must choose one reading which we've done so much or will read in the future, and no 2 students may select the precise work.
Writing your own Craigslist home wanted ad is a strong way of Finding a house that fulfills your requirements. You have the task done perfectly and free of delay. Most collection agencies do not respond to your letter, since they cannot offer the proof nor the information that you request. For instance, the collection agency and collection agentaslicence is a thing that no set agency would like to provide, because you will understand the agencyas and agentas information. Whenever you understand the firm it is not very hard to Google and find that particular manufactureras email form. If you find the suitable publisher, you wish to be certain that the editor recorded is the current editor. It's vital to obtain an perfect magazine, writer, etc. that's acceptable for your work.
Revision columns often incorporate the drafter who made the hottest revisions. Attempt to get to the editor which most matches what sort of post you're writing. The perfect way to outline an article is to start with reading it through a very first time fast. Your story should have approximately four or five paragraphs based on the subject matter, but each paragraph should have its particular topic and advance the story in a given way. The reader will always sense whether you are real or merely making tales. The way by which you greet your reader is your decision.
If you are on very friendly provisions, simply use their very name. There continue to be a couple of things you should understand with regard to addressing someone correctly in an informal latter. A superb example is Arial, though you are able to use Tahoma or Verdana too. To be able to evaluate some thing, you'll need to compare it with the ideal instance of this particular thing. Just a lucky few who know you may become totally free makeup get benefits. Do share steps required to fix the action so that it is less inclined to occur in the future. Your assortment of words here also is dependent on the association between you and the recipient.
There are plenty of formats you'll have the ability to follow along with. Otherwise the text may Be tough to see near the backbone without stripping out the book, which may lead to harm to the binding. There are various selections of files which may be made in a company atmosphere. If you do not have access to this document, the info can be retrieved via the courtroom clerk.
If needed, say the most important reason behind writing that correspondence, and What exactly you would like to accomplish from bringing this message. Otherwise, you don't find the proper message across. Still make certain the email is extremely professional. It's a good idea to include information that enables the worker to cover the matter further should it be mandatory.
Its best to Get Personal It's always preferable to deal with your letter To a particular individual. Business letters shouldn't go beyond one page unless absolutely crucial. A business letter is an official record, with a proven arrangement. Before beginning sending out international small company letters, find out more regarding the etiquette involved in writing them.
By doing this, it is going to be easy for you to just print out who you're probably To write the letter to simply by shifting the name in the greeting card and changing the reason you are thanking the person for. When you are composing your Resignation Letter, it is important to try and keep in mind that positivity is obviously the very best policyeven in the event you don't actually feel like that about your boss or work. If your letter is typed by somebody else, then the typist's initials could possibly be included two lines beneath the signature block. The key to any very good email letter is to make sure that you use the proper etiquette. If you come to consider it, thank-you letters don't need to be complex. Listing down who you are going to send your thank-you letter to will make it simpler for you to remember who you need to thank. You ought to be able to write a persuasive cover letter in a couple of brief paragraphs.
Your letter needs to be addressed to a Specific individual, if at all possible. Casual letters could possibly be handwritten. A follow-up letter should be professional, concise, and sent whenever possible. Follow-up letters are a very important step in the work search approach! A neat well-worded letter of one page once a month is significantly better than a slovenly scrawl of four pages once weekly.
Not everyone is blessed with the gift of knowing what things to say. In the Area of ecommerce, gifts have a tendency to be unconventional and offthewall (for instance, Pez candy dispensers and handheld video games). Gifts Fine writing Preventing gifts is the right gesture, provided they are not that extravagant or personal.
Get in touch with the company or somebody who may know the individual. If You're an organized person, you may want to maintain a stack of cards on hand so that you won't need to rush out to the shop and purchase one each and every time that you wish to thank somebody. A person could write out in a few months or weeks a job the creation of which necessitates the idea and labor of several years. It isn't typically appropriate to provide your notice through text message or social networking. Your letter or notice will explain the principal reason for the contact and offer you directions about how to manage the issue. As an example, if you are sending a job-related thank-you notice, you might choose to send it via email.
Generally, letters are somewhat more formal, but If You Would like to Devote a Personal touch they might be handwritten rather than typed. Sending a farewell letter is a great method to upgrade people with new contact info so you are able to stay in touch in the future. In addition, it also directly determines your letter actually is a thank-you letter. Your cover letter is not your autobiography. Ensuring it is clear and concise is very important. It needs to be short and get to the middle of the matter as quickly as possible. A PDF cover letter with the correct etiquette will surely draw the attention of the hiring supervisor.
You Can refer to this below as an example of a very easy resignation letter. Below, you will discover a listing of company letter examples for various employment and business-related correspondence, along with hints for how to compose an appropriate and valuable small business letter. Using a comma is seen as an Anglicism. It is possible to take advantage of thank-you letter templates which are fundamental and are easy to follow.
Even if it sounds like you had been sent a message unintentionally, you still need to To reply to make sure it was a mistake. When thanking a client to get a present, you might want to get a more straightforward message, unless you're absolutely positive the way the humorous message is going to be perceived. For quite a very long time, writing a message in all caps was first regarded as an indication of a newcomer to the online kingdom.
The ideal way to confirm an address is by calling the person or business. Use exactly the same courtesy title you used in the interior address. Your return Speech needs to be simple to detect and read. Bear in mind that email isn't private. In case the address isn't on the letterhead, include it at the summit of The document. Your address and other contact information also needs to be easy To track down and read.


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Galas: Zed Ink Wins with a Game Launch
Buzz. It's what every marketing event pro craves and what every marketing event does its very best to generate. Double that for a beta launch preview of a third-in-a-trilogy video game with a huge following. But what...
Dance Floors Stay in Step
Polymers, plastics, laminates, oh my! The materials that go into modern dance floors make them more portable, durable and user-friendly than ever before. But which floor is right for your event? The industry's top...
Room For All
A first-time event challenges any professional tasked with its design and production. But when the event involves headline entertainment, an attendee count forecast that could be off by 1,000, and guests that rank...
PETAL PUSHERS
Next to food and beverage, it is the biggest line item in many a wedding budget. For corporate events, it can soften the scene and bring in brand colors beautifully. Most event clients — no matter what their event...
GROWTH INDUSTRY
Dale Harmon says he has Sears-Roebuck to thank for his start in what has become a long career in events. More commonly associated with large appliances and even larger mail-order catalogs than high-style entertaining...
Hosted by the Women's Committee of the famed Corcoran Gallery of Art in Washington, the annual Corcoran Ball offers its guests — 1,000-plus invited museum donors — a rare chance to dine and dance among treasured...
LIGHT HEAVYWEIGHTS
If the phrase "battery-operated lighting" conjures images of flimsy fixtures and low-impact flicker, it's likely you haven't encountered today's innovative products to light up tables. With their long-life batteries...
When her husband, Garry Harkey, died suddenly in 2005, Roni Harkey's world turned upside down. Roni Harkey had co-owned Coral Springs, Fla.-based Harkey Event Productions Worldwide with Garry for more than 20 years...
AND THE GROOM WORE A HEADSET?
SINCE the opening of Atlantis in 1995, Pennsylvania-based event expert Harith Wickrema has produced nearly 100 events at the Bahamian resort. So familiar with the property is the president of Willow Grove, Pa.-based...
RICHARD Groves freely admits he's not one for following orders. "I have never been a great employee, always wanting to be involved in all decisions and in control of my own destiny," says the managing director of...

redpajama_set_name: RedPajamaCommonCrawl


Freshman infielder Liam Carbone is the LaGrange College Athlete of the Week for the week ending Feb. 17. Carbone was named the USA South Rookie of the Week.
Carbone went a combined 7-for-10 (.700) with a .727 on-base percentage and a .700 slugging percentage to go along with three runs scored in helping the Panthers sweep a three-game series from Virginia Wesleyan last week. In the final game of the series, Carbone was a perfect 4-for-4 with a run scored, two RBIs, a walk and a stolen base.


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From the Center
Gov. Brian Kemp: His Approach for Georgia
Interview with Sen. Isakson: Combating Veteran Suicide and Addiction
Erich J. Prince
Erich J. Prince is the editor at Merion West. Erich has contributed to a variety of publications including The Philadelphia Inquirer, the Hartford Courant, The News & Observer, the Orlando Sentinel, and The Hill. His opinion writing has been honored with two awards from the Columbia University School of Journalism. He studied political science at Yale, completing his thesis on the history of polarization in the United States Congress.
Image via veterans.senate.gov
"I'm a Vietnam era veteran myself. The stigma of suicide today is only a fraction of what it was back then…Times are changing, and we are trying to meet those changes to get people taken care of in a timely way."
On April 16th, U.S. Senator Johnny Isakson (R-Ga.), who is also the Chairman of the United States Senate Committee on Veterans' Affairs, joined Merion West's Erich Prince to discuss issues facing veterans today and his efforts to combat suicide and opioid abuse among those who have served the United States in uniform.
Senator, good morning. Very nice to hear from you, and I look forward to chatting about issues affecting veterans, an area of particular advocacy for you. So to start off and set the scene, I want to ask you about your op-ed last Memorial Day in the Savannah Morning News.
You describe this very moving experience of walking among the headstones and noticing the grave of a soldier, who was killed on the very day that you were born: "All of a sudden, the meaning of Memorial Day became clear. On the day my mother gave me life, Roy C. Irwin sacrificed his life for the freedom I have enjoyed and cherished for 72 years." What are some of these moments that help remind you of the sacrifices our veterans make?
I think that we, as Americans, take for granted so many things that we have and that we treasure. Some of these things we have only because our veterans fought and, in some cases, died so that we have them. That was just a good example, a very moving moment and a moving incident in my life. I was at an American cemetery, where the soldiers from the Battle of Bulge were buried, and I was going down looking at the headstones. My wife was with me. We came to one, and we saw December 28th.
We stopped because that's my birthday and looked at it. It was Roy C. Irwin from New Jersey, who was killed in the Battle of the Bulge on December 28th, 1944, which is the day I was born in the United States of America. While he was giving his life for the country, I was getting life at a hospital in Atlanta, Georgia. But there are many things we take for granted in terms of liberties that we enjoy that we get solely because soldiers risked their lives to be able to give these to us. So I always use this story to make that point.
I'd like to ask if you can elaborate a bit more on your plan to combat opioid abuse by veterans, including your specific proposal to "hold the VA accountable for over-prescribing." How can we consistently ensure that the VA is following proper protocols when it comes to dosage and choice of painkillers?
We are implementing them. Some of them have been recognized by the Centers for Disease Control and Prevention (CDC), by the National Institutes for Health (NIH), and by others. I'm on the Health, Education, Labor, and Pensions Committee, and we are in the process of introducing next week or this week a comprehensive opioid bill. There is nothing more timely. 63,300 people died [from drug overdoses] last year in America, and that number is only going up every year. Every one of those deaths is avoidable. People need to break the habit and get off the opioids. We have to stop playing games with opioids and get to the source: and that is treating addiction, which is the main root cause of it. We need to limit the accessibility [of opioids].
In terms of the U.S. Department of Veterans Affairs (VA), as a chairman, I've backed up Wisconsin Senator Tammy Baldwin and others, including Speaker Paul Ryan on the House side, also from the state of Wisconsin. The Tomah VA Medical Center [in Wisconsin] actually turned out to be giving out opioids as painkillers for soldiers who were being treated for other problems. But the opioids were actually contributing to the problem. They were just being used as a passing painkiller, like an aspirin, Tylenol, or something like that. But, in fact, it has addictive properties that are stronger than any aspirin ever had.
We replaced certain doctors. We replaced the director [of Tomah VA Medical Center]. We sent out a directive to all of the VA hospitals and clinics around the country about the CDC recommended protocol on prescribing opioids in the first place. We are doing everything we can to limit access, except for in times of actual need—not as a casual painkiller. Also, we are better educating both the patients and the doctors about the tremendous damage that opioid addiction can cause.
Along similar lines, when it comes to mental health issues among our veterans, in your Caring for our Veterans Act of 2017, which specific efforts are you most confident will help address mental wellness and suicide rates among veterans returning from conflict zones?
That's a great question—because, in terms of mental health and, particularly, in terms of suicide, timing is everything when it comes to stopping that from happening. When someone is at risk to take their life, you don't have much time to get to them, to counsel with them. You don't have much time to be accessible. We have to, first of all, do a better job of keeping our mental health services accessible to our veterans. To that end, we've done that in the past year by establishing three hotlines around the country. One of them is in Atlanta, which is no longer manned by a machine.
We [previously] had some hotlines that were manned by machines, which were saying: "We're too busy to take your message." In the case of a suicide attempt, ten seconds is everything. You want to be able to talk to somebody at all times, anytime you need them. We've done a good job of bringing in people in those settings to answer those initial calls to get the veterans stabilized. In some situations, we can get them to doctors or physicians in a hospital.
We are having a significant impact in terms of veterans coming into the VA for counseling and then staying in a program to deal with their suicidal ideation—rather than having them run the other way. Accessibility is everything. Our hotlines have a link on our telemessaging where they can talk not only to the individual who answers the phone at the hotline; they can also go to a specific doctor that they have been talking to or working with. We've done a lot to remake the veteran's ability to select a doctor and find a doctor more easily. In concert with the VA, we've made it easier for veterans to find a doctor in residence to work with them on their recoveries.
It's all about timing. It's all about accessibility. Just like if you're doing surgery, the more operating rooms you have, the more surgeries you can do. The more doctors and psychiatrists you have, the more people with neurological or clinical challenges—and the more people with a tendency towards suicide or mental health problems—you can help.
We're trying to explore every way we can to expand access to your veterans to qualified medical care, all on a phone call basis.
Are there any policies that you are pursuing to encourage veterans to seek treatment by reducing the stigma around mental illness and suicide? Clearly, if all these resources are available, how do we make sure veterans are going to, in fact, take advantage of these resources?
Your question is an excellent one—because the stigma of suicide is a twofold problem. One, the veteran has a stigma on himself or herself. Second, society takes a negative look and not a clinical look at suicide. Suicide is a byproduct of mental health problems and disease, which are treatable.
The first thing is that we need to make everyone understand is that this a treatable condition that anyone is subject to, if the wrong circumstances happened to them—number one. Number two, the timeliness of getting them to talk to or work with someone is critical. Many times, privacy is critical as well. In our VA hospitals, in our clinics, in our warrior transition centers in our bases, we have question-and-answer sessions on mental health with a computer—so they are not talking to a human being. So there is not that stigma where they think: "I don't want this person thinking I'm crazy."
They're answering questions that are being fed to them by a computer, so they are a lot more honest and forthcoming. We have learned a lot of the triggers that help direct us towards early diagnosis of someone who is potentially suicidal.
Given some of these new programs now in place, do you think it's easier now for veterans coming back from Iraq and Afghanistan, as opposed to those from the Vietnam era?
No question about that. I'm a Vietnam era veteran myself. The stigma of suicide today is only a fraction of what it was back then. You couldn't get a soldier—or anybody—to talk about suicide at all. Times are changing, and we are trying to meet those changes to get people taken care of in a timely way.
For the last question, in November of this past year, you and Senator Ed Markey (D-Ma.) introduced a bill to honor certain World War II special forces. Also, around that time last year, groundbreaking took place for the new World War I memorial, long-awaited by many. Are there any current efforts to honor veterans of wars past and present that you are particularly proud of—or speak to what you were talking about earlier: making the public aware of the sacrifices veterans make?
I appreciate the question because I am sitting in my office looking at a collage of six photographs of American cemeteries in Europe that I took when I toured the American cemeteries there. I'm in the process of trying to visit every American cemetery by the time my term is up in three years, as chairman [of the United States Senate Committee on Veterans' Affairs].
If you ever go to an American cemetery, under the Veterans Administration's care, it is absolutely pristine, absolutely immaculate. It is a beautiful place and a real tribute to the care we have for our veterans and those who sacrificed their lives in war.
I'm going to work on everything we can do to make sure that when someone is interred in a U.S. veterans' cemetery, they have every accommodation they should. Most recently, we have two cemeteries that are American veterans' cemeteries that are not run by the Veterans Administration; they're run by the Park Service. The Veterans Administration makes sure that every grave has a grave liner. They don't do that at the Park Service. We are now supplying the Park Service with grave liners for any veteran's funeral that goes through their cemeteries. This is just to make sure there is absolute equal treatment for every casualty, for every veteran.
If you visit our Georgia cemetery in Marietta—or also our Georgia cemetery in Canton, they are beautiful cemeteries. They are beautiful places that are a real tribute to the men and women, who honored us by fighting and dying for us. They are also a tribute to our country for taking care of them.
I continue to make those cemeteries not only places where you go to reflect—but also monuments to our soldiers and those who sacrificed everything. We continue to work on things like the National Infantry Museum at Fort Benning—a great facility. We're working on the changes at Fort Gillem with Fort Mac [Fort McPherson] being surplused out at the last round of the Base Realignment and Closure Commission (BRAC) and Fort Gillem remaining in the full ownership of the Army and the U.S. Army Criminal Investigation Laboratory. We're continuing work to improve that and doing everything we can to invest in our CBOC's, our community-based outpatient clinics.
I went to Macon, Ga., in March and opened another one. So we have our CBOC's, and they are closer to our veterans when they are in need. The bottom line is to establish mental health care for our veterans that has close proximity [to our veterans] and with quick access to clinical psychologists and caregivers.
The last thing is on caregivers. I have said it publicly in Washington, and I almost delivered a month ago. I want to see to it that we have caregiver benefits for all era veterans as soon as possible, which means that those loved ones: cousins, wives, spouses, family members caring for veterans at home have part of the benefits that post-9/11 caregivers have. We need to support those being cared for in every way.
Thank you for your time this morning, Senator―very interesting perspectives, so thank you.
Have a great day, and thanks for calling.
Interview with Oliver Strijbis: Swiss Lessons on Identity and National Unity
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archiveCaring for Veterans Act of 2017interviewjohnny isaksonout-patient clinicsenate committee on veteran's affairsveteran opioid abuseveteran suicide
by Erich J. Prince


text:
using System;

namespace Piranha
{
    /// <summary>
    /// Simple attribute to exclude classes or methods from code
    /// coverage.
    /// </summary>
    [AttributeUsage(AttributeTargets.Class|AttributeTargets.Method)]
    public class NoCoverageAttribute : Attribute { }
}

redpajama_set_name: RedPajamaGithub


text:
News > Medscape Medical News
Modern Prosthetic Knees Cut Falls, Morbidity, Mortality in Amputees
Alicia Ault
WASHINGTON, DC — A new study by the RAND Corp showing that amputees who receive microprocessor-controlled prosthetic knees (MPKs) have fewer falls and injuries than those who get older devices could lead to broader insurance coverage of the newer devices.
More than 3500 Americans undergo an above-the-knee amputation each week. Half are due to vascular disease, including those affected by diabetes, 45% to trauma, and the remainder due to cancer or a congenital deformity. Of the 185,000 new amputees each year, only 25% to 30% receive a prosthetic leg and knee.
According to the American Orthotic & Prosthetic Association (AOPA), which paid for the RAND study and sponsored a press briefing here, Medicare spending on the 40-year-old mechanical prosthetic knees (which cost $5000 to $10,000) has increased over the past 8 years, while spending on the newer, more expensive MPKs (which cost $30,000 to $100,000) has declined, in part because no evidence has supported the switch to the MPKs.
"There hasn't been necessarily the 'aha' moment — the evidence that says, what's the benefit, why should Blue Cross and Blue Shield or Medicare pay more for particular technologies, and now we have that," Michael Oros, president of the American Orthotic & Prosthetic Association, told Medscape Medical News.
With the study in hand, AOPA is considering either asking Medicare to revisit its local coverage determination policy for MPKs or seeking to do a pilot project through the Center for Medicare and Medicaid Innovation showing that an additional population — those considered functional level 2 by Medicare (a patient with the ability to traverse low-level environmental barriers, such as curbs or stairs) — may also benefit from MPKs, Mr Oros told Medscape Medical News.
Current Medicare policy — which, although guided by local coverage determinations, is similar nationwide —covers MPKs only for amputees who are fairly ambulatory — that is, who can walk with a variable cadence using a prosthetic and who have demands beyond simple locomotion. Those amputees are considered a 3 on Medicare's four-level functional scale. Private insurers follow that model.
Often, even requests for MPKs for level 3 amputees are denied "out of the gate," said Mr Oros, who is also CEO of the prosthetic maker Scheck & Siress, Chicago, Illinois.
"This is not a case of amputees wanting to have access to new technology just because it is new," he said. "To the contrary, new tech vs old tech can be a life-and-death issue for an amputee," he stressed.
MPKs Not New, Enable Improved Stability and Confidence With Fewer Falls
The MPKs — which have been available for some 2 decades — allow the knee to dynamically adjust to uneven terrain, leading to improved stability and user confidence, according to the RAND Corp.
That organization's study found that MPK users are two times less likely to fall — with a 79% relative risk reduction in injurious falls — which leads to fewer fall-related deaths, about three per 10,000 person years, compared with 14 per 10,000 with older prosthetics. The group also documented a 30% relative risk reduction in osteoarthritis in the contralateral knee.
RAND found that MPKs are associated with a reduction of $3676 per person per year in direct healthcare costs and $909 per person per year in indirect costs, such as lost wages and caregiving expenses.
MPK costs are a bit higher overall because of the cost of the device and maintenance — at $15,083 per MPK patient compared with $13,382 per non-MPK patient. But MPKs are still good value, said Soeren Mattke, DSc, MPH, managing director for health advisory services at RAND Corp in Boston, Massachusetts.
The economic benefits of MPKs are comparable to those of total knee replacement and better than the implantable cardioverter defibrillator (ICD), said Dr Mattke. He noted that his study had some limitations, including that it was a simulation — using literature reviews of clinical and economic impacts of prosthetic knees and the input of technical expert panels to create the model.
"But, it's a good start," he said, noting that "it is the first attempt to quantify the benefits" of the MPKs.
Mayo Clinic Data Add Weight
The Mayo Clinic has also been making efforts to quantify MPKs' benefits, having found in a small study that patients who received the newer devices had fewer falls.
Initial results of that controlled trial — led by Kenton Kaufman, PhD, were presented at the American Academy of Orthotists & Prosthetists annual meeting in March 2017.
Fifty people — who already were using an older knee prosthetic — were switched to an MPK and then switched back to the non-MPK. At baseline, they had a median of two falls per person per month. Those falls reduced to zero with the MPK but went back up to 1.5 per person per month when patients were switched back to a non-MPK. With the MPK, patients spent just 50% of the time sitting, compared with 60% of the time at baseline.
"The quality of the gait more than doubled under the microprocessor knee and they reported an improved quality of life," said Dr Kaufman, who spoke at the AOPA briefing.
The reduction in falls was also important, he said, noting that another retrospective population-based study from the Mayo Clinic, published in June in Prosthetics and Orthotics International, found that falls led to substantial increases in health costs (Prosthet Orthot Int. 2017; DOI:10.1177/0309364617704804).
The results of the study, conducted in adults who underwent transfemoral amputations between 2000 and 2014, found that the average additional cost in the 6 months following a fall was $18,000 for those who required an emergency-department visit and $26,000 for those who had to be hospitalized.
Those figures did not include indirect costs, such as lost wages, caregiving expenses, and transportation costs, so is likely to be an underestimate, said Dr Kaufman.
"Even if an amputee with the older technology avoids death due to a fall, he or she may suffer very serious consequences from a fall-related injury," he concluded.
RAND Corp is an independent, nonprofit, and nonpartisan research institution to inform public policy debates. Funding came from the American Orthotic and Prosthetic Association, a national trade association. The studies were made possible using the resources of the Rochester Epidemiology Project, which is supported by the National Institute on Aging of the National Institutes of Health. It was also made possible in part by the Mayo Clinic Robert D and Patricia E Kern Center for the Science for Health Care Delivery.
RAND Corp. Economic value of advanced transfemoral prosthetics. Published online October 19, 2017. Study
For more diabetes and endocrinology news, follow us on Twitter and on Facebook.
Medscape Medical News © 2017
Cite this: Modern Prosthetic Knees Cut Falls, Morbidity, Mortality in Amputees - Medscape - Oct 20, 2017.
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text:
§ 114-1 Purpose.
§ 114-3 Administrator.
§ 114-4 Notification and Appeals Board.
§ 114-5 Registration.
§ 114-6 Automatic dial alarms prohibited.
§ 114-7 Exterior audible devices.
§ 114-8 Reporting of false alarms.
§ 114-9 Charges for false alarms.
Chapter 114 Alarm Devices
[HISTORY: Adopted by the Representative Town Meeting of the Town of Branford 6-24-1998.[1] Amendments noted where applicable.]
Editor's Note: This enactment also superseded former Ch. 114, Alarm Devices, adopted 6-11-1997.
The purpose of this chapter is to encourage security alarm users and alarm system monitoring companies to maintain reliable and properly used alarm systems in order to reduce unnecessary Police and Fire Department responses to false alarms.
Numerous false alarms hinder the efficiency of public safety personnel and constitute a danger to the general public in the streets during responses to false alarms. Uniform standards of control and regulations for the installation, use and maintenance of alarm devices will assist in the safety of all.
This chapter intends to promote the responsible use of alarm devices and to decrease the number of false alarms and related nuisances in the Town of Branford.
As used in this chapter, the following terms shall have the meanings indicated below:
Any device which, when activated by a criminal act, fire or other emergency calling for Police or Fire Department response:
Transmits a signal to the Central Dispatch Center;
Transmits a signal to a person who relays information to the Central Dispatch Center; or
Produces an audible or visible signal to which the Central Dispatch Center is expected to respond.
Excluded from this definition and the scope of this chapter are devices which are designated to alert or signal only persons within the premises in which the device is installed.
ALARM USER
Any individual, partnership, corporation or other form of association that owns or leases a security alarm system or on whose premises a security alarm system is maintained for the protection of the premises. This term does not apply to municipal facilities and establishments.
AUTOMATIC DIAL ALARM
A security alarm system with a device that automatically dials, mechanically or electronically, the Central Dispatch Center emergency assistance telephone lines without human activation.
CENTRAL DISPATCH CENTER
Any designated location at which the Town of Branford receives an emergency alarm signal.
An office to which remote alarm devices transmit signals where the operators monitor those signals and relay information to the Central Dispatch Center or Police or Fire Departments.
The Chief of Police of the Town of Branford or the Chief's designee.
Any person, firm or corporation in the business of supplying and installing alarm devices or servicing the same.
FALSE ALARM
The activation of an alarm device to which the Police or Fire Department responds and which the activation is not caused by break-in, a fire or other emergency. "False alarm" does not include the activation of an alarm device by violent weather conditions or other extraordinary circumstances beyond the control of the alarm user.
This chapter, including all registration requirements, shall be administered by the First Selectman or his designee, who shall be known as the "administrator."
The administrator shall notify the alarm user of any false alarm charge by mail. Within 30 days of receipt of such notice, the alarm user may file with the administrator information to show that the alarm was not a false alarm within the meaning of this chapter. Such information may include documentation from the alarm user's telecommunications and/or alarm provider that the activation of the alarm device was caused by malfunctioning equipment.
Each alarm user shall register such alarm device within 60 days of installation. The form for registration will be available at the office of the Town Clerk and at police and fire headquarters. After December 31, 1999, an alarm user who has not registered his or her alarm device may be assessed a fine of $25. Such fine will be assessed if the Fire or Police Department responds to a false alarm from an unregistered alarm device. The fine will double if not paid within 90 days of assessment.
No automatic dial alarm may be installed after September 1, 1997. No automatic alarm device in use on such date may remain in use after October 1, 1999.
Unless otherwise required by law, no alarm device which produces an exterior audible signal shall be installed unless its operation is automatically restricted to a maximum of 10 minutes. Within 60 days of enactment of this chapter, preexisting alarms which produce an exterior audible sound shall be retrofitted so that they are automatically deactivated after no more than 10 minutes.
The Police Department and Fire Department shall report false alarms to the administrator, based on the written report of the investigator.
It shall be the responsibility of the central station to notify the alarm user whenever the central station reports an alarm activation to the Police or Fire Department.
When the administrator determines that the Police or Fire Department has responded to a false alarm, the administrator shall assess a charge on the responsible alarm user according to the following schedule:
For the first three false alarms within the Town's fiscal year, provided that the alarm device has been properly registered as defined in this chapter: no charge.
For the fourth and each subsequent false alarm within the same fiscal year: $50 per occurrence.
Registration fee: see § 114-5, Registration.


Herbert Howells's chamber music is for the most part a product of his early maturity, circa 1916–1923. In fact he first attracted attention less for his organ and choral pieces (for which he is best known today) than for the Piano Quartet, the Rhapsodic Quintet for clarinet and strings, the Phantasy Quartet and the first and third violin sonatas. Less well known are the Lady Audrey's Suite for string quartet, and the rhapsody By the Waters of Babylon for solo baritone, cello and organ.
Officially, the string quartet In Gloucestershire belongs to this company, since the 'official' dates are 1916 for a lost early version, and 1923 for the new work. But there is a little more to it than this: in fact the chronology of In Gloucestershire is involved enough to be something of a musicologist's nightmare (or dream, depending on his temperament), and I have drawn freely upon Paul Andrews's researches in presenting the following facts. The first version was completed in 1916 and promptly lost, apparently on a train. (Howells had bad luck with trains. In the early 1950s a disappointed thief threw the briefcase containing the near-completed manuscript full score of the Missa Sabrinensis out of a train window; fortunately most of it was subsequently recovered.) A second version (1919/20) also disappeared, but was reconstructed in the 1960s from a set of parts by the composer and Richard Drakeford, at that time his pupil. Meantime two more versions are known to have come into being: the first represented by another, but incomplete, set of parts in the RCM Library; the second actually by a score and set of (more or less) corresponding parts in the same collection. This, as far as we can ascertain, is the definitive version, and is here recorded for the first time. When it was completed and first performed (if it ever was) remains a mystery, at least for the present. It must have been after 1930, since in February of that year Hubert Foss published a survey of Howells's music in The Musical Times in which he noted that In Gloucestershire had reached him 'in manuscript, with no slow movement and an illegible finale, having suffered a number of critical onslaughts from its composer already'. This later date certainly makes sense of the increased maturity of expression I believe we can feel in the first and third movements.
Like Vaughan Williams's Pastoral Symphony, a work to which it is profoundly affiliated, In Gloucestershire arose from thoughts not only of the Cotswolds but also of The Great War. The landscape quality is vivid enough—I once set the opening pages of the first movement to a television documentary which began with some aerial shots of Gloucestershire seen through the early morning mist, and have rarely witnessed so perfect a fusion of sight and sound. Howells once wrote: 'I have for long years tried to feel, define and express what it has meant, to a potential musician, to have been nurtured in a countryside of companionable hills, two lovely but very diverse rivers, and three magical cathedrals: so that it has seemed that the Severn and the Wye could be flowing in one's veins, and that the three great churches of Worcester, Hereford and Gloucester had become the Houses of the Mind.' But Howells was never a writer of picture-postcards and we have here to do with more than the fashionable ruralism of the Georgians. Landscape, the Severn Valley in this instance, is for Howells, as for his poet-composer contemporary-compatriot Ivor Gurney, also strong in human associations, in history, in the human presence as shaping force. In the Pastoral, as in Gurney's war poems, Cotswold scenes superimpose themselves on French landscapes and vice versa; everything becomes an emblem for everything else. Howells was too sick to be a combatant in The Great War, but his music registers the same agony of mind (with the survivor's natural guilt and self-reproach all mixed in), the same awareness of landscape as the cosmically indifferent background to slaughter.
The design of each movement is of the simplest: all the listener need specifically note is the new strong-featured theme which clinches the climax of the first movement, for this will again recur at climactic points in the third and fourth, grandly releasing the expressive tensions pent-up in the former and turning the entire work upon its heel in the latter. We must also be aware of Howells's mastery of his medium: song transfigured into instrumental melody, aria and recitative for solo instruments, lavish multi-directional polyphony for ensemble. More than a hint here of the great glowing choral-orchestral canvases waiting to be filled in the form of Hymnus Paradisi and Missa Sabrinensis.
The later music of George Dyson is in a different way no less characteristically English than Howells's, the main difference being that Dyson, though sympathetic to Vaughan Williams, remained in his own work practically untouched by folksong, plainsong and modality in general. Nor does he follow Elgar, but rather picks up where Parry and Stanford left off. He had a greater flair for orchestration than either, and absorbed elements of chromatic harmony of primarily Delian provenance, but his concept of native Englishness in music was basically Parry's; and the foundation of Parry's Englishness was paradoxically German. He built on Brahms; and what Brahms was to Parry's generation Strauss was to Dyson's. This is particularly significant with regard to Dyson's Three Rhapsodies, for in them the composer speaks consistently with so accomplished a German—more specifically Straussian—accent that no one would ever guess he was English.
There are no intimations of The Canterbury Pilgrims, Nebuchadnezzar, Quo Vadis, the Symphony in G and other works in which Dyson claims the English birthright which is his by legitimate inheritance. The Three Rhapsodies is in fact one of his earliest works, the only one which he allowed to be published. The Carnegie Collection of British Music issued the complete set in 1920 but they were actually composed between 1905 and 1912: the first in Rome in 1905 (Dyson was twenty-two), the second at Marlborough in 1912, the third at Osborne in 1908. In 1904 the Royal College of Music had elected Dyson to the Mendelssohn Scholarship, and he wanted to go to Leipzig to study. Stanford (Dyson's tutor, as he was later to be Howells's) would have none of it: 'Go to Italy, me bhoy, and sit in the sun.' Dyson did so, and the Three Rhapsodies were the happy result, all inspired by Dante. There is certainly a Mediterranean, if not specifically Italian, quality about the music, with its lyrical grace, bouts of dramatic vigour and overall richness of sonority: the Englishman speaks German with Italian inflections! It is all very youthful in spirit (but then so is the music Dyson wrote in old age), yet disciplined as well as full-hearted: 'rhapsody' does not imply any careless disregard of formal rules and regulations but rather a maximum freedom of treatment within the Classically appointed bounds. (Those interested in the craft of composition would both enjoy and profit by making a detailed analysis of the first Rhapsody's formal scheme).
And it remember when it passid is.
Made all the orient laugh.
In the first chapter of his book The Progress of Music, Dyson wondered whether the essentially creative spirit of our western music would ever return to the place where many of its abiding foundations had been laid, namely the Church. 'Will she ever become the mother of all endeavour, the home of all sorts and conditions of artists … will the ethereal beauty of a string quartet secure a corner in one of her transepts?'. To that question this record can return the answer 'yes', in relation to one of Dyson's own works and in a way which he would have been too modest to foresee.


text:
Q: serving static files django development I know a million people have asked this, and I've read and read but still cannot get this to work (I think that says something about the documentation cough cough).
ONE. CSS:
Here are my settings:
import os
BASE_DIR = os.path.dirname(os.path.dirname(__file__))
TEMPLATE_DIRS = (os.path.join(BASE_DIR, 'templates'))
STATICFILES_DIRS = (os.path.join(BASE_DIR, "static")
STATIC_ROOT = '/static/'
STATIC_URL = '/static/'

also relevant:
INSTALLED_APPS = (
    'django.contrib.admin',
    'django.contrib.auth',
    'django.contrib.contenttypes',
    'django.contrib.sessions',
    'django.contrib.messages',
    'django.contrib.staticfiles',
    'south',
    'blog',
)

My templates are serving up just fine, while my css is not. its located in static/originaltheme.css
I've tried both:
<link rel="stylesheet" type="text/css" href="{{ STATIC_URL }}originaltheme.css">

and
<link rel="stylesheet" type="text/css" href="/static/originaltheme.css">

TWO. Also, is there a way to get hardcoded urls to display? for example, lets say the content of a blog post has a hardcoded url to /static/img1.jpg, how can I do that? All of the documention points to {{ static_url }}, but im guessing that that wont get evaluated when returned from a text field of a database...
is there something to do with my urls?
from django.conf.urls import patterns, include, url

from django.contrib import admin
from django.conf.urls.static import static
admin.autodiscover()

urlpatterns = patterns('',
    # Examples:
    # url(r'^$', 'nickswebsite.views.home', name='home'),
    # url(r'^blog/', include('blog.urls')),
    url(r'^$', 'blog.views.index'),

    url(r'^blog/view/(?P<slug>[^\.]+)',
    'blog.views.view_post',
    name='view_blog_post'),

    url(r'^blog/category/(?P<slug>[^\.]+)',
    'blog.views.view_category',
    name='view_blog_category'),

    url(r'^admin/', include(admin.site.urls)),
)

EDIT:
I tried doing this is in the urls:
urlpatterns = patterns('',
    url(r'^$', 'blog.views.index'),

    url(r'^blog/view/(?P<slug>[^\.]+)',
    'blog.views.view_post',
    name='view_blog_post'),

    url(r'^blog/category/(?P<slug>[^\.]+)',
    'blog.views.view_category',
    name='view_blog_category'),

    url(r'^admin/', include(admin.site.urls)),
) + static(settings.STATIC_URL, document_root=setting.STATIC_ROOT)

urlpatterns += staticfiles_urlpatterns()

but im getting a "settings" undefined error. I tried to import settings and im still getting an error.

Edit
Okay, the documentation for serving static off development server is HORRIBLE. Whoever wrote it should really rewrite it. This guy is the only person in the entire world who seems to explain this clearly: http://agiliq.com/blog/2013/03/serving-static-files-in-django/#servee
You DO need these in the settings.py (why arent they included in the initial installaion??? what genius...):
STATICFILES_FINDERS = (
    'django.contrib.staticfiles.finders.FileSystemFinder',
    'django.contrib.staticfiles.finders.AppDirectoriesFinder',
   'django.contrib.staticfiles.finders.DefaultStorageFinder',
)

You do NOT need these:
    STATICFILES_DIRS = (os.path.join(BASE_DIR, "static")
    STATIC_ROOT = '/static/'
You do NOT need:
manage.py collectstatic

http://agiliq.com/blog/2013/03/serving-static-files-in-django/#servee:

Points to be noted
We did not make any changes to any of the static settings provided by Django to us. We left the static settings as they were in default settings.py provided by Django.
You don't need any change in your urls.py for serving your static files in development. You don't need to add staticfiles_urlpatterns(). Many a times, I got confused with this.
You do not need python manage.py collectstatic for serving static files in development.

A: I also fought against this particular problem. And finally came up with this blog post
Actually you don't need collectstatic , STATICFILES_FINDER and django.contrib.staticfiles. They are all related. Read the blog post

A: I added these lines to the bottom of my url.py:
if settings.DEBUG:
urlpatterns += patterns('',
                        url(r'^uploads/(?P<path>.*)$', 'django.views.static.serve', {
                            'document_root': settings.MEDIA_ROOT,
                        }),
)

And this in my settings.py:
STATICFILES_DIRS = ()

STATICFILES_FINDERS = (
    'django.contrib.staticfiles.finders.FileSystemFinder',
    'django.contrib.staticfiles.finders.AppDirectoriesFinder',
)

A: Did you use:
./manage.py collectstatic

Also your STATIC_ROOT should be absolute path to the directory static files should be collected to:
STATIC_ROOT = os.path.normpath(os.path.join(BASE_DIR, "static"))

A: This is what I did for Django 2.0 using the above answers.  So you'll want a system that makes deployment easy.
settings.py:
BASE_DIR = os.path.dirname(os.path.dirname(os.path.abspath(__file__)))

# Serve Static in Development

STATICFILES_FINDERS = (
    'django.contrib.staticfiles.finders.FileSystemFinder',
    'django.contrib.staticfiles.finders.AppDirectoriesFinder',
)
STATICFILES_DIRS = [os.path.join(BASE_DIR, "appName/static/appName")]

# Serve static in production

STATIC_URL = '/static/'
STATIC_ROOT = os.path.join(BASE_DIR, 'static')

Then made a directory ~/documentRoot/appName/static/appName/ and copied my png into it.  Then in my template:
<head>
  <bootstrap,jquery,etc...>
  {% load staticfiles %}
</head>
<body>
<img class="mb-4" src="{% static "myImage.png" %}" alt="" width="72" height="72">
</body>

Then when you want to deploy you just run collectstatic and they'll be served in one spot.  Each time you add an app, add to that list of static dirs.

redpajama_set_name: RedPajamaStackExchange