U.D.O Returns With STEELFACTORY (AFM/Soulfood Records)
After more than 40 years in the business and with a renowned breakthrough in the early 80’s with ACCEPT behind him, as well as several million records sold worldwide, Udo Dirkschneider from Solingen/Wuppertal, Germany, is one of the biggest rock legends in the business.
U.D.O. has enjoyed well over two decades in the spotlight. Regardless of changes in the metal scene or the U.D.O line-up,the band has never deviated from Dirkschneider’s vision of serving up traditional balls-to-the-wall, no-nonsense heavy metal.
After honoring the classic ACCEPT songs live with his other project DIRKSCHNEIDER in the last couple of years, it’s definitely about time to release a new U.D.O. studio album. Steelfactory will be out on August 31st 2018 via AFM Records / Soulfood Music.
The songs on Steelfactory are clearly influenced by the past DIRKSCHNEIDER shows - the simple straightness of the anthem-like songs make it a timeless record. With its earthy handmade sound – with the help of danish producer Jacob Hansen (e.g. Volbeat) - Steelfactory catches the spirit of the age perfectly. The album title is a hommage to both Udo’s nickname (German Metal Tank) and his down to earth attitude as well as his
powerful stage presence.
The current (core) band line up is working and playing together successfully for many years, like a good family business: Udo,Udo’s son Sven Dirkschneider (drums), bass player Fitty Wienhold and guitarist Andrey Smirnov.
Watch the video for ONE HEART ONE SOUL by clicking here
Udo Dirkschneider (Vocals)
Andrey Smirnov (Guitars)
Fitty Wienhold (Bass)
Sven Dirkschneider (Drums)
www.udo-online.com
www.facebook.com/udoonline/
Power Chords Podcast: Track 23--Saxon and Graham Bonnet Band
New Armored Saint album could arrive in 2019
Red Dragon Cartel drops new album in november
Nordic Union releasing their second album
Dio auction
Overlord trailer (https://youtu.be/USPd0vX2sdc)
Saxon--Crusader (1984)
Graham-Bonnet Band--Meanwhile...Back at the Garage (2018)
Rockversation: Graham Bonnet--Part 1
Matt speaks to the legendary singer about his 50+ year singing career. The new Graham Bonnet Band album “Meanwhile, Back in the Garage” is out now! Follow band news at www.grahambonnetband.com.
Armored Saint and Act of Defiance
7/14 @ Brighton Music Hall in Boston, Ma
Bonus Track: Mr. Big
“Undertow” from the new “Live in Milan” album, out now.
Armored Saint and Act of Defiance Put on a Show for the Ages in Boston
Wow. What a night.
When Armored Saint announced a summer tour where they would play 1991's Symbol of Salvation in its entirety, I was already in. Then I found out that Act of Defiance was the supporting act, and it became one of my most anticipated shows in a long time. Expectations were high, and both bands exceeded them by a mile.
I saw Armored Saint a couple years ago on the Win Hands Down tour, and they were fantastic, so I knew we'd be in for a great show from them. As far as Act of Defiance, I had been wanting to see them since former Megadeth members Chris Broderick and Shawn Drover formed the band in 2014. I've loved the two albums Act of Defiance has put out so far, and couldn't wait to see them live.
This was my first time seeing a show at the Brighton Music Hall in Boston, and it instantly became one my favorite venues. The place is tiny, but has great acoustics, and that's a great combination.
I got a chance to meet Chris Broderick outside before the show, and he was super nice, which pretty much made the night a success before we even got inside. Little did I know it would get much, much better.
Act of Defiance came out and played a great set that featured a great mix of songs from both albums, including M.I.A, The Birth and the Burial, Rise of Rebellion, Reborn and more. Seeing Chris Broderick's guitar wizardry up close was a mind-blowing experience. He is one of the all-time greats. Bassist Matt Bachand and drummer Shawn Drover provided a brutal foundation for Broderick's fretboard gymnastics, and singer Henry Derek brought a ton of energy that the crowd gave back twofold. It was a great set, and solidified Act of Defiance as one of my favorite bands of the last several years.
Matt and I ended up chatting with Bassist Matt Bachand at the merch table after the set, and since he's a Massachuetts guy, we reminisced about hanging out at our local music shop Music Outlet,a s well as some of the local places we all used to catch shows when we were kids. We also got to meet Shawn Drover, and caught back up with Chris Broderick again, which was great.
And them Armored Saint came out and put on one of the best shows I've ever seen.
First, they warmed up the crowd with March of the Saint, Long Before I Die and Chemical Euphoria. And then they launched into Symbol of Salvation in its entirety and it was perfect. John Bush provided some insight about different songs as they went, and the crowd ate up every word. The place as packed with Armored Saint fans, and the crowd sang along to every song. The energy was just huge.
As if hearing that landmark album from front to back wasn't enough, Armored Saint played four more songs before they wrapped their set, including Can You Deliver and Win Hands Down. It was amazing.
If this tour is coming anywhere near you this summer, GO SEE IT. Armored Saint is a legendary band, and this a legendary show. And Act of Defiance is a sight to behold evil as well.
Armored Saint Ride The Perfect Storm In Boston!
With my ears still ringing so much I can't do anything but write a review of the show I just left a few hours ago, Armored Saint performing their classic album SYMBOL OF SALVATION in it's entirety. I will admit I am late to the Saint party, picking up my first A.S. album in 2015, the brilliant WIN HANDS DOWN! Following that I took a crash course in their entire catalog and thought "why wasn't I into these guys in the 80's - 90's ?"
Without beating around the bush (a little pun intended), Armored Saint absolutely delivered on the stages at the Brighton Music Hall just a bit outside of Boston, MA. Musically they just brought it, song after song and electrified the audience who singer John Bush had in his hands from opener to closer. The set was made up of the full SYMBOL OF SALVATION album, played in it's running order, too which created a nice balance in their attack. The set sandwiched this with classic and beloved material from their entire past including March Of The Saint, Can U Deliver and Win Hands Down. The band played a total of 20 songs that also featured the expected and crowd favorites, the emotional Last Train Home and the cruncher Reign Of Fire.
On stage the band; John Bush (vocals), Jeff Duncan and Phil Sandoval (guitars), Joey Vera (bass) and Gonzo Sandoval (drums) are as tight and heavy as most bands out there! They attack without being just heavy and loud, they play with heart and soul without changing things all up and despite the over serious image I thought they have, they have fun on stage and let the crowd have fun, too. Bush took the time between songs to tell some amazing and some very emotional stories about the songs, the process, past tours and the sad loss of original guitarist, Dave Prichard to leukemia in 1990.
The venue, Brighton Music Hall in Boston is a small and incredibly intimate venue with a crystal clear sound system, perfect acoustics and built for a band like Armored Saint. The audience was made up of folks like us who just wanted to listen and see some live music at its best, chat with others about the music we all love and just share a collective experience. Mission accomplished!!!
Following the show all Brian LeTendre and I could talk about was how, as a live band, Armored Saint may be one of the best bands we have seen live. I'm sure we weren't the only ones saying it.
Sorry boys I was so late to the party!!!!!
March of the Saint
Long Before I Die
Chemical Euphoria
Dropping Like Flies
The Truth Always Hurts
Half Drawn Bridge
Hanging Judge
Tainted Past
Win Hands Down
Can U Deliver
Gioeli And Castronovo Reunite For SET THE WORLD ON FIRE
Johnny Gioeli and Deen Castronovo first played together on the debut Hardline album, “Double Eclipse, which was released in 1992. 25 years later, the two were reunited in Italy to commence work on the debut Gioeli-Castronovo album, “Set The World On Fire”.
Both men have continued on their musical paths since they last saw one another, with Gioeli continuing to lead Hardline, while Castronovo spent time with Ozzy Osbourne and had an extended tour of duty with the legendary Journey. Castronovo is currently active with The Dead Daisies and Revolution Saints in addition to Gioeli-Castronovo.
Gioeli’s vocal talents combined with Deen’s superb drumming abilities (and whom is also a fine vocalist in his own right) has made for a stunning album that is driving a driving hard rock record, while also chock full of uplifting melodies and poignant lyrical messages.
We’d tell you to sit back and enjoy this album, but you’ll be on your feet the second it starts, so stand up and take notice of this display of two immense talents doing what they do best!
https://www.youtube.com/watch?v=i5M4etx36WY&start_radio=1&list=RDQMZlYRttm0mWw


Kobe Bryant items stolen from Lower Merion High School
by Rob Tornoe, Posted: February 6, 2017
Several pieces of Kobe Bryant memorabilia have been stolen from Lower Merion High School, according to an email sent to parents from the school.
Sometime Sunday evening, the lock was broken on a display case, known to students at "Kobe's Shrine," outside the Bryant Gymnasium. Among the items stolen were a framed replica of Bryant's Lower Merion jersey, the Aces' 1996 PIAA Boys' Basketball AAAA State Championship trophy and net from the title game, and several pairs of Nike sneakers signed by the Lakers superstar.
"We're bummed," said Doug Young, Lower Merion's director of community relations, who said he could not understand why someone would steal items that do not have a significant monetary value.
"It's a replica jersey, it's not even the jersey he wore in high school," said Young, a high school teammate of Bryant. "I'm not sure what someone would do with a state championship trophy. For us, the items are important because they represent some really wonderful memories."
Current status of the Kobe case at Lower Merion: pic.twitter.com/TwNxomCggz
— Zach Drapkin (@ZachDrapkin) February 6, 2017
Lower Merion police on Monday were investigating the incident and reviewing surveillance video from inside and outside the school.
"Material items can be replaced and we will make every effort to restore and even enhance the contents of the case with the help of alumni and friends," principal Sean Hughes and athletics director Don Walsh said in the joint email to parents.
"And even if we cannot replace all the items, the moments that produced them are still very much alive in our memories and honored through the ongoing traditions of Aces Nation."
Bryant, who was born in Philadelphia and is the son of former 76ers player Joe Bryant, was a standout during his career at Lower Merion. Not only was he the first freshman to start for the school's varsity team in decades, he ended his high school career with 2,883 points, more than either Wilt Chamberlain (Overbrook) or Lionel Simmons (South Philadelphia).
Lower Merion coach Gregg Downer said he had been in contact with Bryant since the theft. "He didn't say too much," Downer said. "He's still trying to process things."
The coach said the items "mean a lot to our legacy. We've always tried to be transparent, allowing the community and anyone who came to our gym to view the items. The case always drew a lot of positive attention."
Mike Lachs, Lower Merion's scorebook keeper for about the last decade, said he could not understand why someone would steal the items.
"You can't sell the stuff," Lachs said. "What can you do with it?"
Staff writer Rick O'Brien contributed to this article.
Posted: February 6, 2017 - 9:19 AM
Rob Tornoe


RANDALL BEACH: 'The Barber of Westville' says 50 years is enough
Randall Beach
Jan. 9, 2011 Updated: Aug. 16, 2017 10:17 p.m.
Anthony Gamberdella has been cutting hair in New Haven for 50 years. He's retiring in April. (Brad Horrigan/Register)
Anthony Gamberdella, who celebrates his 70th birthday today, has decided it's time to "cut back" on his barbering trade after 50 years.
This is terrible news for his customers, who are stunned when they enter Anthony's Men's Hairstyling, on Fountain Streeet in the heart of Westville Village, and read a sign announcing his plan to retire April 2.
"They all ask me, 'Where am I gonna get a haircut?'" Gamberdella said.
If there is any upside to this development, it's Gamberdella's hope to hang around and keep cutting hair a couple of days a week, provided he can find a new guy to buy the business and the newcomer agrees to have a part-timer on the premises.
Of course, there are still good barbers in New Haven and its environs, even if it is a shrinking trade. But Gamberdella's customers say there's something about his technique that will make him very hard to replace.
"You talk about value," said Dr. Arthur Seltzer, who came in for his monthly trim last Thursday afternoon. "Where else can you get 12 minutes of psychotherapy plus a haircut for under 20 bucks?"
Seltzer, a customer for about 20 years, told Gamberdella, "You can't retire!"
Seltzer turned to me and said, "Nobody knows how to cut hair like Tony. Now I'll have to try to find somebody else who has those oldworld skills."
Then Seltzer asked Gamberdella why so many barbers are Italian. He received a one-word reply: "Artistic."
"Not everybody can be a barber," Gamberdella said as he worked on Seltzer's head. "You've gotta know how to talk to people."
He added, "You learn a lot. If I want to know something about a heart, I'll ask this man." He nodded toward the man in the chair; Seltzer is a cardiologist.
Gamberdella, whose sign out front proclaims him "The Barber of Westville," has been holding down that spot for 37 years. Before that he worked at other barber shops: 10 years on Whalley Avenue, three years on York Street.
He said marking his 70th birthday and his 50th anniversary in the business made it seem like a good time to make a change. "I don't want to go out here feet-first, that's all."
He added, "I love what I do. But I'm tired of getting up early in the morning five days a week." He said too many barbers these days aren't willing to open at 8 a.m., as he does.
Gamberdella and his wife, Terri, have two daughters. When I asked if he had ever encouraged them to be barbers, he said, "No, no, no! I made a good living doing this. But I think all parents want their kids to do better than they did."
He got the idea of being a barber one day when he was 16, while walking to school in East Haven. He noticed a barber shop and learned that the fancy car parked in front, a new 1957 Pontiac, belonged to the barber.
Gamberdella figured he could make a good living in that trade and he wouldn't hurt his hands the way his father did as a car mechanic. The elder Gamberdella didn't want his son going into his line of work because young Tony was a keyboardist and his hands were important.
When I noticed all the people waiting in Gamberdella's shop for a haircut were men or boys, I asked him if he cuts women's hair. "There are some women I do," he replied. "I prefer men."
Seltzer laughed and said that's another thing he'll miss about Gamberdella: his outspoken viewpoints.
Indeed, I received a loaded reply when I asked Gamberdella if barbers are an endangered species. He said it was true and added, "They don't have any more barber schools in Connecticut. They have hairdressing schools. The girls rule."
I looked around the walls of the compact shop. There were photos of pretty women as well as framed pictures of James Dean and Howdy Doody. Gamberdella also pointed out the 1800s barbershop pole in the corner. He bought it at Levine's, an antiques shop that used to be across the street. Most of those second-hand shops are gone now, replaced by Internet shopping.
Seltzer remarked, "All the small stores are gone." He recalled Jackson-Marvin, the hardware store that once operated in Westville.
"It's all online," Seltzer said. But then he brightened and noted, "You can't go to the barber online!"
Gamberdella moved on to his next customer. The Beatles' "Let it Be" was playing on the radio. He said he has to rely on radio now because his TV set (that was always tuned to Fox News) is broken.
"That's another sign," Gamberdella said. "Once your TV goes, you've got to move."
But a mother came in with her kids, saw the big bad banner and cried out, "You can't retire!"
Contact Randall Beach at rbeach@nhregister.com or 203-789-5766.
Reach Randall on
Randall Beach covers New Haven Superior Court cases and writes columns twice a week on human interest topics. He also writes the "Beachcombing" column for Connecticut magazine. He enjoys running, rock and country music and local history.


Round 7 Barcelona
The Circuit de Barcelona-Catalunya is a motorsport race track in Montmeló, Barcelona, Catalonia, Spain. With long straights and a variety of corners, the Circuit de Barcelona-Catalunya is seen as an all-rounder circuit. The track has stands with a capacity of 140,700. The circuit has FIA Grade 1 license.
Until 2013 the track was known only as the Circuit de Catalunya, before a sponsorship deal with Barcelona City Council added Barcelona to the track's title.
The Circuit de Barcelona-Catalunya was built in 1991 and began hosting the Spanish Grand Prix that same year. Construction also coincided with the Olympic Games scheduled to take place in Barcelona the next year, where the circuit acted as the start and finish line for the road team time trial cycling event. The Circuit de Barcelona-Catalunya should not be confused with the Montjuïc circuit, which hosted the Spanish Grand Prix four times between 1969 and 1975 and, unlike the Circuit de Barcelona-Catalunya, is actually located within the city of Barcelona.
Because so much testing is done at this circuit, Formula One drivers and mechanics are extremely familiar with it. This has led to criticism that drivers and mechanics are too familiar with Catalunya, reducing the amount of on-track action.
When first used, overtaking was frequent as cars could follow closely through the last two corners and slipstream down the long straight. As aerodynamic balance became more critical, this overtaking method drastically decreased as the cars were unable to follow each other through the fast final corner due to turbulence created by the leading car. The 2007 season saw the first of the two final sweepers replaced with a slow chicane in an effort to improve overtaking. However, the redesign has not yet shown any effect.
The Circuit de Barcelona-Catalunya has hosted a motorcycle Grand Prix since 1992, originally the European motorcycle Grand Prix from 1992 and later the Catalan motorcycle Grand Prix since 1996. There are at least five points on the track (turns 1, 2, 4, 10, 14) where riders are known to overtake. As in Formula 1, Turn 1 is arguably the most popular place for overtaking. The circuit is not known to produce copious amounts of overtaking, despite the long straights. Originally, the Formula 1 circuit changes were not instituted for MotoGP; however, after a fatal crash in the 2016 MotoGP round involving a Moto2 rider, the Formula 1 layout was implemented to slow down riders for safety purposes. The FIM made a further change to the chicane for 2017 by moving up the chicane to prevent riders from cutting the pit lane entrance.
The circuit hosted many other international racing series, including the FIA Sportscar Championship (1999-2002), European Touring Car Championship (2003), FIA GT Championship (2003), Deutsche Tourenwagen Masters (2006-2011), European Le Mans Series (2008-2009), and World Series by Renault (2002-2004, 2006-2011). The FIA World Rallycross Championship currently visits Catalunya since 2015.
http://www.circuitcat.com


Who’s your Little Who-Zis? (m. Ben Bernie, Al Goehring, w. Walter Hirsch)
Busby Berkeley choreographed dance number from the film Night World (1932)
Transcription of the intermittent dialog during the number, mostly banter between chorus girls as they dance:
A. big plantation
girl 1: He’s got a big plantation down in Nicaragua. He wants me to go down there and grow nuts?
girl 2: Go nuts?
B. post-Depression work
girl: And I said to him “I know the Depression’s over and you’ve got to find work for your hands. But keep them offa me.”
C. sugar daddy
girl: Say Ruth, you’re a sap if you turn down that tall guy. He’s loaded with sugar and loves to give milk.” [See “sugar daddy.”]
D. plastered
girl 1: Look at that kid. He’s been here three nights in a row, plastered [very drunk, stiff].
girl 2: Yeah, he’s still fighting the same jag, poor kid.
girl 1: Haven’t I seen his picture in the paper?
girl 2: Yeah, the Radman case.
girl 1: Oh, yeah. His mother killed his father.
girl 2: Yeah, in the other woman’s apartment.
E. going low
girl 1: There’s ol’ Papa Movert again
girl 2: Yeah, and the more he comes here the lower he gets.
F. phone number
patron: Brian 8-7-8-4-3, baby.
girl: My husband will be glad to see you.
G. Mister Baby
girl: “Hello, baby.”
patron: [effeminate voice] “Mister Baby to you!”
girl: “My mistake.”
Who’s your little who-zis
Who’s your turtle dove
Who’s the little what’s-it
That you’re dreaming of
Tell me, who has you a-flutter
Whenever they’re passing by
Melts your heart like butter
Oh me, oh my
Say, when you get the blue-zis
Who you thinking of
Selected other recordings:
Victor Arden-Phil Ohman Orchestra, vocal: Sylvia Froos — 1931
Vic Irwin and his Orchestra, with vocals by The Eton Boys: Jack Day, Earl Smith, Art Gentry and Charles Day
The side was recorded on 27 November 1931, and issued on Oriole 2386, b/w “I Don’t Blame You.” The Oriole 78 rpm discography for catalog numbers 2000 to 2500 at 78discography.com gives the recording artist for both sides as the Allstar Collegians (led by I. Abrams on “I Don’t Blame You”). Redhotjazz.com (defunct) identified Vic Irwin as a pseudonym of Irwin Abrams.
discography notes:
Oriole 2386 matrix numbers: “Who’s Your Little Who-Zis?” 11025=3, “I Don’t Blame You” 11027=2*
In addition to Oriole, the same two recordings were also released as the opposite sides of a single on at least two other labels. The band name credits for the two sides varies according to the label they were released on, as follows:
Oriole 2386: “Who’s Your Little Who-Zis?” by Allstar Collegians, “I Don’t Blame You” by Allstar Collegians and (separately) Vic Irwin and his Orchestra
The Oriole 78 discography at http://www.musiktiteldb.de identifies two different versions of Oriole 2386 (Matrix 11027=2), one with the “I Don’t Blame You” side by Vic Irwin and his Orchestra and another with “I Don’t Blame You” by the Allstar Collegians. It’s possible that these two names refer to the same band.
Banner 32331: “Who’s Your Little Who-Zis?” by Allstar Collegians, “I Don’t Blame You” by Vic Irwin and his Orchestra
Romeo 1757: both sides by “Vic Irwin’s Allstars,” a name which may be a combination of parts of the two band names credited on the other two labels
The label displayed in the video below indicates that “Who’s Your Little Who-Zis?” is the A-side of Oriole 2386.
Ben Selvin’s Knickerbockers, vocal: Dick Robertson — recorded in New York on 29 December 1931; issued on Columbia 2591-D, c/w “With Love In My Heart” (Prager, Quinto, Klenner)
Jack Hylton and his Orchestra — recorded on 3 March 1932; issued on Decca F.2904, b/w “With Love in My Heart”
Ampico Lexington Roll # 213911, played by Paul Rickenbach — released in March 1932
Anson Weeks And His Hotel Mark Hopkins Orchestra — 1932 radio broadcast transcription included on the 1979 (or 1980) compilation Hindsight Records HSR-146
Dean Martin — recorded on 20 November 1952; issued on 12 January 1953 on Martin’s first studio album Dean Martin Sings
Sammy Kaye and his Orchestra, vocal duet: Shirley Ost and Ray Michaels — from the 1960 album Ballroom Date, Columbia CS 8182 (Stereo), Columbia CL 1387 (Mono)
*The number after the equal sign in the matrix numbers may indicate the number of the “take,” when multiple takes were recorded.


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About Sydney Festival
SydFest 2021. Australian Made.
2020 has been a challenging year. To kickstart 2021, we’re recovering, reconnecting communities, and reinvigorating Australia’s arts.
Each January, Sydney Festival presents bold and memorable experiences that ignite, unite, and excite the city of Sydney.
In 2021, we’re building on our proud 44-year history of commissioning and presenting inspiring and ground-breaking new Australian art, with a program that celebrates the best work from our finest artists and companies.
More than any other cultural event, Sydney Festival defines Sydney’s personality, while audacious contemporary programming positions it at the forefront of arts practice in Australia and as one of the most wonderful arts festivals in the world.
For over four decades we have presented international artists, commissioned works that have become Australian classics, opened new perspectives and created a buzz like no other.
To revisit the Sydney Festival programs from 1977 to 2020, please visit our archive.
Sydney Festival was conceived by the Sydney Committee, the NSW State Government and the City of Sydney to attract Sydneysiders into the city centre during the holiday month of January.
The first Festival took place in 1977 and it has since grown to become one of Australia's largest annual cultural celebrations with an international reputation for modern, popular and intelligent programming. Sydney Festival celebrates our city, and the Festival’s style and energy reflect the confidence, diversity and vigour of one of the world's most beautiful cities.
The Festival has a rich history of bringing the world’s best artists and companies to Sydney stages, and showcasing and nurturing the best of Australia’s homegrown talent.
Many of Australia’s most memorable productions have resulted from Sydney Festival commissions and premieres, including highlights from Cloudstreet (1998) to Black Chicks Talking (2003), Three Furies (2005), uniquely Australian musical The Adventures of Snugglepot & Cuddlepie and Little Ragged Blossom (2007), the outrageous cabaret Smoke and Mirrors (2010), The Secret River (2013), Black Diggers (2014), contemporary circus ensemble Circa’s Humans (2017), multi-award-winner Counting and Cracking (2019) and BLACK TIES (2020).
The buzz of Sydney in January wouldn’t be the same without Festival appearances from major Australian musicians, performers and comedians including Nick Cave and the Bad Seeds, Archie Roach, Ruby Hunter, Gotye, Regurgitator, Emma Donovan, Tex Perkins, Megan Washington, Meow Meow, Christa Hughes, Yana Alana and Celia Pacquola.
World-leading artists and companies that have shared work with Sydney Festival audiences in recent years include Lars Jan and Early Morning Opera’s Joan Didion’s The White Album, performance artist Bryrony Kimmings’ I’m A Phoenix, Bitch, and choral choir Tenebrae (2020); Schaubühne Berlin and Complicité’s Beware of Pity, Ethiopian legend Mulatu Astatke, Neneh Cherry, and American artist Nick Cave’s epic exhibition UNTIL (2019); Wayne McGregor, Olafur Eliasson and Jamie xx’s ballet collaboration Tree of Codes, National Theatre’s Barber Shop Chronicles, The Wooster Group’s The Town Hall Affair, Pussy Riot Theatre’s RIOT DAYS, and DryWrite and Soho Theatre’s hit Fleabag (2018); Complicité’s The Encounter, Cheek By Jowl with Pushkin Theatre’s Measure For Measure (2017); James Thierry’s Tabac Rouge (2015); Sasha Waltz’s underwater dance opera Dido and Aeneas (2014); and Ludger Engels and Vivienne Westwood’s Baroque-punk Semele Walk (2013), to name but a few.
These works join a long roster and legacy of extraordinary work and artists including: Ariane Mnouchkine and Thèâtre du Soleil (Flood Drummers); Robert Wilson (The Black Rider); Robert Lepage (Far Side of the Moon, The Andersen Project, Lipsynch); Nederlands Dans Theater; Philip Glass; Ian McKellen (Dance of Death); Batsheva Dance Company; National Theatre of Scotland (Beautiful Burnout, Black Watch, Aalst); Al Green; Chaka Khan; Andrew Weatherall; AR Rahman; Angélique Kidjo; Kneehigh Theatre (Tristan & Yseult, The Red Shoes); and Fabulous Beast (Rian).
For more information on each Sydney Festival visit our archive.
Wesley Enoch AM is Festival Director 2017–present
Wesley Enoch, a proud Noonuccal Nuugi man, is a writer and director who has previously been the Artistic Director at Kooemba Jdarra Indigenous Performing Arts; Artistic Director at Ilbijerri Aboriginal Torres Strait Islander Theatre Co-operative; Artistic Director at Queensland Theatre Company; and the Associate Artistic Director at Belvoir Street Theatre.
Enoch’s other residencies include Resident Director at Sydney Theatre Company – he was also creative consultant, segment director and indigenous consultant for the 2018 Gold Coast Commonwealth Games and the 2006 Melbourne Commonwealth Games. He is Chair of Create NSW’s Aboriginal Arts and Culture Board; Chair of the Australia Council’s Aboriginal and Torres Strait Islander Strategy Panel; a Board member of Annamila and NAISDA; and a member of the AGNSW Aboriginal Advisory Committee
Enoch has written and directed a number of renowned Indigenous theatre productions, including The 7 Stages of Grieving which he directed and co-wrote with Deborah Mailman; The Sunshine Club for Queensland Theatre Company; and Black Medea – a new adaption of Euripides’ Medea. In 2004 Wesley directed the original stage production of The Sapphires, which won the 2005 Helpmann Award for Best Play. He directed Black Diggers, presented at Sydney Festival in 2014 and his most recent production was Black Cockatoo, which premiered at the 2020 Sydney Festival.
Previous directors were:
Lieven Bertels: 2013–2016
Lindy Hume: 2010–2012
Fergus Linehan: 2006–2009
Brett Sheehy: 2002–2005
Leo Schofield: 1998–2001
Anthony Steel: 1995–1997
Stephen Hall: 1977–1994
Festival Director 2022
The board of Sydney Festival has announced the appointment of their new Festival Director for 2022, Australian curator and producer, Olivia Ansell.
Ansell, a highly accomplished arts professional with over two decades’ experience as a director, choreographer and performing artist, is set to commence her three-year tenure in November. She comes to the role after two and a half years as Head of Contemporary Performance at Sydney Opera House.
Voted one of Vivid Sydney’s Top 100 Creative Catalysts, Ansell possesses a vast breadth of art experience, including roles as co-Executive Producer and creative force behind the hugely-popular immersive experience Hidden Sydney; Artistic Director of Sydney Comedy Festival at Sydney Town Hall; Curator of Kings Bloody Cross for Vivid Ideas; producer of Richard Walley OAM and Nigel Jamieson’s large-scale concert spectacular, HOME for Perth International Arts Festival; Consultant Executive Producer for OzAsia Festival Adelaide; and inaugural Executive Producer of Shaun Parker & Company. She is also a lecturer in Movement for the Sydney Conservatorium of Music’s Con Opera School.
Since 2017, Ansell has curated and championed a diverse range of maverick storytellers to the Sydney Opera House stage, including Lucy Moss and Toby Marlow’s cult musical SIX; Hofesh Shechter’s critically acclaimed Grand Finale; Lin Manuel Miranda’s In the Heights; A O Lang Pho by Cirque Nouveau du Vietnam; Natalia Osipova and David Hallberg’s Pure Dance and Australian comedian Hannah Gadsby’s hit show, Douglas.
The full announcement can be read here.
Her Excellency the Honourable Margaret Beazley AC QC, Governor of New South Wales
David Kirk MBE – Chair
Co-Founder and Managing Partner
Bailador Investment Management
David is the Co-Founder and Managing Partner of Bailador Investment Management and Chairman of listed companies Bailador Technology Investments, Trade Me and Kathmandu. Prior to this, he was Chief Executive Officer of Fairfax Media. His previous experience also includes a period as an advisor to the Prime Minister of New Zealand. He is currently the Chairman of Trustees of Sydney Grammar School and sits on a number of other Boards and charitable organisations.
David enjoyed a highly successful rugby career and captained the All Blacks to win the World Cup in 1987. He was awarded an MBE in 1987 and now lives in Sydney with his wife and three sons.
Prof. Larissa Behrendt AO
Distinguished Prof. Larissa Behrendt holds the Chair of Indigenous Research at the Jumbunna Indigenous House of Learning at the University of Technology, Sydney. Larissa won the 2018 Australian Directors Guild Award for best Direction of a Documentary Feature Film for After the Apology. She also wrote and directed the Walkley-nominated feature documentary Innocence Betrayed. She has written and produced several short films. She is a graduate of UNSW and Harvard Law School.
She has published numerous textbooks on Indigenous legal issues. Larissa won the 2002 David Unaipon Award and a 2005 Commonwealth Writer’s Prize for her novel Home. Her second novel, Legacy, won a Victorian Premiers Literary Award. Her most recent book is Finding Eliza: Power and Colonial Storytelling (2016, UQP).
She is a board member of the Sydney Festival and a member of the Major Performing Arts Panel of the Australia Council. Larissa was awarded the 2009 NAIDOC Person of the Year award and 2011 NSW Australian of the Year. She is the host of Speaking Out on the ABC Local Radio and Radio National.
Andrew Cameron AM
Andrew has served on the boards of the Biennale of Sydney, Belvoir, SCAF, ACCA, and Melbourne Art Fair and Foundation. He was Deputy Commissioner for Australia’s presentation at the Venice Biennale, is currently Chair of the Foundation at Art Gallery of New South Wales, Chair of Artspace, and is a member of the International Council of the Tate in London – as well as sitting on the Tate Asia-Pacific Advisory Committee.
He holds the position of Executive Chairman for a group of private businesses and has had previous careers in architecture and merchant banking. In addition, Andrew was made a Member of the Order of Australia in 2014 for significant services to the performing and visual arts.
Paddy Carney
PwC Australia
Paddy is a member of the Global Board overseeing the PwC international network and chairs its Risk & Operations Committee. She is also a member of the Board of Partners of PwC Australia and chairs its Finance & Operations Committee. She has over 25 years' financial experience with PwC in the UK and Australia advising a broad range of clients with a focus on retail, consumer, hospitality and agribusiness. She is also a Trustee of the Historic Houses Trust of NSW (Sydney Living Museums) and a member of Chief Executive Women.
Beem It
Angela Clark began her career as an investment analyst before joining global outdoor advertising leader JCDecaux as Managing Director of the Australian division, launching the company’s operations across four states. In 2003, Angela joined Macquarie Radio Network as CEO, leading the business to a listing on the Australian Stock Exchange in 2005. After five years, Angela left Macquarie Radio Network to pursue entrepreneurial opportunities, founding a number of digital media start-ups before joining ABC in 2011 as Director, Innovation and then as Director, Digital Network.
Angela is currently the CEO of Beem It, a payments fintech founded by three banks, and was previously Executive General Manager of Small Business at the Commonwealth Bank. Angela has a held Directorships across multiple arts, media and sporting organisations and holds a BA in Politics, Philosophy and Economics from Oxford University.
Darren Dale
Blackfella Films
Since joining Blackfella Films in 2000 Darren has produced many award-winning factual productions for SBS including the landmark multi-platform history series First Australians, feature documentaries The Tall Man, Deep Water - The Real Story and In My Own Words, two seasons of the Logie Award-winning First Contact, plus the series DNA Nation, How ‘Mad’ Are You? and two seasons of Filthy Rich and Homeless.
In collaboration with acclaimed UK writer Jimmy McGovern, Darren has also produced, with Miranda Dear, two series and a telemovie of the Logie Award and AACTA Award-winning Redfern Now for ABC1. He also produced with Miranda Dear the telemovie Mabo, commissioned by the ABC to commemorate the 20th anniversary of the landmark High Court decision, and the crime drama Deep Water for SBS.
He was Executive Producer on the Logie and AACTA Award winning teen drama series Ready for This for ABC3.
Darren currently serves on the board of the Sydney Film Festival and was previously on the board of Screen NSW and the Council of the Australian Film, Television and Radio School (AFTRS). In 2012 he was the recipient of the prestigious AFTRS Honorary Degree.
Kate Dundas
Kate has enjoyed a career in media, public policy and cultural leadership. She held senior executive roles in the Australian Broadcasting Corporation (ABC) in both corporate and content areas, including five years as Director of ABC Radio. She has also held several senior government roles including Deputy Secretary Arts & Culture in NSW and most recently Executive Director of Performing Arts at the Sydney Opera House. Kate is a mentor for emerging and established leaders, working both independently and with McCarthy Mentoring. Kate is Deputy Chair of the Board of Australia for UNHCR and chairs its Leadership and Nominations Committee. She also currently serves on the NSW Multi Arts and Festivals Board.
Kate has previously served on other boards including the Australian Film, Radio and Television School where she also chaired the Finance, Audit and Risk Committee. She is a Vincent Fairfax Fellow (Centre for Ethical Leadership, University of Melbourne), holds a Bachelor of Arts in Communications (Charles Sturt University) and is a Graduate of the Australian Institute of Company Directors.
Dr Robert Lang
Dr Robert Lang is a leader in city building, community engagement, strategic urban planning, economic development, creating great public places, transport infrastructure, place management, arts, tourism and energy.
He has extensive experience in the public service, gained within a combination of state & local government businesses.
He has a long involvement in the arts, theatre production and direction, music creation and performance, training young people in the performing arts, delivering arts to western Sydney audiences and significant experience in outdoor events.
He has a focus on place making and place development and bringing together the drivers for making great cities. He has a keen interest in the potential of western Sydney to provide business growth & economic development opportunities and the goal of making Sydney a livable city with more jobs closer to home.
As a former CEO for Parramatta City Council he understands local government, knows how to develop a compelling vision for the city and deliver major new city property & infrastructure developments. He brought major new events to Parramatta, implemented a new place-making focus and initiated the Western Sydney Light Rail project.
Dr Lang has a number of interests in the not for profit sector including disability services, affordable housing, education and the arts.
Benjamin Law
Australian writer and broadcaster
He’s the author of the memoir The Family Law (2010), the travel book Gaysia: Adventures in the Queer East (2012) and the Quarterly Essay Moral Panic 101 (2017). He’s the editor of the anthology Growing Up Queer in Australia (2019) and creator and co-writer of three seasons of the award-winning SBS TV series The Family Law, based on his memoir. He has a PhD in creative writing and cultural studies from the Queensland University of Technology (QUT).
In 2019, he was named one of the Asian-Australian Leadership Summit’s (AALS) 40 Under 40 Most Influential Asian-Australians (winning the Arts, Culture & Sport category) and one of Harper’s Bazaar’s Visionary Men.
Every week, Benjamin co-hosts ABC RN’s weekly national pop culture show Stop Everything. He also co-hosts online startup and tech TV show That Startup Show, and you can catch him on TV shows like Q&A (ABC), The Drum (ABC), The Project (Ten), Filthy Rich and Homeless (SBS) and the ABC’s two-part ABC feature documentary on Chinese-Australian history, Waltzing the Dragon. He has also written for over 50 publications in Australia and beyond including the Monthly, Frankie, Good Weekend, the Guardian, the Australian, Monocle and the Australian Financial Review.
He also co-wrote the comedy book Shit Asian Mothers Say (2014) with his sister Michelle, and the sex/relationships advice book Law School (2017) with his mum Jenny. He was also a researcher and associate producer on Blackfella Films’ Deep Water: The Real Story (SBS) and a writer on Endemol Shine’s Sisters (Netflix/Ten). His debut play Torch the Place (Melbourne Theatre Company) runs February–March 2020.
Benjamin is based in Sydney. He is a Plan Australia ambassador and Story Factory board member.
Catriona Noble GAICD
MD Retail Distribution, ANZ Banking Corporation
Commencing with ANZ in 2015, Catriona was responsible for key retail distribution channels to customers including the Australian branch network. In this role, Catriona led a team of more than 6,000 people. More recently she spent time as an executive sponsor for several key institutional banking clients.
Prior to joining ANZ, Catriona worked for the McDonald’s Corporation as Chief Restaurant Officer, Asia, Pacific, Middle East and Africa based in Singapore. In this role she was responsible for more than 10,000 restaurants and 200,000 people. Previously, Catriona was CEO and Managing Director for McDonald’s Australia and Chair of RMHC (Ronald McDonald House Charities) for approximately four years.
Throughout a 20-year career with McDonald’s, Catriona earned a reputation as an innovator for her success in driving fundamental cultural change to achieve business success. During her time as CEO she played an integral role in the transformation of the McDonald’s brand in Australia from a pure fast food outlet to one that offers healthier options, attracting a broader customer base in the process.
She is a member and mentor with the Business Council of Australia, CEW member and was previously a member of the Australian Social Inclusion Board (Federal Government), of which she was the Deputy Chair of the National Place Based Advisory Group.
Catriona also completed the AMP (Advanced Management Program) at INSEAD business school, Fontainebleau in 2010.
She is an enthusiastic supporter of the arts across all mediums. She is especially passionate about the growth of access and support of the arts beyond major city centres.
If you have any feedback we'd love to hear from you.
Sydney Festival Office Details
Level 5, 10 Hickson Road
The Rocks NSW 2000
Phone: (+61) 2 8248 6500
Fax: (+61) 2 8248 6599
Email: mail@sydneyfestival.org.au
Ticketing and box office inquiries
Email: ticketing@sydneyfestival.org.au
Volunteering inquiries
Email: volunteer@sydneyfestival.org.au
Wesley Enoch AM
execoffice [at] sydneyfestival.org.au
Festival Director 2022–2024
Olivia Ansell
Chris Tooher
Corey Zerna
Vivia Hickman
vivia.hickman [at] sydneyfestival.org.au
Kate Willams
kate.williams [at] sydneyfestival.org.au
Rebecca Gribble
Program Administrator & Associate Producer
rebecca.gribble [at] sydneyfestival.org.au
Aimee Ocampo
aimee.ocampo [at] sydneyfestival.org.au
Tara Harding
Ticketing Manager
tara.harding [at] sydneyfestival.org.au
Sarah Toner
Ticketing Systems Coordinator
sarah.toner [at] sydneyfestival.org.au
Anais Taylor
anais.taylor [at] sydneyfestival.org.au
Brooke Ravens
Senior Corporate Partnership Manager
brooke.ravens [at] sydneyfestival.org.au
Amalina Whitaker
Sponsorship Manager
amalina.whitaker [at] sydneyfestival.org.au
Marita Supplee
Head of Philanthropy
marita.supplee [at] sydneyfestival.org.au
John Bayley
john.bayley [at] sydneyfestival.org.au
Alycia Bangma
alycia.bangma [at] sydneyfestival.org.au
Blake Smith
blake.smith [at] sydneyfestival.org.au
Fernando Motti
fernando.motti [at] sydneyfestival.org.au
Dimitri Cachia
Head of Finance and Administration
dimitri.cachia [at] sydneyfestival.org.au
Jennifer Stallard
Finance & Administration Manager
jennifer.stallard [at] sydneyfestival.org.au
Julie Crawford
Accounts and Payroll Officer
julie.crawford [at] sydneyfestival.org.au
Courtney Lewis
courtney.lewis [at] sydneyfestival.org.au
Administration Officer
thomas.hamilton [at] sydneyfestival.org.au
Fiona Jackson
Executive Project Coordinator
fiona.jackson [at] sydneyfestival.org.au
Casual Crew Callout
Sydney Festival is looking for experienced Production casual crew for SYDFEST 2021. Each year the festival has a wide range of crewing requirements across all our venues from late December 2020 to late January 2021 – from crew for help setting up outdoor festival sites to people with experience in theatre lighting, sound or wardrobe. If this sounds like you, please complete our Crew Application Form.
Please sign up to our enews or keep an eye on Facebook, Twitter and Instagram to be the first to find out when roles become available.
Media Releases and Enquiries
Sydney Festival 2021 Program Launch
New Festival Director for 2022-24 Announced
Festival Director Wesley Enoch awarded Order of Australia
For more information and high-resolution images of Sydney Festival events, contact:
Jadan Carroll
jadan@commonstate.co
Luke McKinnon
luke@commonstate.co
Please note: media enquiries only.
Browse Sydney Festival annual reviews below.
Corporate Responsiblity
Disability Inclusion Action Plan
The Sydney Festival Disability Inclusion Action Plan (DIAP) supports the Festival's commitment to welcome everyone in Sydney, regardless of accessibility needs, and provides our organisation with strategic direction in addressing accessibility issues.
Download a copy of the 2019–20 Disability Inclusion Action Plan as a PDF or Word document.
Sydney Festival's vision for reconciliation is to formally and informally engage with Aboriginal and Torres Strait Islander artists and communities, and to positively contribute to closing the gap between Indigenous and other Australians.
The Festival will do this by committing to four key areas:
• respecting Aboriginal and Torres Strait Islander people and cultures
• offering employment opportunities to Aboriginal and Torres Strait Islander people
• offering development and presentation opportunities to Aboriginal and Torres Strait Islander artists and arts workers
• building cultural awareness and understanding among our staff, stakeholders and audiences of the diversity of Aboriginal and Torres Strait Islander stories
Sustainability Vision
We have a vision to be the most sustainable major performing arts festival in Australia.To read our full vision of sustainability, download the PDF here.
Sustainability at Sydney Festival
We have a vision to be the most sustainable major performing arts festival in Australia.
For several years we have been working towards making Sydney Festival a more sustainable event, with both big wins and big challenges. For example, we no longer offer disposable plastic water bottles – instead we give artists and staff reusable metal water bottles.
Offsetting our carbon footprint remains a large task, and every Festival helps us take another step towards fully understanding our impact, and identifying ways to minimise our impact and maximise the positive environmental, social and economic legacies of Sydney Festival.
Meeting our vision
With an estimated audience of 450 000, over 50 venues with performances by over 800 artists from Australia and abroad, the impact of resource consumption, waste creation, transportation, and greenhouse gas emissions is considerable.
In collaboration with our artists, venues, suppliers, staff, crew, volunteers and, importantly, with our audience together we can meaningfully reduce our resource consumption, waste creation, and our greenhouse gas emissions, so that together we meet our vision for a truly Sustainable Sydney Festival.
We will be enlisting your help to reduce our impact because; we believe that together we really can make a difference.
To read our full vision of sustainability, download the PDF here.
Sydney Festival acknowledges the 29 clans of the Eora Nation, the Traditional Owners of the land on which the Festival takes place.
We pay our respects to Elders past, present and emerging, and recognise the continuing connection to lands, waters and communities.
If you'd like to unsubscribe from Sydney Festival's e-mails, online advertising, or physical mail lists, feel free to e-mail us any time at mail@sydneyfestival.org.au specifying what communication you would like to stop receiving.


Fission and Alpha Both Receive Security holder Approval of Their Respective Plans of Arrangement
FISSION URANIUM CORP. (TSX VENTURE:FCU) (OTCQX:FCUUF) (FRANKFURT:2FU) and ALPHA MINERALS INC. (TSX VENTURE:AMW) are pleased to announce that each of their respective previously announced plans of arrangement have been approved by their respective security holders today.
The Fission Arrangement, which involves spinning out of certain assets of Fission to Fission 3.0 Corp., was approved by shareholders and option holders of Fission at a special meeting of the Fission Security holders held today. At the Fission Meeting, a special resolution approving the Fission Arrangement was approved by: (i) 99.55% of the votes cast by Fission shareholders; and (ii) 99.60% of the votes cast by Fission Security holders, voting together as a single class.
The Alpha Arrangement, which involves acquisition of all shares of Alpha by Fission and spinning out of non-Patterson Lake South assets of Alpha to Alpha Exploration Inc., was approved by shareholders, option holders and warrant holders of Alpha at a special meeting of the Alpha Security holders held today. At the Alpha Meeting, a special resolution approving the Alpha Arrangement was approved by: (i) 83.18% of the votes cast by Alpha shareholders; and (ii) 85.72% of the votes cast Alpha Security holders, voting together as a single class. In addition, Alpha received minority approval of the Alpha Arrangement in accordance with Multilateral Instrument 61-101.
Both arrangements are still subject to final approval by the TSX Venture Exchange and the Court of Queen’s Bench of Alberta. The Court hearings for obtaining the final orders approving the arrangements are scheduled to take place on November 29, 2013, and the completion of the both arrangements is expected to occur on December 6, 2013.
Additional information regarding the terms of the Fission Arrangement are set out in Fission’s management information circular dated October 29, 2013, which is available under Fission’s profile at www.sedar.com.
Additional information regarding the terms of the Alpha Arrangement are set out in Alpha’s management information circular dated October 29, 2013, which is available under Alpha’s profile at www.sedar.com.
About Fission Uranium Corp.
Fission Uranium Corp. is a Canadian based resource company specializing in the strategic acquisition, exploration and development of uranium properties and is headquartered in Kelowna, British Columbia. Common Shares are listed on the TSX Venture Exchange under the symbol “FCU”.
About Alpha Minerals Inc.
Alpha Minerals Inc. is a mineral exploration company whose principal focus is the exploration and development of uranium properties in Athabasca Basin in northern Saskatchewan, Canada. Common Shares are listed on the TSX Venture Exchange under the symbol “AMW”.


Letter to the President of the UN Security…
Letter to the President of the UN Security Council
His Excellency Sacha Llorenty
Ambassador of Bolivia to the United Nations
President of the United Nations Security Council
Dear Ambassador Llorenty,
We are writing regarding an offensive Holocaust analogy made by Lakhdar Brahimi during a recent UN Security Council meeting on the Middle East.
During his speech to the Council, the former Algerian Foreign Minister and UN envoy sympathetically quoted a Palestinian woman from Gaza who told Brahimi that “Israel has put us in a concentration camp.” Much to our surprise, Brahimi’s remark went unchallenged by other Security Council members, including you.
A comparison of this nature, which seeks to link the Jewish state with those who perpetrated the greatest and largest act of anti-Semitism in world history, is not an impartial or dispassionate accusation. It is a charge that is purposefully directed at Jews in an effort to associate the victims of the Nazi crimes with the Nazi perpetrators, and serves to diminish the significance and uniqueness of the Holocaust. To make such a comparison is an act of blatant hostility toward Jews and Jewish history. And indeed, Mr. Brahimi has a record of employing similarly offensive stereotypes about Jews, including accusing the “Jewish-Zionist lobby” of controlling the US government.
Mr. Ambassador, we strongly urge you to condemn Mr. Brahimi’s offensive Holocaust analogy. Doing so would send an important message about the Security Council’s rejection of anti-Jewish bias within the United Nations.
U.S. Allows American Citizens Born in Jerusalem to have "Israel" Listed on Passport
ADL Applauds Historic Moroccan Decision to Recognize Israel
This agreement is especially significant given the longstanding heritage of the Jewish community in Morocco.


Made-in-India Royal Enfield ‘ELECTRIC’ Bullet: Check it out!
Electric vehicles are often deemed as the future of the automobiles. While manufacturers are working to launch electric vehicles in the market, there are many who are also working on retrofitting electric vehicle components on regular vehicles. Here is a Royal Enfield Bullet that has been smartly converted into an electric vehicle in India. Here are the details.
The transformation job has been done by Cochin, Kerala based Hound Electric who have expertise in the design and development of powertrain for automobiles. This transformation job based on a Royal Enfield Bullet 350 has been done to pay tribute to the brand. The project was done by two interns D Harikrishnan and Mustafa after the inception of the idea by Hound Electric’s CEO Paul Alex as per Electric Vehicle Web.
The work on the transformation job started last year in September and initially, a Hero Splendor or similar lightweight bike was being considered. However, the duo planned to use a 10 kW electric motor and to power it a 72A/60V battery pack, which could be fitted on a small bike. Which is why Royal Enfield was chosen for the job.
Also read: Royal Enfield home service is now operational
The chassis of the Bullet EV has been designed from scratch and the frame comes from a scrapyard. It uses a Permanent Magnet Direct Current (PMDC) electric motor, which is sourced from an Indian manufacturer. The battery weighs around 32 kg and the electric motor weighs around 10 kg. The battery is located in the space where the engine of the Royal Enfield Bullet used to be. The space below the tank now has keeps the battery with inhouse fabricated mounts.
The bike weighs 166 kg and it can run for around 80 Kms on a single full charge. The top speed is about 100 km/h depending on the road conditions and the weight of the rider among other conditions. However, the time that it takes to charge completely is not known.
The whole project took about 10 months and the cost comes to be around Rs 35,000 for the transformation. The team did not ad the cost of the motor, battery and a few other components because they already had these with them.
With the transformation job, the team wants to convert the message that the electric vehicles can look retro and be futuristic at the same time. Interestingly, Royal Enfield is also working on the electric motorcycle and it is expected to be launched in a few years time.
Also read: 26-year old mother travels 1800 km from Pune to meet her sick son


Prodigy dies at 42 and other news of the week
The week that was June 19-June 23
By Martenzie Johnson	@martenzie
The state of North Carolina, that bastion of civil rights, had a law barring sex offenders from using social media sites, such as Facebook, invalidated by the U.S. Supreme Court. The court also ruled that rejecting trademarks that “disparage” others violates the First Amendment; the Washington Redskins, locked in their own legal battle with the U.S. Patent and Trademark Office, wasn’t a party in the current case but supported the decision, which ruled in favor of Asian-American band The Slants. New York sports radio host Mike Francesa, when learning of the decision, referred to The Slants’ members as “Oriental Americans,” and when told that phrase was offensive, he asked, “You’re telling me that using the word ‘Oriental American’ is a slight?” The 47-year-old husband of Beyoncé announced a new, stream-only album available exclusively to the hundreds of Tidal and Sprint customers. In honor of Juneteenth, a commemoration of the end of slavery, President Donald Trump released a statement praising two white men (President Abraham Lincoln and Maj. Gen. Gordon Granger), and a sportswriter questioned the history of American police and slave patrols. A heady reporter tried Lyft Shuttle, the ride-sharing company’s beta-stage commuter option, which allows riders to “walk to a nearby pickup spot, get in a shared car that follows a predesignated route, and drops you (and everyone else) off at the same stop” — or, in other words, a bus. A data firm hired by the Republican National Committee left sensitive information — including names, dates of birth and home addresses — of nearly 200 million registered voters exposed to the internet; the company responsible, Deep Root Analytics, calls itself “the most experienced group of targeters in Republican politics.”
The Philadelphia 76ers officially acquired the No. 1 overall pick in the NBA draft, paving the way for the team to draft yet another player with past leg issues. Markelle Fultz, the first pick in Thursday’s draft, not only was traded from 53-win team to one that won just 28 games last season but also briefly considered signing with LaVar Ball’s Big Baller Brand over Nike. A Green Bay Packers fan and Wisconsin resident who, for some reason, has Chicago Bears season tickets, sued the Chicago franchise for not allowing him to wear Packers gear on the sideline at Soldier Field; the Wisconsin man told the court that the Bears “deprived me of my ability to fully enjoy this specific on-field experience.” In other bear news, three New Hampshire teenagers are being investigated for potential hate crimes for assaulting and yelling a racial slur at costumed Boston street musician Keytar Bear, who is black.
White House chief strategist Steve Bannon said White House press secretary Sean Spicer wouldn’t appear on camera as much because “Sean got fatter.” Former five-weight boxing champion Sugar Ray Leonard offered UFC fighter Conor McGregor one piece of advice for his boxing match against Floyd Mayweather Jr. in August: “Duck.” FBI director nominee Christopher Wray once represented an American energy executive who was being criminally investigated by the Russian government, but Wray deleted that information from his official online biography sometime in 2017. Mattel diversified its Barbie and Ken doll lines, offering different sizes, skin tones and hairstyles, including man buns, cornrows and Afros. For the new heavyset Ken dolls, Mattel originally wanted to market them as “husky,” but, “A lot [of guys] were really traumatized by that — as a child, shopping in a husky section.” Twitter was in an uproar after it was reported that Wonder Woman star Gal Gadot was paid just $300,000 for her role in the critically acclaimed, $500 million movie, compared with $14 million for Man of Steel’s leading man, Henry Cavill; the latter figure was not true. Imprisoned former football player O.J. Simpson, who is up for parole for burglary and assault next month, spends his time in prison watching his daughter’s show Keeping Up With the Kardashians; “He likes to keep up with all the gossip with them,” a former prison guard said. NFL Hall of Famer Warren Sapp, last heard fighting prostitutes in Arizona, has decided to donate his brain to scientists when he dies; Sapp said his memory “ain’t what it used to be.” New York rapper Prodigy, real name Albert Johnson, died at the age of 42; Prodigy, one half of acclaimed duo Mobb Deep, had recently been hospitalized because of sickle cell anemia. U.S. Attorney General Jeff Sessions, the nation’s top lawyer, hired his own lawyer. New York Gov. Andrew Cuomo, catching up to the 20th century, signed a bill that raised the age of consent for marriage from 14 to 18. An Algerian man was sentenced to two years in prison for dangling a baby out a 15th-floor window on Facebook, instructing his followers “1,000 likes or I will drop him.” A Canadian man stole a mummified toe that had been used as an ingredient in a hotel bar drink for more than 40 years; an employee said the hotel was “furious” because “toes are very hard to come by.” To test the performative advantages of the microbiome Prevotella, a Connecticut scientist performed a fecal transplant on herself, telling a news outlet: “It’s not fun, but it’s pretty basic.” Atlanta Hawks center Dwight Howard, at 8:55 p.m. ET, tweeted, “Ok Twitter Fans ,, give me your thoughts , trades or otherwise & Remember 2B-Nice”; five minutes later, Howard was traded to the Charlotte Hornets.
The Pentagon paid $28 million for “forest”-colored uniforms for the Afghan Army, yet “forests cover only 2.1% of Afghanistan’s total land area.” White House aide and former reality TV star Omarosa Manigault signs her name as “the Honorable Omarosa Manigault” despite not being a high-ranking federal official or judge. Despite President Trump once valuing his Westchester, New York, golf course at $50 million, the Trump Organization valued the property at $7.5 million on tax forms, half of the town assessor’s valuation of $15.1 million, to pay less in property taxes. The Russian government, accused by U.S. authorities of spreading fake news to influence the 2016 presidential election, said it will “raise the issue of fake news” at the United Nations and the Organization for Security and Cooperation in Europe, calling it “a problem that should be defined and addressed collectively.” Although terrorism is defined as using violence for political reasons, the FBI said the shooting at a baseball practice for the Congressional Baseball Game by a white man had “no terrorism involved.” Meanwhile in Flint, Michigan, the stabbing of a police officer at an airport by a man who reportedly yelled, “Allahu Akbar” is being investigated by the FBI as an act of terrorism. A group of CIA contractors were fired from the agency for hacking a vending machine and stealing over $3,000 worth of snacks. Rep. Greg Gianforte (R-Montana), best known for body-slamming a Guardian reporter last month, was sworn in to the House; the Democratic Party of Montana sent Gianforte an orange jumpsuit for his first day in office. The daughter of two dentists who had enough education to teach their children about stocks and investments, and who, herself, owns a multimillion-dollar company, was taught to save and now plans to retire at 40. In shocking news, a new study found that films with diverse casts outperform films that are overwhelmingly white. A police officer was acquitted of fatally shooting a black man. An auto insurance industry-funded study found that states with legalized recreational marijuana laws had a higher frequency of auto collision claims than states without such laws. Murray Energy Corp. CEO Robert E. Murray sued comedian John Oliver for defamation after the HBO host used his weekly TV program to mock the energy executive, at one point calling Murray a “geriatric Dr. Evil”; Oliver predicted on his show June 18 that Murray would sue him. Hall of Fame professional wrestler Jerry “The King” Lawler, known for calling women’s breasts “puppies” and other sexist remarks, said even he hated the finish of a historic all-women’s match that ended with a man winning. In response to the new American craze fidget spinners, Chinese companies have started selling the Toothpick Crossbow, a small, $1 handheld crossbow that can fire toothpicks 65 feet; parents worry the crossbows could blind young children, and Chinese state media fear iron nails could be swapped in for the toothpicks. New York Knicks president Phil Jackson said he is willing to trade 21-year-old center Kristaps Porizingis, who is 21, with the “future” of the team in mind.
ESPN commentator Stephen A. Smith, still visibly upset over the recent actions of Phil Jackson, pointed out that the Knicks president’s first front office deal back in 2014 was signing forward Lamar Odom, “who was on crack”; Odom was released from the team three months later. Meanwhile, an NBA prospect said Jackson was “falling in and out of sleep” during the prospect’s workout. Knicks owner James Dolan skipped out on the NBA draft to perform with his band, JD & The Straight Shot, at a local winery-music venue. Former House Speaker Newt Gingrich, who last week said U.S. presidents “cannot obstruct justice,” said President Trump alleged he had tapes of former FBI director James Comey to “rattle” him. The president, who in May insinuated that he had “tapes” of conversations with Comey, tweeted that he, in fact, does not have any such tapes. The lack of diversity at the Rupert Murdoch-owned Wall Street Journal is so dire that some reporters have taken to calling the newspaper “White Castle.” In another example of “life comes at you fast,” Chicago Cubs outfielder and World Series hero Kyle Schwarber was demoted to Triple-A Iowa after batting just .171 through the first 71 games of the season. The trainer for former Chicago Bulls forward Jimmy Butler, in response to his client being traded to the Minnesota Timberwolves, said he’s met “drug dealers with better morals” than Bulls general manager Gar Forman. Hip-hop artist Shock G, best known for his seminal 1990s hit “Humpty Dance,” was arrested in Wisconsin on suspicion of drug paraphernalia possession; there was no mention of whether or not the arrest took place at a Burger King restaurant. Just days after Uber CEO Travis Kalanick resigned from the company amid hostile work environment allegations, some company employees began circulating a petition to have Kalanick reinstated, stating “[Travis Kalanick], no matter his flaws (everyone has them) was one of the best leaders I have seen.” Montgomery County, Maryland, police are using DNA evidence to help create composite sketches of those suspected of sexual assault; the DNA, described as “bodily fluids,” is assumed to be male semen. A New York woman who traveled to the Dominican Republic to get reduced breast implants and liposuction developed an infection and now has a hole in one of her breasts; the woman, who traveled to the Caribbean island for a cheaper $5,000 procedure, will now pay over $10,000 in recovery costs. Famed comedian Bill Cosby is planning a series of town halls aimed at young people, specifically athletes, on how to avoid sexual assault allegations. After nearly three months of secrecy, Republican senators publicly released their version of a replacement for the Affordable Care Act (ACA). In unrelated news, only 38 percent of Americans want the president and Congress to repeal and replace the ACA.
A Trump administration official once filed for bankruptcy because of his wife’s medical bills for treating her chronic Lyme disease. President Trump all but confirmed his former tweets about alleged “tapes” of former FBI director James Comey were an attempt to influence the director’s Senate testimony. Comey, who announced the reopening of an investigation into Democratic candidate Hillary Clinton just 11 days before the Nov. 8 election, refused three weeks earlier to attach his name to a statement on Russia’s involvement in that election because “it was too close to the election for the bureau to be involved.” A North Korea spokesman said the death of American college student Otto Warmbier just days after he was released from imprisonment in the country is a “mystery to us as well.” NBA Hall of Famer Dennis Rodman, who was in North Korea around the same time Warmbier was released last week, said dictator Kim Jong-Un is a “friendly guy,” and the two sing karaoke and ride horses together. Zola, a gorilla at the Dallas Zoo, danced to (a dubbed-over version of) Michael Sembello’s 1996 hit “Maniac.” The St. Louis Cardinals announced their first Pride Night celebration at Busch Stadium; a disgruntled fan demanded that the team “stop forcing this down my throat.” Great Britain, loser of the Revolutionary War, is now putting chocolate in its chili. In response to Pirates of the Caribbean actor Johnny Depp asking an English crowd “When was the last time an actor assassinated a president?” a White House spokesperson condemned the remarks: “President Trump has condemned violence in all forms, and it’s sad that others like Johnny Depp have not followed his lead.” Hours later, New Hampshire state Rep. Al Baldasaro, a Trump campaign adviser, visited the White House; last year, Baldasaro said Hillary Clinton “should be shot in a firing squad for treason.” Five-foot-9 Boston Celtics guard Isaiah Thomas said if he were taller he’d be “the best player in the world.” Nearly 500 Syrian civilians have been killed in U.S.-led airstrikes against two provinces in the Middle Eastern country. Former MTV Jersey Shore star Ronnie Magro-Ortiz, describing his breakup with fellow reality TV star Malika Haqq, said he and Haqq were like “oil and water.” He added: “It tastes good with bread, but it’s just not mixing.” A jury deadlocked for the second time in the case of a police officer killing a black man. After less-than-stellar reviews from critics and Jada Pinkett Smith, and a 22 percent rating on Rotten Tomatoes, the Tupac Shakur biopic All Eyez on Me is being sued for copyright infringement by veteran journalist Kevin Powell.
Martenzie is an associate editor for The Undefeated. His favorite cinematic moment is when Django said "Y'all want to see somethin?"
This Story Tagged: The Week That Was


Def Leppard Rick Allen Speaks Drumming and His Fine Art
Reprinted from Medium article by Carol Ruth Weber
Rick Allen, the famed drummer for Def Leppard, has revealed an amazing artistic side beyond his musical attributes. Allen is wowing fans and gaining new ones with his beautiful fine art collections named "Drums for Peace" and his "Art To Wear" Collections.
Rick Allen Drums On
Allen has proven to be a powerful force continuously drumming his life beyond expectations. The drummer, born Richard John Cyril Allen, joined the British rock band, Def Leppard, at the young age of 15 in 1977 right before the group signed their first contract in 1978. With Allen putting the beat in their heavy metal sound, the band quickly gained fame.
Only four years after the release of their first album in 1980, the drummer was sidelined by a horrific car accident in 1984. Admittedly speeding in the English countryside, Allen could not maneuver his corvette around a sharp turn and literally hit a wall. That wall would change his life forever.
Although wearing a seatbelt, with the car flipping over multiple times, Allen was thrown from the vehicle. His left arm was literally ripped off during the accident. The drummer survived the crash but despite efforts to reattach his limb, his arm did not make it.
Yet this was not to be the end of Allen’s drumming career. The band had just been commercially recognized by the masses in 1983 after the release of “Pyromania.” Not only did Allen not concede to the notion of never drumming again, his bandmates rallied in full support of Allen’s efforts to continue drumming.
Allen looked to his feet to take over for the loss of his left arm. A customized drum kit was designed for Allen to be able to play the snare drum with his foot. In 1986 the band got together in a pub to watch Allen perform his new-found drumming skills. He was a hit, and, soon after, Def Leppard was back on stage in full force at the “Monsters of Rock” festival in England. Fans excited to have their favorite drummer return on stage, gave Allen a wonderful inspiring ovation.
Rick Allen Is an Artistic Force
With their bandmate drumming in full force, Def Leppard played on. Their “Hysteria” album, released in 1987, firmly planting the heavy metal group in the top hierarchy of rock groups. As Allen continued on with his amazing drumming talent, he has also found another art outlet in painting and creating wearable art.
In 2006 the artist visited armed forces patients at Walter Reed Army Medical Center. Relating to those who were dealing with lost limbs, Allen founded a charity to help veterans of war who are battling Post Traumatic Stress Disorder (PTSD).
Allen performs on stage with his bandmates as well as in a one-man act as a solo for his art shows. Passion and life has motivated him to create beautiful works. Allen gathers much of his inspiration from wounded warriors. His Purple Heart colorful works series is the perfect illustration of how Allen is stimulated to create.
Speaking with Rick Allen, the drummer, artist, and caring individual, is truly inspiring.
Carol Ruth Weber: What first inspired you to start drumming?
Rick Allen: Around 10 years old I found a pair of drumsticks that were probably my fathers, and starting using cookie tins until I found furniture, and got into trouble with my mom [snickering]. My father influenced me with the love of his music collection, everything from Elton John to the Big Bands. My best friend got a guitar for Christmas and I went home to ask my parents for a drum kit. I was first told no, but then they said if I did odd jobs and work I could get one. I worked hard and while I was waiting to get my drums I took drum lessons with Kenny Slade who was playing with Joe Cocker.
CRW: How did you become involved with Def Leppard at the young age of 15?
RA: From the point that I got my drum kit I started playing with my friends and had a band. We were playing cover songs and from there every band I ended up playing with played cover songs, and I wanted more! So, at 14 I was going to get out of the business and my parents said there is an article in the Sheffield Star [local paper] saying “Leppard Losses Skins.”
They called the editor and got Joe’s information, and within a few days I went and met up with Steve and Joe in a local pub, standing in water in the bathroom we talked about all of the concerts that we had been to. From there we set a date for an audition and I auditioned with a couple of others. A few days later, around my 15th birthday, I was invited to join the band. My sixteenth birthday I opened for ACDC.
CRW: Did you feel like life ended when the reality of the accident set in?
RA: Yes and no! Initially it was like I don’t think I can do this anymore. At the time, I was going through many mystical experiences. Then the outpouring from my family, guys in the band, and literally people from all over the planet, gave me a new lease on life. I understood the meaning of how strong the human spirit is.
People wanted to know if I needed to learn how to play drums again. I said no because it was already in me. My body naturally compensated for the loss. It was an important factor in my recovery - realizing new talents. The thing that helped me the most was to stop comparing myself to what I had been, and to stop comparing myself to others, and that is when I found my uniqueness.
CRW: What drove you to find a way to continue with your art of drumming?
RA: Family, band mates and the incredible out pouring from all over the world, and some of the experiences that I was happening at the time.
CRW: What other everyday things did you have to relearn to do with just one arm?
RA: Shoelaces! Velcro and zippers are great. I love to cook so I had to rethink how to cook.
CRW: What led you to visiting Walter Reed Army Medical Center in 2006?
RA: I thought I was just a bigger asshole after the accident. I had no therapy after accident and just went back to work. Once I felt things starting to surface, such as rage, I would self-medicate and it became a vicious cycle. I realized in 2006 that Warriors spoke the same language as me.
In 2009 I met John Roberts, who went down in a helicopter in Somalia. At a concert, we met the Warriors and John asked me if I had dealt with my PTSD. That’s when I really started getting the help. Our Foundation has been going since 2001 working with others parts of the population, such as battered women, and kids with cancer. In 2006 I realized we had to change our focus for Raven Drum to start working with Veteran Groups, but that didn’t really kick in until meeting John.
We started having 5 to 7 day retreats to help them, but in reality it helped me. There is always someone worse off to reach down to.
CRW: When did you discover your love for creating fine art?
RA: Not until recently. When I was a kid, art was just what we did to be creative but I wouldn’t call it fine art. I started painting with my youngest daughter when she was four, a couple of years ago. I saw her go to a mindless place where she was just doing everything from the heart. I realized that all I had to do was stay in the moment and I would do things that people are going to love.
Art is a time for contemplation – is it good or am I just kidding myself. What I do at home in my art studio, I gather from inspiration on the road. I’ll plan it out on the road by marking it up with apps. I feel like some of what I do has a childlike quality.
My grandfather gave me a camera when I was seven or eight. Photography became my friend, especially after my accident because it was something else I could obsess over and express myself other than music. But everything led to the same road to creativity with a new thing to obsess over.
CRW: Where do you find inspiration to create your artworks?
RA: It comes from my heart and all of my life experiences, including my family and working with Wounded Warriors. From not being afraid to be vulnerable. All the same things that inspire the music - family, friends, traveling – such as New York and Big Sur.
I gathered huge inspiration being in Boston from some of the statues, really from everywhere. There are no rules - I will take a picture and then start manipulating, turning it into something that I can continue with.
CRW: How did you become a fashionista creating wearable art?
RA: I got over the fear of presenting something new to the world. My wife was like, you have to show your artwork and photographs. I had a fear of rejection but once I presented it I got a positive response. I could push it in any direction I want. I produce prototypes of a suggestion and then designers work with me to hone the finished productions.
Next I would love to get into lost wax castings.
The British Allen is happily married, with two daughters, living in California. Allen’s wife, Lauren Monroe, is also his partner in creating and paying forward. Inspired by meeting wounding servicemen and women, they founded the Raven Drum Foundation and Project Resiliency. The foundation has an important mission to support those globally in crisis.
“To serve, educate and empower veterans and people in crisis. To support, promote, and contribute to global healing, multicultural unification, and community leadership.”
Rick Allen’s life force is contagious in his drive to create and help others. As he continues to tour with Def Leppard, Allen is also busy traveling to showcase his artwork, with the backing of Wentworth Galleries. The amazing artist also makes sure to have time to spread his goodwill in support of veterans.
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#RickAllen #DefLeppard #Music #Art #WoundedWarriors
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The Economics of Accessibility & Universal Design
Concerns regarding the costs associated with making buildings accessible are often raised by architects, builders and building owners, but questions abound regarding how these costs compare to the benefits derived.
Over the past two years, Australia has seen a significant change in the legislation requirements for the provision of access to people with disabilities, the Disability (Access to Premises – Buildings) Standard 2010 and its harmonisation with the Building Code of Australia being the most significant. Prior to the implementation of the new regulations, a series of Regulatory Impact Statements (RIS) attempted to quantify the costs associated with the changes they brought.
Predictably, incorporating the new standard’s requirements into new buildings was found to be more cost effective then retrofitting existing buildings. The RIS to the Access to Premises – Buildings standard reported cost estimates as low as one per cent of total construction cost in some new developments. Multi-storey buildings with heritage significance were identified as building types likely to incur the highest costs.
While the costs are somewhat tangible and can be more readily quantified, the benefits may not be.
Organisations offering public spaces for the provision of their goods and services may be losing out on possible sales by not meeting the needs for people with a disability and older people (estimated at 18.5 per cent and 14 per cent, respectively, of Australia’s population according the Australian Bureau of Statistics).
The employment rate for people with disabilities is also substantially lower to that of the overall population, with some estimates as low as 38 per cent for wheelchair users. This has several flow-on effects including that a higher proportion of people rely on government pensions and that this portion of the population earns considerably less on average than the rest of the population. An increase in workplace participation would result in people with disabilities having a larger income, enabling them to participate further as consumers in the economy. It would also lead to significant savings in government spending.
Many of the provisions for access to people with disability also have implications for the safe use of buildings. For instance, wider passageways make the movement of goods and furniture easier and safer for service people, stairs with well-designed handrails on both sides may reduce the incidence of accidents, slip resistant floor finishes and increased lighting levels may reduce falls. The potential savings in hospitalisation and medical expenses as well as lost productivity could be significant, but would also be impossible to accurately predict and measure.
Furthermore, there are benefits derived by other groups such as families with small children who use prams and people with temporary disabilities such as sporting injuries. Greater accessibility could also lead to increases in specific industries such as tourism.
Many additional benefits can be identified within the residential sector. The combination of inappropriate housing design and an aging population bring about issues such as increased hospital admissions, and home care and support and early aged care admissions become increasingly prevalent.
The costs of future modifications to existing housing stock are also very significant with little support from government available to people needing such modifications. Savings could also be found in preventing falls within homes as well as caregiver injuries for those managing the needs of people with disabilities in less than favourable environments.
Clearly, there is a real need for further empirical evidence to be produced to better evaluate these questions. The potential benefits are many and varied and the beneficiaries extend far beyond the needs of people with disabilities.
http://designbuildsource.com.au/the-economics-of-accessibility-and-universal-design