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[staceybombacey]

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[samheughanswife]

Riddle Me This

Sam was in 🇦🇺, Bondi Beach and its surrounds for a minimum of 7 days. Offline by choice on his public IG.

Why did he not retroactively follow muscular women gym rats? Why was there no anons and DM’s to the two duelling accounts about sightings and connections? One Dutch account in particular has previously been used to generate the frenzy of speculation. The other, well she is just a joke and of no value to Sam on this forum.

We are talking Bondi Beach bikini babes, fitness influencers. Bondi and Santa Monica are same same, with minimal differences. Gym, beach scene literally on steroids.

As seen from the photo I shared of Sam in the North Bondi gym he was working out in a grace and favour arrangement with the gym. As well as running the Bondi 2 Bronte coast walk. Most likely all the way to Coogee. Duncan included photos of Gordon’s Bay on his to way to Coogee beach. Yet there not a single sighting of Sam doing beach things.

Not one single anon drop or DM to cooperative tumblr accounts who fuel the laugh out loud latest single white ( they always are) female hook up with Sam.

As soon as Sam Roland is back in 🏴󠁧󠁢󠁳󠁣󠁴󠁿 it’s game on again. As @sgiandubh has posted you can see what’s at play here. To quote Debbie Harry a bleach blonde 😉 “ Paris is Calling”. LandCon coming 💳🔭🧿

It’s all a Con ladies. And just like all cons the grifter relies on the lure of FOMO to profit handsomely.

As the man himself said once, “I suggest you ignore”.

[newbiesquadgoals]

https://www.dailymail.co.uk/tvshowbiz/article-12419161/amp/The-Matildas-Sam-Kerr-buys-vacant-block-land-South-Beach-Perth-940-000-build-dream-home-close-parents.html

i mean buying property doesn’t automatically mean your building a home for yourself but also not sure sam is wealthy enough to build investment properties or to build multi million dollar homes for her family members so that may be the case

I believe it! I think Sam will always have a home in Perth no matter where else she splits her time.

[sweetdreamsjeff]

Jeff Buckley “was creating something bigger than the song”

Buckley's friends and collaborators tell the full story of his rise

ByTom Pinnock

13th November 2015

In 1993, Jeff Buckley released his first EP: four songs, played live and alone, that introduced an extraordinary new talent to the musical world. Soon, he would create a debut album, Grace, that suggested he could do anything. Buckley, however, wasn’t so sure: “Jeff,” says his best friend, “was incredibly insecure about everything.” From tribute shows for his father, through the clubs, record labels and studios of New York and London, to the salons of his heroes, Jimmy Page and the Cocteau Twins, Uncut charts the tempestuous first moves of a lost legend. Eternal life guaranteed… Story: David Cavanagh. Originally published in Uncut’s June 2013 issue (Take 193).

Jeff Buckley’s Grace tour lasted 21 months, visited Europe four times, racked up almost 150 North American dates and finally ended on March 1, 1996 in Sydney. The venue was a picturesque spot for the last goodbye: a club in a seaside hotel overlooking Coogee Beach. Among those there was Belinda Barrett, a 26-year-old producer for a Sydney film company, who’d become a Buckley fan the year before.

“Jeff’s two tours of Australia were a life-defining time for me and many others,” Barrett says today. “Jeff was someone you wanted to become a devotee of, and I did. He had incredibly loyal followers who really connected with his essence and spirit.” She remembers looking around at gigs and seeing people gaping in astonishment at the stage. Two years on the road had honed Buckley’s setlist into a hypnotic, invocatory, near-holy performance. “There were moments of coalescence in Australia,” recalls his drummer Matt Johnson, “when new worlds in music felt like they were being glimpsed. Moments I’ll remember until my dying breath.”

Buckley was in good humour at the Coogee Bay Hotel’s aftershow party. Belinda Barrett asked him for his autograph. “Steely balance,” he wrote, adding: “Patti Smith”. But behind the smiles, the long tour had taken its toll. Johnson, suffering from exhaustion and depression, was leaving the group; he’d complained bitterly about the ravages of the “rock machine”. Under contract to Columbia, a Sony label, Buckley had committed to one of the most gruelling itineraries of the MTV-dominated ’90s. The promotional conveyor belt stretched from Paris to Perth, and Buckley had had to learn when to acquiesce and when to resist. It may be one explanation why “steely balance” – a phrase more befitting a wine list – popped into his head as he was approached for an autograph.

“We always said to him, ‘If it gets overwhelming, let’s take a breath,’” says Paul Rappaport, Sony’s former vice-president of artist development. “But you have to understand, people at the company were constantly fighting over him. ‘He’s got to go to France next.’ ‘No, he’s got to go to Australia!’”  The conveyor belt paused; a Sydney hiatus in a New York story that had begun five years earlier.

It was a tale straight out of Dick Whittington. Buckley’s first visit to New York, in 1990, had ended with the 23-year-old Southern Californian fleeing Manhattan in despair after being accused of shoplifting. But in the spring of ’91, the bells coaxed him back. A phone call from Brooklyn invited him to sing at a tribute concert for his father, a man he’d hardly known. This time his arrival in the city would have an impact. Soon everyone from Marianne Faithfull to Allen Ginsberg would hear about him.

Held in a Brooklyn Episcopal church, “Greetings From Tim Buckley” was Jeff’s equivalent of a debutante’s coming-out party. He sang four of his father’s songs in the familiar Buckley vocal tone and range, dumbfounding anyone who’d presumed Tim’s multi-octave voice to be unique. The key moment came in “I Never Asked To Be Your Mountain” when the lighting designer projected Jeff’s head onto a stained glass wall at the rear of the church. It was, says the show’s producer Hal Willner, something akin to a visitation from Jesus. After that, there seemed little to keep Jeff in Los Angeles.

“He became a sponge of New York culture,” says Willner, who took him under his wing. “He jumped into the arty circle initially. I took him to see the Mingus Big Band at the Vanguard, and another night he went to see Sun Ra.” Buckley based himself in the Lower East Side, where he found “a village of freaks like himself” (in the words of actor-musician Michael Tighe, who would later join his band) and lived a monastic existence, burning incense and contemplating a small Bodhisattva on his windowsill. “People who were attracted to New York were not of the norm,” Willner adds. “They came here because of what they could do, which they couldn’t do anywhere else.”

Buckley cut his hair short and sang in Gods And Monsters, a virtuoso raga-rock outfit led by former Captain Beefheart guitarist Gary Lucas. At first, the collaboration was fruitful. Buckley wrote lyrics for a pair of Lucas instrumentals (“And You Will”, “Rise Up To Be”), turning them into “Mojo Pin” and “Grace”. Lucas, angling to sign Gods And Monsters to the BMG-financed Imago Records, envisaged success on a grand scale. Buckley – 14 years his junior – was his final jigsaw piece, his Robert Plant, his Jim Morrison. Gods And Monsters organised a March ’92 showcase gig at the same Brooklyn church where Buckley had honoured his father a year before.

“I was so pissed off at Gary,” remembers Kate Hyman, an Imago Records A&R executive. “Jeff was amazing – you could tell he was a star. But every time he came to the front of the stage, Gary would jump in front of him and play all over him.” Buckley began to feel mismatched with Lucas but was unwilling to confront him, a typical trait according to friends. The band’s bassist, Tony Maimone, proved easier to confide in. “He says, ‘Y’know, Tony, I’m not sure if I’m gonna continue with this,’” Maimone recalls. “It was a little bittersweet. He was kind and gentle, but I got the impression we weren’t going to be playing with him for much longer. He had his own vision to pursue.”

Steve Abbott, a New York-based Englishman who owned a London indie label (Big Cat), saw Gods And Monsters play in a club. Abbott immediately identified Buckley as their most interesting member. “He looked quite sulky and moody, whereas Gary was very in-your-face. Jeff came back on at the end and did a song by himself. It was one of those moments where you haven’t quite heard anything like it. It didn’t fit into any musical format. I spoke to him later and he told me he had some gigs at a place called Sin-é.”

Anyone who attended Buckley’s concert at London’s Shepherd’s Bush Empire on March 4, 1995 will remember the dreadlocked black man who walked onstage to duet with him on “What Will You Say”. His name is Chris Dowd and he’d like to delete that night from his memory (not to mention from YouTube) – he admits that he was horribly drunk. Dowd, a founder member of LA ska band Fishbone, was one of Buckley’s closest friends. After Dowd left Fishbone, he and Jeff lived together for a time in New York, Dowd fielding phone calls for Jeff while he was out. “It would be Chrissie Hynde or Elvis Costello. ‘Hello, is Jeff there? Tell him Elvis called.’ ‘Er, OK.’”

Buckley had become the darling of Sin-é. Sin-é was a café in the East Village run by an Irishman (its name, pronounced “shin-ay”, is Irish for “that’s it”). It had a small bar and no stage. Buckley appeared at Sin-é almost every week in 1992, leaning against a wall and singing, accompanying himself on a Telecaster plugged into a little Fender amp. It was casual and informal (nobody paid to get in), but the customers agreed that something extraordinary happened when he sang. His voice, which he was modifying all the time, was sensual and gender-ambiguous. It could make people cry. It could make them feel elated. It could – and he would insist on this – eliminate conversation from the room. He alluded to his Sin-é period in a 1995 interview with Melbourne’s RRR radio station: “What I’m trying to do is just sing what comes to my body in the context of the song. And if you go by the emotion of the song, it’s almost like stepping into a city. Cities have certain customs and rules and laws you can break, and that’s what I was doing.”

“He would do mostly covers,” Michael Tighe told Uncut in 2007. “Nina Simone. Nusrat Fateh Ali Khan. I was very impressed with his knowledge. I thought he had really good taste. What really sent me was when I heard him do ‘Hallelujah’. That’s when I felt I was in the presence of genius. That made me see white flashes.” Buckley had heard Leonard Cohen’s hymn-like “Hallelujah” in a version performed by John Cale on a Cohen tribute album. It had become a feature of Jeff’s floating Sin-é repertoire – “Strange Fruit”, The Smiths’ “I Know It’s Over”, Bob Dylan, Edith Piaf – which grew by the week.

“I remember him opening once with ‘Sweet Thing’ from Astral Weeks and closing with ‘The Way Young Lovers Do’ from the same album,” remarks Nicholas Hill, a radio DJ for New Jersey’s WFMU. “To have the gall even to attempt something from Astral Weeks – usually that doesn’t go over great. But this guy could reinterpret songs, sing them completely differently every time. He was investigating where they could take him. He was creating something bigger than the song. For the first three minutes, you wouldn’t even know what the song was.”

Transported but relaxed, Buckley would talk, do impersonations, comment on what the clientele was wearing (“Nice sandals”) and sing adverts and jingles that he remembered from his childhood. “The motherfucker was so funny,” says Chris Dowd. “He was like… if somebody took Lenny Bruce and Jim Carrey and mixed them into one person. A really dark sense of humour combined with an incredible ability to mimic everything. He had a photographic memory for music.” Nicholas Hill concurs: “Everyone was drawn to Jeff’s personality. He was extremely magnetic and charismatic. Men fell in love with him. Women felt he was their future husband. It was just like, ‘Holy shit, this is a major dude.’ There was just no denying it.”

“Sin-é was this teeny little place with a couple of tables and chairs,” says Kate Hyman, “but it was a magical, fun time because there was no pressure. I was an A&R person, but I was enjoying listening to Jeff and not having to think about the business.” Steve Abbott of Big Cat, who lived a two-minute walk from Sin-é, chatted to Buckley one night and was intrigued to find they shared a love of The Groundhogs – as well as a taste for Guinness. Abbott said he’d like to do a record deal. Hyman, too, wanted to sign Jeff to Imago at some point. But things were moving quickly. One night Hal Willner showed up at Sin-é with a friend named Steve Berkowitz, an A&R man for the major label Columbia.

Abbott: “I left New York to go touring with Pavement, who were on my label. Within the week and a half that I was away, the record industry discovered Jeff Buckley. He now had a lawyer. There was one ridiculous night where I saw three limos outside Sin-é. You didn’t see limos in the East Village. This was when we still had muggings and killings, before the area was gentrified. I couldn’t even get in the door of Sin-é. I kept getting pushed back out again.”

Hyman: “When the limos started showing up, it was funny and silly and none of us took it seriously. But suddenly there was a bidding war. I was in there for a minute, but I was at a small label and there was no way we were going to beat out the majors.” There was another stumbling block for Imago that Hyman is slightly reluctant to reveal. “Well, I guess it doesn’t matter now,” she says. “My boss, Terry Ellis – I took him to see Jeff and his comment was, ‘He’s really good, but he has no charisma.’ He actually said that. Really.”

Buckley’s Sin-é apprenticeship didn’t end in formal goodbyes – he appeared there many more times, including a gig with his band shortly before recording Grace – but the innocence had been lost. “His initial crowd were disappointed because they couldn’t see him in a club with eight other people,” says Willner wryly. It was too late. The cat was out of the bag.

Buckley signed with Columbia Records on October 29, 1992. The lure was a promise of artistic freedom, but their historic catalogue (Dylan, Springsteen, Cohen, Cash) inevitably influenced his decision. It took Sony’s Paul Rappaport all of five minutes at Sin-é – Buckley was singing a Van Morrison song at the time – to be convinced that Jeff was potentially a figure of equal stature.

Rappaport: “Donny Ienner [Columbia president] said to him, ‘I know you’re getting offered more money by Clive Davis [Arista] but I’m not going to give it to you, because it’ll mess your head up. I’ll give you half of that, and I’ll make a deal that we won’t pressure you.’” Sure enough, the first thing Columbia did after signing Buckley was… absolutely nothing. They left him alone for months. A hands-off policy was regarded as essential to his development.

“He still hadn’t written many songs,” Rappaport points out. “We had no idea, really, whether he could write or not.”

Brenda Kahn, a ‘punk-folk’ singer-songwriter on a Sony label called Chaos, was introduced to Buckley by her A&R man. She and Jeff giggled at the multi-million-dollar Manhattan world they’d accidentally infiltrated. “We both felt like, ‘What are we doing here? We belong on the Lower East Side.’ We were both in a giddy sort of realm.” They became friends (and briefly lovers), Kahn finding Buckley surprisingly precise – she uses the word ‘intentional’ – about all aspects of his creativity. He already knew the importance of leaving a legacy. He talked of needing to improve his lyrics. Kahn: “I was in awe of his abilities. Have you heard his recording of ‘Satisfied Mind’? The way his voice and guitar work together? I was like, ‘God! I can turn a phrase, but look what you can do.’ And he was like, ‘Sure, I can sing the crap out of anything, but how do I say it?’”

It was in Buckley’s nature to fluctuate between resolve and hesitation. On top of his ongoing worries about being sold to the public as Tim Buckley’s son, he was anxious to be perceived as a fan-based, credible artist, not some major-label hype. It was entirely characteristic of him to phone Nicholas Hill, who ran a 7” label, and tell him he wanted to record six indie singles immediately. It was also characteristic of him to change his mind and forget the conversation had ever happened.

Chris Dowd: “Jeff was the kind of person who was incredibly insecure about everything. His ability to play his instrument. His voice. When I first met him, he didn’t think he was good-looking. It was, ‘Women don’t like me,’ all this stuff. Later on, he was embarrassed to be voted one of People magazine’s ‘30 Most Beautiful People’. I think one part of him secretly dug it, but the other part – the artist, the musician – was like, ‘What a fucking goofy fag you are.’”

“He was a bit dorky,” says photographer Merri Cyr, who shot the covers of Live At Sin-é and Grace. “That’s what made him charming. I think he was initially unaware of the effect he had on other people. Later, though, he became much more savvy about how he behaved and presented himself. I remember he acquired a stalker or two. He was scrutinised and was in the public eye. His demeanour changed over time. Perhaps he became a bit suspicious of people.”

Live At Sin-é was recorded in July ’93. Buckley and Columbia agreed that a four-song live EP was a smart, subtle way to introduce him to the public and the media. Following several planning meetings at Columbia, he was about to spend six weeks at Bearsville Studios in Woodstock recording his first album. Chris Dowd: “Steve Berkowitz was being very protective of him. The pressure was probably more on Steve than Jeff. But the other thing is, Jeff could walk into a meeting with Donny Ienner and all the Sony people would be mesmerised by him. There’s no other word for it. They knew they’d signed a guy who was going to have a prolific, 30-year career. Fishbone were on the same damn label and we couldn’t get them to do anything. But Donny Ienner would have tattooed Jeff’s name on his penis if Jeff had told him to.”

With studio time at Bearsville booked, Buckley told producer Andy Wallace (Nirvana, Rollins Band) that he wanted to make a ‘band’ album. Wallace: “I thought that was a good idea. Over the course of a career, you want to reach out to more complex musical presentation, and he felt he wanted to do it right away.” Mick Grondahl (bass) and Matt Johnson (drums) were hand-picked because Jeff felt an affinity with them on both personal and musical levels. “He was very particular about who he was looking for,” says Nicholas Hill. “He wanted guys his own age who didn’t have baggage, who weren’t hot session guys. He’d done all that with Gary Lucas.”

Buckley, a brilliant guitarist, recorded most of the album’s guitar parts but invited Lucas – in a conciliatory gesture – to play on “Mojo Pin” and “Grace”. Buckley-written material rubbed shoulders with covers of “Hallelujah”, “Lilac Wine” and Benjamin Britten’s “Corpus Christi Carol”. It was rock meets Sin-é.

Chris Dowd was one of the first to hear it. “He had a cassette. He put on ‘Lilac Wine’. He was like, ‘I’m going to play you something… OK?’ I could see in his eyes he was insecure about what I was going to say. I started crying when I heard it. There I am, his fucking best friend, and he’s made this album and he doesn’t even believe how good it is. I was like, ‘What are you worried about, man?’ Either a song showed his depth of understanding as a musician, or it showed his sensitivity as a human being. There wasn’t a song out of place. That album became a sonnet for the tortured.”

Live At Sin-é was released in America in November ’93. But Columbia’s counterparts at Sony in London declined to follow suit, feeling the EP had no commercial potential. Instead it was given a UK release by Big Cat, which had signed a licensing deal with Columbia. The next step was to bring Buckley over to promote it. “We knew he was very good live – that’s how he was sold to us by the American company,” says Luc Vergier, a Frenchman who ran Columbia’s marketing in London. “We decided to put him on the road, on his own, for a short tour.”

Buckley arrived in the second week of March ’94 with his Telecaster and Fender amp. He played in Sheffield, flew to Dublin and then hit London for a series of gigs that are still spoken of in hallowed terms 19 years later. On one particular Friday night, he gave a three-hour performance in two different venues, beginning at Bunjies, the folk café, where he handed everyone a flower with mock solemnity as they took their seats. When Bunjies closed, Buckley led the audience (still with their flowers) to the nearby 12 Bar Club where he played for a further 90 minutes. He took requests, accepted a joint and sang until he almost collapsed off the stage. “Live At Sin-é came out on the Monday,” recalls Abbott, “and sold nearly 6,000 on the first day. The word of mouth from those two gigs was crazy.”

Buckley returned to the UK in August with his band. Five days after Grace was released, they played the Reading Festival in a mid-afternoon slot beneath Cud and Echobelly. In hindsight, their lowly billing symbolises the size of the mountain Buckley still had to climb, and the extent to which Grace would struggle to assert its identity – let alone its audacity – in the year of Parklife, Alice In Chains and Hootie & The Blowfish. There was a unspoken subtext to the ensuing 21-month tour: Columbia’s abiding disappointment with Grace’s sales in America.

“It never broke in an immediate way, the way other bands’ records did,” Mick Grondahl told Uncut. “It grew. To us, that was the point. We didn’t want to do something fashionable. We wanted to do something that had a nice feel to it. Feel was the key word. Never mind that it was this style or that style. It was more about, how does it feel? How does it touch you?”

One man who loved Grace was Jimmy Page. There was arguably no-one whose opinion Buckley valued more. He’d sung Zeppelin songs at Sin-é. He’d amused Tony Maimone at Gods And Monsters rehearsals by thumping out “When The Levee Breaks” on the drums. Buckley’s music on Grace, and in his band’s live shows, embraced androgynous vocals, ’70s rock, power chords and heroic drumming. One might even say there was a transference of Zeppelin energy taking place, a blessing or endorsement from afar, from the older men to the young. When Page and Buckley met, it was clear they understood each other on a profound level.

“Jeff told me they cried,” says Chris Dowd. “They actually cried when they met each other. Jimmy heard himself in Jeff, and Jeff was meeting his idol. Jimmy Page was the godfather of Jeff’s music. A lot of people thought Tim was the influence on Jeff, but it was really Zeppelin. He could play all the parts on all the songs. John Paul Jones’ basslines. Page’s guitar parts. The synthesiser intro on ‘In The Light’ – he could play it on guitar and it would sound just like it. And then he would get on the fucking drums and exactly mimic John Bonham.”

Perhaps Page also recognised in Buckley – whom he considered the greatest singer to have emerged in 20 years – a rare courage, an elemental intrepid streak, a fearlessness and a gung-ho spirit that allowed him to reach heights of expression that many of his ’90s contemporaries were too self-conscious to risk or too uninspired to imagine. In that sense, Buckley was a true son of Zeppelin. Matt Johnson, in a comment that is all the more poignant given the circumstances of Buckley’s death, remembers him as an adventurer in music and in life – a man “well suited to jumping into raw experience – unprotected, raw experience. He seemed to have a quicksilver flexibility and an ability to adjust.”

Since the day his body was found in the Mississippi River in June 1997, appreciation of Buckley has soared (“Grace was way more successful posthumously,” Johnson notes) and in many people’s eyes he’s become the timeless heritage artist that Columbia believed they’d signed in 1992. Others feel he was only just finding his feet. “It would have been amazing to hear his fourth or fifth album,” says Brenda Kahn. “I don’t think his music had been totally fleshed out yet.” Hal Willner thinks about that fifth album, too. What conceivable directions would Buckley’s voice and guitar have taken?

“I have to say he’s still hard for a lot of people to listen to,” Willner continues. “His mom, Mary, got me to edit together some tapes that he made in his early New York days. The stuff with Gary. And what was interesting about those tapes – what was really heartbreaking – was hearing him sing the way he sang when he came to New York. He changed it later… became less studied. But it’s hard to listen to it. It’s too sad.”

Buckley left his New York home on June 1, 1994 to tour Grace in America. “Keep the next year free,” the band were advised by George Stein, Buckley’s lawyer-manager, a comment they would later laugh about. First France became enchanted with them (two tours in ’95) and then Britain wanted them back. And even when they’d toured America twice, three times, and been to Japan, there was always Australia waiting in the distance.

#jeff buckley #creating something bigger than the song #tom pinnock #uncut magazine #2015

[sydneypast]

The north end of Coogee Beach, c 1885.

#coogee

[umichenginabroad]

The Finale (Week 18)

The end of our last international trip marked the start of many lasts as the days left in Coogee started to dwindle. I challenged myself to find a good balance between studying for finals and spending time in my favorite spots around the city. I also made sure to embark on my final coastal runs before the ultimate challenge — a half marathon just days before my departure from Sydney. When I first learned about the half-marathon, I strongly deliberated whether it was the right choice to sign up and add the additional training stress on top of finals. Ultimately, I, alongside Caroline, decided that running 13.1 miles through downtown Sydney would be the perfect way to wrap up our time abroad. Despite the stretch of relatively poor weather for the past two weeks (60° and rainy), we woke up bright and early at 5:30am on the Sunday after finals to start making our way into the city. We had spent months training for this moment which marked the end of our time abroad, so the fact that it was here so soon almost took us by surprise. Nevertheless, we went in eager and confident with the simple goal of making it through all 13.1 miles without stopping. The running route perfectly passed a variety of places I had visited and hotspots for memories of my time in Sydney. From Hurricane’s Grill and Star casino where I celebrated my birthday with all my hostel-mates, to Darling Harbour and the Opera House, the sites we passed fueled my run and kept my mind off the miles ahead. Friends and families of runners riddled the route with motivational posters and chants of support. Just as I was losing steam at mile 12, I looked up to see my own friends cheering me on. Shoutout to Lauren, Rachael, Anthony, Charlotte, Shaunak, and Evan for waking up early and making their way into the city for Caroline and I. The energy and love witnessed at a race like that is truly unmatched and something I’ll never forget.

^ Caroline and I after the race with a poster made by Lauren!

Other adventures that weekend included a visit to Luna Park, a small amusement park across the river from Sydney. Despite having very few rides and attractions, we had a lot of fun hopping from the Ferris wheel to the roller coaster to the carpet slides.

^ Luna Park!

We were also able to squeeze in two trips to Sydney suburbs including Newtown and Watson’s bay. Newtown’s King St is full of diverse restaurants and wellness shops that could keep you entertained for hours. Watson’s Bay is located at the northernmost point south of the river. Taking the ferry there was also something I was adamant about given how much I loved the ferry to Manly beach. I can’t believe we hadn’t made it out there sooner given the incredible views:

^ the view from the ferry (you can clearly see the rain falling over the north part of the city)

^ spectacular view from Watson’s Bay

This spot quickly became one of my favorites in all of Sydney and I look forward to returning one day.

The last few evenings in the hostel were definitely somber ones as we said our goodbyes and played our last games together. Rachael made a great short video encapsulating some of the moments we’ve shared and scheduled a time for us all to gather and watch it. Alex brought down his electric guitar and we sang our hearts out into the night. Everyone recognized how much our time together meant to one another and that a reunion for 18 people is next to impossible especially given our poor trip planning skills. This was the last time we’d all be together in that hostel living room.

Just like that, my time in Sydney has come to an end. My next and final post will contain my reflection of my time abroad. Cheers!

David Bayer

Biomedical Engineering

University of New South Wales in Sydney, Australia

#umichenginabroad #ipewinter24 #ipeunsw #australia #davidbayer

[arloleee]

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[oraclefacilitymanagement]

Why Clean Group Sydney Has a 5 Star Rating on Google Business

Sydney is a world-famous metropolis with bucket list-worthy landmarks, reputable education institutes, plenty of scope for career growth, gorgeous suburban neighborhoods away from the bustling central business district (CBD), and public amenities that are fit for royalty. But what makes it even more enticing is that it also offers breathtaking natural beauty in its numerous parks and beaches.

Aside from a plethora of manmade recreational spots, Sydney has some of the most stunning beaches in the whole world including Bondi Beach, Bronte Beach, and Coogee Beach. There are also many other lesser-known open spaces and parks in the city for strolls, jogging, family picnics, or simply enjoying nature.

With so much to see and do, many homeowners in Sydney are buried under busy work schedules and familial responsibilities. This leaves them with little to no time to complete cleaning chores, which can take a huge toll on their homes. Luckily, there are professional maid services that can provide homeowners with the home cleaning help they need to stay on top of their tasks.

One of these is the highly-rated Clean Group Sydney, which boasts a perfect 5-star rating on its Google Business Profile and has received 67 reviews as of this writing. Customers laud the company’s professionalism, the quality of their services, and their dedication to open communication. They also love the efficiency and punctuality with which their cleans are finished, and the thoroughness of their work.

Sydney 5 star cleaning office cleaning services are available for commercial and industrial spaces. They can be provided on a regular basis or for specific events, such as the end of lease cleaning or a post-construction clean. The company is known for its use of eco-friendly products and specializes in disinfecting workspaces to prevent the spread of germs, viruses, and bacteria.

The company’s COVID-19 cleaning services follow strict guidelines proposed by the NSW Ministry of Health and can be completed in two steps. During the first step, the company’s professional cleaners will wipe down and mop all surfaces, windows, doors, kitchens, and carpets to remove dust and debris. They will then sanitize equipment, lightbulbs, phones, railings, desks, toilet seats, door handles, and bins to ensure that they are free of viruses and germs.

Another service that has earned a 5 star rating is SafeSnooze, which provides professional mattress and pillow cleaning services in Sydney’s North Shore. Their customers report sleeping better, breathing easier, and living healthier after their cleans. Their team of professional cleaners uses special tools and treatments that have been formulated to meet all environmental safety standards and requirements.

At Oracle Facility Management, we hold a particularly different method to facilities management. Our site cleaning team are all employed which means you can be rest assured no contractors or franchise-based cleaners, this helps build trust and leadership that will provide genuine long-lasting partnerships constructed on collaboration.

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[aquabuddiesswimschool]

Your Trusted Swim School for Toddlers!

Dive into the world of aquatic discovery with AquaBuddies Swim School, your trusted Swim School for Toddlers. Our expert instructors specialise in nurturing a love for water in your little ones, creating a safe and enjoyable environment for their first swim experiences. Our toddler-focused program introduces fundamental water skills through engaging activities and games, fostering confidence and water safety. Enrol your little AquaBuddy today for a splash of fun and learning! For more information, kindly visit: https://www.aquabuddies.com.au/.

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[suburbeastern]

Bathroom Renovation Packages

Modern bathrooms add value to a home. However, a homeowner should avoid dodgy contractors who quote the lowest cost per hour for the job. They often compromise on the quality of work and materials.

Most renovation packages include a new bathtub or shower. They can offer standard tubs, soaking tubs, or air and whirlpool tubs. They also typically come with a sink and toilet. To know more about Bathroom Renovation Packages Sydney, visit the Eastern Suburbs Bathroom Renovations website or call 0415902838.

The cost of a bathroom renovation can vary based on the style, materials, and inclusions chosen. It is also important to allow for unforeseen costs, including wiring and plumbing alterations. Structural changes like moving fixtures or altering the floor plan can also significantly increase your budget.

To keep your costs down, opt for cosmetic changes instead of a full remodel. Repainting cabinets or re-glazing bathtubs can give your bathroom a new look for less. Also, shop sales and discounts for the best bargains.

If your budget is up to $15,000 you can make major changes to the bathroom with a new shower, bathtub and vanity. You can choose framed or frameless shower screens and install new large format tiles in the $30 per square metre range. You can also upgrade to modern back to wall toilets or a freestanding bathtub.

If you have more than $30,000 to spend you can have a premium bathroom that includes a top quality floor and wall hung vanity, in wall cisterns, luxurious freestanding tubs and mosaic or subway tiles ($60+ per sqm). You may also opt for a framed or semi-frameless shower screen and high quality plumbing fixtures and fittings.

Eastern Suburbs Bathroom Renovations is a renovation company that offers luxury bathroom and kitchen packages in Hills District, Hornsby, Ku-ring-gai Shire, North Shore, Parramatta and St George. They offer a full service that includes design, carpentry, plumbing, electrical, demolition, waterproofing and tiling.

Whether you’re looking for a modern bathroom or a traditional one, professional Bathroom Renovators in Coogee and the Hills District can help. They’ll design a beautiful bathroom that fits your budget and home style. They’ll also complete any plumbing or electrical work.

After the painters and tilers finish, you’ll finally see your new bathroom take shape. They’ll lay and paint the tiles and walls. Then, they’ll install your vanity, mirror, shower screen, and other fixtures. They’ll also apply waterproofing and sealant around sinks and bathtubs.

Based in Coogee, NSW, Eastern Suburbs Bathroom Renovations is a one-stop shop for kitchen and bathroom renovation packages. They’re committed to top-quality construction and provide product warranties. They also offer a free design consultation and project management service. This ensures that projects are completed on time and within your budget.

There are hundreds of different packages that can be purchased online. Some are low cost and some are designed to be high value. However, it is important to do your research and not to buy a package just because it has a high RRP. You may find that the items included in the package can be bought separately for similar pricing or you might be purchasing low quality products to achieve the discount.

Most bathroom renovation packages will include a new bathtub or shower. There are many options to choose from including standard tubs, soaking tubs, air or whirlpool tubs. They will also include a new sink, toilet, towel or paper holders and taps. These items will help create a cohesive look. Some will even include a new vanity.

George and his team were an absolute pleasure to work with. Their attention to detail and professionalism is second to none. The whole process was smooth, hassle-free and delivered a quality finish we are really happy with.

Eastern Suburbs Bathroom Renovations has been operating for over two decades and is one of Sydney’s leading licensed builders. Their experienced team consists of dedicated designers and project managers who will create your dream bathroom. They offer free no-obligation consultations and their renovation projects are completed on time and on budget. They also provide a detailed quote, HIA contract, and HBFC insurance. In addition, they offer an easy-to-use tracking software for their clients’ convenience. They service areas throughout the Northern, Eastern, and Western suburbs of Sydney. Moreover, they provide custom luxury and sustainable designs that are both eco-friendly and ethically-sourced materials. To know more about Bathroom Renovation Packages Sydney, visit the Eastern Suburbs Bathroom Renovations website or call 0415902838.

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[care360]

Find the best aged care in Sydney. The easy way

Finding the best aged care in your preferred area can be an emotional and overwhelming task. Care360 helps streamline the process by putting all the information you need at your fingertips.

Simply enter a few details, and we will provide a comprehensive, independent report of the top aged care homes in Sydney matched to your requirements.

Get your personalised aged care comparison report in 3 easy steps

In less than 10 minutes you can compare homes in and around Sydney to help you shortlist your options.

Transitioning a relative into aged care is often an emotional and overwhelming time for the whole family. The standards of aged care homes in the Sydney area vary significantly making it difficult to know which one will be the right fit. Sometimes, there is very little time to consider your options and feel informed to make decisions with confidence.

Here are just some of the areas in and around Sydney that are considered in our report

Upper North Shore Hornsby, Thornleigh, Roseville, Killara, Lindfield, Turramurra

Lower North Shore Mosman, Cremorne, Lane Cove, Neutral Bay, Crows Nest

Northern Beaches Manly, Palm Beach, Seaforth, Avalon, Newport

Eastern Suburbs Bondi, Randwick, Coogee, Paddington, Bronte

South Sydney Mascot, Wolli Creek, Kensington, Maroubra, East Lakes

Inner West Balmain, Leichhardt, Drummoyne, Dulwich Hill, Strathfield

Western Sydney Parramatta, Lakemba, Wentworthville, Cabramatta, Liverpool

Hills District Castle Hill, West Pennant Hills, Kellyville, Rouse Hill

Sutherland Shire Miranda, Cronulla, Taren Point

Delivered to your email inbox in less than 10 minutes

Care360 helps make the process that little bit easier by arming you with independent information to shortlist aged care homes in and around Sydney quickly and easily online.

From independent reviews of over 2,500 aged care homes across Australia

We have independently reviewed over 2,500 homes and 207,000 rooms across Australia, considering essential factors like cost, payment options, service, meals, accommodation, treatment, care and lifestyle options.

If you are looking for the best aged care in Sydney, then our report will consider the local nature of your search and provide you with matches nearby.

Tailored to the needs and wishes of your loved one

Based on the information you provide, we can then compare the needs and wishes of your loved ones with our reviews to determine the top 10 best matched aged care homes.

Get more info here: Aged Care Sydney.

[xn--painters-0225g]

50/346 Top Painters and Decorators, Perth.

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Our registration details and respective ACN and ABN are as follows.

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ABN 64 603 350 849

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