FINAL EDITION looms, Acoustic Americana Music Guide, May 7 to 18 (and events beyond)

.
Acoustic Americana Music Guide, May 7 to 18 (and events beyond)
.
FINAL EDITION looms, Acoustic Americana Music Guide
+
Unless sufficient support arrives from you, our readers, the Guide will end eight years of publication at the end of May. Thanks to everyone who has sent-in $25 in return for 3 CDs of their choice, or the concert DVD & 1 CD of their choice. Your $25 goes to support the Guide, and you have CDs to enjoy – whether or not we receive enough support from your fellow readers to enable us to keep doing this.
+
TO ALL OUR READERS: The Guide needs your support. We will determine and announce, on May 17, whether we can afford to continue to bring you the Guide, or whether publication will end on May 31. Yes, we DO have CDs and DVDs for you to choose, in return for your support! The #7 & #8 News Features, just below, explain what you can do to save the Guide.
+
Meanwhile, as long as we continue to publish, we will continue to bring you ALL the news and acoustic music events!
.
Now, go enjoy! First, here’s this week’s News Features…
.
.
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
.
Tied to the Tracks
ACOUSTIC AMERICANA
MUSIC GUIDE & NEWS
.
MAY 7 to 18 edition (and events beyond, through 2010)
.
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
.
.
NEWS FEATURES
.
.
1) DYLANFEST REACHES ITS 20th ANNIVERSARY WITH MAY 8 EVENT
+
Saturday, May 8, 12:30-8 pm: 20th annual “DYLANFEST” at St. Anthony School, 233 Lomita, El Segundo. A portion of the proceeds benefit St. Anthony Elementary School.
+
If you appreciate the songwriting of BOB DYLAN (and who doesn’t) you really need to treat yourself to DYLANFEST.
+
Musicians ANDY HILL & RENEE SAFIER and their band, HARD RAIN, have hosted every annual BOB DYLAN FEST – that’s all nineteen, before this one – and they always bring a superb lineup of musicians and wonderfully innovative ensembles to the stage, as 50+ musicians present their renditions of Dylan’s songs. They coordinate things so there are no repeats, so plan to stay all day.
+
Grab your lawn chair and sunscreen and get there early to stake-out your preferred space. As last year, it’s at an unlikely improvised venue – outdoors at St. Anthony’s School in El Segundo, adjacent to the gym. It works. Go. It’s a “SHOW-OF-THE-WEEK” pick.
+
Food and drinks (both alcoholic and non-alcoholic) are available for purchase at the show. No outside food or drink. Advance tickets are available through PayPal at www.andyandrenee.com. More info, 310-324-3663 or andyhillmusic@hotmail.com. Admission is $20 in advance or $25 at the gate for adults. Children under age 12 are $10.
+
Check-out samples of last year’s Dylanfest at www.youtube.com/watch?v=qyhpJ6yUhc4 and www.youtube.com/watch?v=EsZhj35CVpc.
+
The audience is encouraged to dress in costumes as “characters, things, interpretations and misinterpretations of Dylan song titles or lyrics,” says Andy. “A misinterpretation would be when our guitarist dressed up as Angus Young (of AC DC) to play on the song title ‘Forever Young.’” Some of the costumes over the years have also included various versions of “Tangled Up In Blue,” “Highway 61,” “Shakespeare, he’s in the alley,” “farmer’s daughter,” “Isis” and “baby blue,” among others.
+
Andy Hill started the party in 1991 in celebration of Dylan’s 50th birthday (May 24). He had read, in the liner notes of Dylan’s Biograph retrospective set, about a party in New York where guests were invited to dress up as characters from Dylan’s songs. Andy’s band at the time knew a lot of the legendary songwriter’s material and booked the first gig at the Hermosa Saloon as a costume party. Since the party’s inception it has been held at various venues in the South Bay, including Andy’s backyard. “It began as a labor of love in my backyard for the first eight years and has blossomed into an event which features as its primary attraction an incredibly diverse and awe-inspiring lineup of singers, bands and musicians interpreting an unparalleled body of American music.” Chord charts are provided for instrumentalists to join in and musicians and bands are selected before the event, several returning each year.
+
Andy and Renee have recorded eight independent CDs and in 2001, they released the critically-acclaimed “It Takes A Lot To Laugh,” covers of Dylan songs produced by MARTY RIFKIN. The CD led to a performance at the Dylan Fest in Italy, where Andy and Renee were also a hit in the after-hours jam sessions, since they knew how to play most of Dylan’s material. The duo also covered “Forever Young” on poet BRIAN MICHAEL TRACY’s spoken word and music “Midnight Tea” CD (produced by Rifkin), which had its radio premiere on “Tied to the Tracks,” and is currently receiving airplay on a number of spoken word and folk music programs across the country. With the help of their band HARD RAIN and several friends, they recreated a live performance of The Band’s legendary “Last Waltz” concert.
+
Andy and Renee play over 200 dates a year as a duo or with their band that has included shows at the Hermosa Beach Civic Theatre, House of Blues and the El Rey Theatre in Hollywood, the Telluride Blues Festival (where Renee’s blues and jazz vocal chops won the 2005 Acoustic Blues competition), Kerrville Folk Festival, Napa Valley Folk Festival, Sierra Songwriter’s Festival and Winery Music Awards Festival.
+
Here’s some media from past years:
+
Review of 2008 Bob Dylan Fest:
“The performers on stage last Saturday were more than mere imitators … There was ‘Nashville Skyline’ -era Dylan crooning Americana. There was coil-haired Dylan in a polka dot shirt wailing wild blues. And then there were the costumed characters from Dylan’s songs: ladies in leopard-skin pillbox hats, Big Jim ‘looking so Dandy and so fine,’ even ‘Tangled Up and Blue’ in a blue dress with knotted frayed ends.” – Easy Reader.
+
And, Andy & Renee’s CD, “It Takes A Lot to Laugh,” received critical praise:
+
“…Safier’s voice oft drips with an aching sensitivity filtered through delicate beauty and a fragility that would break and disappear in less capable hands…Hill’s cuts drenched in prairie sod, the workingman’s lament, and a salt-of-the-earth sprechestimme.. – Folk Acoustic & Music Exchange.
+
“Their selection of material is impeccable and impressive, frequently departing from the obvious in order to include the excellent.” – 5 out of 5 stars – Cosmik.com.
+
5 out of 5 stars – “ Best Dylan tribute album I’ve heard in a long time.” – Steve Sevek, producer of “Thinking About Bob Dylan” CD.
+
And read a Dylanfest 2009 story by Bob Barr in Random Lengths, at www.randomlengthsnews.com/images/IssuePDFs/2009-may/rl_ace_05-21-09.pdf
+
Incidentally, Bob Dylan, who always makes good copy in the music press, has been the subject of several revealing pieces written by ROSS ALTMAN in FolkWorks. The latest was in March, and it’s available at www.folkworks.org/content/view/36549/106
+
Tix, $20 adv, $25 at gate; $10 for children age 12 and under. More at www.myspace.com/andyandreneebobdylanfest
.
===
.
2) UKE NEWS
+
The little four-string instrument, in the hands of a real player, is always impressive and a lot of fun. You can’t help but smile when it’s played well. Here in the Guide and, as performing guests on radio’s “Tied to the Tracks,” we’ve celebrated 102-year-old ukulele master BILL TAPIA, and charming young Baltimore-based uke player / vocalist VICTORIA VOX.
+
Now, Oakland based songbird and ukulele artist TIPPY CANOE (aka Michele Kappel-Stone) is coming to L.A. for shows May 29 & 30. Check the YouTube link for a song from her record, “Parasols and Pekingese,” at www.youtube.com/watch?v=YjYTO-iTqec
+
TIPPY CANOE gets great media:
“Ms. Canoe’s old-timey sensibility adds a charming flair to her rollicking folk-pop repertoir and fits nicely with Portland’s penchant for bluegrass-tinged tunes.”- Portland Tribune.
+
“What makes Tippy Canoe a must see is that she’s a celebration. No matter your mood, you’ll walk away with a smile. It’s cheaper than therapy. It’s a first date. It’s stag night.” – Off The Record Blog, San Francisco Chronicle.
+
In a Spin Magazine piece, “Rapid Ear Movement, A Review of the 12th Annual Noise Pop Festival,” Rob Harvilla wrote, “A jovial lass sings and strums a ukulele. Her stage name is Tippy Canoe. My journey has not yet begun, and already we’re trapped in a deleted scene from Mulholland Drive.”
+
TIPPY CANOE plays Saturday, May 29, 8 pm, at the Echo Park Film Center, and Sunday, May 30 at the “Grand Ole Echo” series in Echo Park, in a lineup with DEAD ROCK WEST, FUNERAL CLUB, and VICKI HILL. See the Guide’s listings for locations and times. More on TIPPY CANOE at www.TippyCanoe.net and www.myspace.com/tippycanoe
.
===
.
3) LAWIM COMPILATION CD BENEFITS HAITI AT MAY 12 EVENT
+
The Los Angeles Women in Music (LAWIM) has a new multiartist compilation CD. They’ve announced, “$10 of every sale benefits a special LAWiM music fund for HAITI. [So you can] support our artists & those in need.” That word comes in time for the monthly “LAWIM SINGER-SONGWRITER NIGHT” (formerly the Soiree) at the M Bar in Hollywood, Wednesday, May 12, from 7-10 pm.
+
LAWIM is a key organization on the L.A. singer-songwriter / composer / performer / recording professionals scene, and its members include music biz execs, as well. The evening’s schedule allows an hour (7-8) for dinner, meet-and-greet socioalizing, and networking with members of the music community. The performance (8-10 pm) is an enforced “listening room” atmosphere, so you can really hear what each musician offers. The night has a $10 cover (waived this month for any LAWIM member who brings a guest), plus a $10 minimum on food. See the Guide’s Wednesday listing, May 12, 7 pm, for more.
.
===
.
4) NORTHWEST FOLKLIFE GETS $35,000 NEA GRANT, READIES FOR FESTIVAL
+
The 39th Annual Northwest Folklife Festival will come alive May 28-31 at Seattle Center (the former World’s Fair site), as the largest free music event in the US.
+
Meanwhile, things are already looking good for NEXT YEAR’s 40th annual festival. Robert Townsend, NWFL’s Executive Director, announced, “we have already received support for… 2011. The National Endowment for the Arts announced that Northwest Folklife has received a grant of $35,000 to support the 2011 ‘Cultural Focus’ program, ‘Northwest Stories.’ The project will document the stories of people who live in the Pacific Northwest and present them at the 40th Northwest Folklife Festival.”
+
NWFL produces the annual, four-day, Friday-through-Monday festival over Memorial Day Weekend. It’s upwards of 20 performance stages and, as Townsend says, “chockablock full” of music, dance, art and workshops running simultaneously. Each day starts with thousands of festival-goers spread throughtout the city’s coffee emporiums, scrutinizing the festivals’ newspaper-size program and mapping strategies to dash from place-to-place to maximize their individual NWFL experiences.
+
Active year-round, NWFL just added a new dimension: Townsend says, “This year, for the first time, Folklife has an iPhone Application; for those so equipped, the perfect link to all-things-Festival, right on your iPhone!”
+
Clearly, something that other festivals will soon emulate.
+
As this year’s festival nears, NWFL events begin May 8 with “The Spirit of West Africa.” Broadly-based “Folklife Previews” are coming to two neighborhood Tully’s. There’s “A Glimpse of China” May 22, and before that, a “Brazilian Family Days” dance at the Experience Music Project (EMP), May 17. EMP is Seattle’s famous “squashed-tin-can” piece of massive sculptured architecture that preceded L.A.’s squashed-tin-can Disney Concert Hall.
+
At the festival itself, there’s much that shouldn’t be missed. The “Living Green Courtyard” provides visitors with a chance to learn about sustainability, sample organic treats and listen to music on the solar-powered Alki Court stage. Not folky by most standards, there’s even an “East Meets West Showcase,” a sampler of performances that Townsend says “can best be described as Indian Dance meets Japanese drumming meets orchestral pop meets electro-fied MIDI.”
+
Not to worry. There’s a day of sea chanteys and seemingly endless offerings of more mainstream folk music performances and large-floor dance opportunities, both new and traditional. To which Townsend adds, “Vintage Dance is great for beginners as well as seasoned dance-hall professionals and features music by 1928 and the SPEAKEASY BAND; dance lessons are taught by the 1928 DANCERS and participants can learn the Charleston as well as other traveling dance steps.”
+
Family activities at the “Folklife Commons” include Toy Boat Making with the Center for Wooden Boats (host of a monthly maritime music series), free music lessons from Dusty Strings Music School, “Make Masks” and “Learn about Ethiopia’s Endangered Species” with the Northwest African American Museum, and more. Plus dozens of jams.
+
There’s info about these events (and many, many more) at the Festival’s website, www.nwfolklife.org/festival
.
===
.
5) SANTA CLARITA COWBOY FESTIVAL IS A MODEL EVENT
+
It was a thoughtful spectrum of traditional cowboy and contemporary western music, lively western swing, evocative of Hollywood imagery, with some cowboy poetry and storytelling for good measure. The 17th annual SANTA CLARITA COWBOY FESTIVAL delivered, once again, on promises it started making back in December.
+
One bad thing has become a pattern: Saturday & Sunday, April 24 & 25, presented a tough choice again this year, with first-rate competing festivals. So once again, we spent one day at each of two of the best.
+
Last edition, we reviewed the events of Saturday, April 24 at the 4th annual STAGECOACH COUNTRY MUSIC FESTIVAL in Indio, and promised to bring you a review of Sunday’s experiences at the SANTA CLARITA COWBOY FESTIVAL, held simultaneously a couple hundred miles away, but appealing to much of the same audience. Here it is.
+
With a theme of “It’s not Country, it’s Cowboy,” emblazoned on this year’s souvenir T-shirts, the 17th annual SANTA CLARITA COWBOY FESTIVAL brought five stages of nearly continuous entertainment from top national touring acts and a few local western performers. Make no mistake, it is REALLY western, with songs that celebrate strength of character, the beauty and hardship of life on the land, the camaraderie of man (and woman) and horse, and with all that, it’s devoid of the Nashville’s clichéd “country” fare of songs wallowing in dysfunctional relationships with losers. Cowboy music legend DON EDWARDS got a great audience response when he offered his trademark observation that “today’s Country & Western is neither of either.”
+
The Santa Clarita Cowboy Festival is mostly music these days, with few cowboy poets and storytellers in evidence any more. Quite a change from the days when it was the “Cowboy Poetry Festival” with music available mostly by purchasing additional tickets. For the past few years, it’s all one-price, easy to roam from stage-to-stage, and more challenging to actually plan a circuit to catch favorite acts performing ’purt near simultaneously. Arriving late for most any show at the California Stage (inside a re-created dance hall) results in standing outdoors and trying to hear, without being able to see, the act inside the packed venue.
+
But the main characteristic of this festival is how splendidly it is produced and presented. Gene Autry’s old Melody Ranch movie-set is an entire Old West town in the Newhall portion of Santa Clarita. The ambiance can’t be beat by any other festival, anywhere. Period. Trick ropers delight guests as the blacksmith shop forges horsehoes over coal fires, and a saddlebound troubadour slowly rides the dusty and classic streets of a town that’s literally right out of the western movies.
+
The festival has fully regained its charm following the compromised years of HBO’s filming the “Deadwood” series, when too much was off-limits. Once again, it’s a cowboy version of Brigadoon, where festival merchants occupy storefronts and literally bring the town to life – just one weekend each year.
+
The stages are all protected from the sun by high, airy canopy tent roofs, and there is lots of pre-placed seating at every stage. Sometimes the whole audience can sit, sometimes the overflow must stand – and they do. The sound reinforcement is first-rate everywhere, and the sight lines are almost always splendid.
+
We caught fine sets – or at least partial sets – by several headliners, including the QUEBE SISTERS BAND (they’re all National Fiddle Champs from different recent years), and DON EDWARDS (the dean of American cowboy singers), and JUNI FISHER (who’s won every award there is in western music), and BRENN HILL (Utah’s talented cowboy singer-songwriter, with Hollywood credits), and YVONNE HOLLENBECK (top poet/storyteller east of the Rockies), and JON CHANDLER & THE WICHITONES (top 2009 award winner, with Chet Atkins guiter champ ERNIE MARTINEZ), and SONS OF THE SAN JOAQUIN, California’s quintessential traditional western stars.
+
It was necessary to settle for partial sets by some, so that parts of shows on other stages could be caught. Old favorite KEN GRAYDON was strong, as always, with his 12-string, history-based originals with vivid lyrical character and his wonderful baritone. And locals, the MESSICK FAMILY SINGERS, the LOST CANYON RANGERS, and the delightfully jazzy COW BOP all commanded happy audiences.
+
If you’re headed for the Bay Area, you must watch for gigs by the SADDLE CATS. Led by fiddlemaster RICHARD CHON (Sons of the San Joaquin), they’re an all-star ensemble, with including lap & pedal steel legend BOBBY BLACK, Chet Akins’ guitar champ GORDON CLEGG, and upright bass NATHAN BING. This is one fine western swing band, going from hot to light and happy, eminently danceable and oh-so musical. They’re planning a Southern Cal tour, and we’ll let you know about that when we have details.
+
A perennial highlight of the festival is the cooking camp of the Cowboy Cultural Committee, the outfit that produces an annual cowboy festival in Visalia. Everything is cooked in charcoal-covered dutch ovens. We found this year’s much-hyped peach cobbler to be disappointing (canned peaches and waaay too sweet) but everything else, including the beans, was tasty. And other food vendors here are far better than many festivals.
+
This year’s adult tickets were $20 for one day or $30 for both days. Well worth it, and seeing most of the acts requires being there both days. (You cannot see everything, with five stages, and you do need time to roam, enjoy the old west town, and explore the vendors in the storefronts.)
+
Finally, we can’t help but note that, with the diminished role of the cowboy poet / storytellers in Santa Clarita, two of the best – Baxter Black and Waddie Mitchell – performed at Stagecoach, where we enjoyed them the day before.
+
It’s too bad the two festivals don’t find a way to operate on separate weekends. Can’t Santa Clarita be held the previous weekend? That would be opposite the Coachella Music Fest, a pop music event that would not compete for the same audience, as Stagecoach does. And some of us wouldn’t be making a long drive to spend one day at each festival.
.
===
.
6) HEALTH CARE BATTLE CONTINUES, WITH NEW TRACY NEWMAN SONG
+
“California OneCare” says, “Any good social movement needs a song, and TRACY NEWMAN has it: ‘California OneCare–for all, for less, for you. Doctors want it, nurses want it, don’t you want it, too?’ “
+
The acrimony and alarmist rhetoric in Washington may have died-down with the passage of a badly compromised and not-all-that-universal health care bill, but others continue the fight for coverage for everyone. “California OneCare” is still campaigning for a single-payer system to cover all the people of the Golden State. Now, that campaign has a new song.
+
Singer-songwriter TRACY NEWMAN has both an Emmy and a Peabody Award; she’s still working on adding a Grammy, to complete the trifecta. Meanwhile, check-out Tracy’s song at http://californiaonecare.org/365-ad-campaign/365-ad-archive/tracy-newman
+
If you think you know her name, Tracy has perfomed live, multiple times, on radio’s “Tied to the Tracks.”
+
You can submit your original ad for the campaign – with your original song – to California OneCare, for consideration. You’ll find the info at www.californiaonecare.org
.
===
.
7) AUSSIE ACOUSTIC ARTIST DOES WORLD TOUR, WITH LOTS OF RADIO
+
RUTH ROSHAN did a performance-interview a few years back on radio’s “Tied to the Tracks” while she was on tour in L.A. as half of a duo called NOUGAT. Since then, she’s been busy with lots on music projects, including her TANGO NOIR trio (violin, cello, accordion, vocals) celebrated here when they first teamed-up.
+
Now, the Aussie indie artist is embarking on a world tour that could be a model for others: she has pre-booked lots of radio, everywhere, to promote her gigs. Some of the radio shows offer web simulcasts.
+
Check-out her web simulcast radio appearances, and more, at www.ruthroshan.com. And for those who would like to explore the highly innovative world music scene in and around her Melbourne home base, she recommends http://asprinworld.com/Guide.html
.
===
.
8) LAST CHANCE TO SAVE THE GUIDE
+
THE DECISION WHETHER TO CONTINUE WILL BE MADE ON MAY 17th.
+
We’ll cut to the chase before we offer any “sales pitch“: Writing and publishing The Acoustic Americana Music Guide is something we can’t do for free anymore. It’s well-over 100 pages of fresh content each week, and it simply requires far too much time for anyone to do it without some compensation.
+
SO, WE’RE ASKING YOU TO SEND A CHECK FOR $25. We’ll gratefully send you a DVD and CD, or 3 CDs of your choice, in return. (Even if we DON’T get enough support to continue the Music Guide, you’ll have some great stuff in return for your $25. Choose what you want – first-claim, first-get – from the catalog at http://acousticamericana.blogspot.com/2010/03/support-guide-and-get-some-great-dvds.html )
+
The address is below, and you can just scroll to it if you’re already resolved that you want the Guide to continue.
+
Otherwise, here’s the bigger picture:
+
In every edition, we bring you HUNDREDS of features instead of just bare-bones listings of gigs. It’s information that tells a lot – not just the calendar-style “who & where & when.”
+
MUSICIANS (a paragraph just for you): The Guide usually has full, informative presentations of WHAT you do, WHAT awards and media accolades you have received, WHAT a prospective fan can expect. And it’s always aimed at drawing music-lovers to come out and see you perform, whether you’re playing a house concert or an arena.
+
You already know the L.A. Times ignores our music world, and the LA Weekly is hardy any better. Each week, the Guide’s listings prove that there is MORE ACOUSTIC MUSIC performed live in the L.A. region than the total number of live performances of ALL OTHER genres of music, COMBINED. Yet the L.A. Times, LA weekly, and mainstream media ignore nearly all of it, and all of us in the acoustic universe.
+
Over the past eight years, the Guide has grown – and grown – and grown – in a dedicated effort to keep pace with the explosion of folk-Americana and related acoustic music performed live throughout Southern California. Plus, for artists, we include news of opportunities and acoustic-friendly major events and festivals (large and small) EVERYWHERE.
+
Along the way, we’ve always searched for news of new PAID GIG OPPORTUNITIES FOR MUSICIANS, and for WORKSHOPS and SEMINARS and SONGWRITING CONTESTS and other things of interest to you – fans and performers alike. We include news of these events and opportunities in the Guide, in hopes of helping musicians with your music career, and music fans with finding exciting performances.
+
The Guide even includes our daily roundup of all the acoustic-friendly RADIO SHOWS (broadcast from everywhere, as long as they’re accessible as web simulcasts). As a result, a number of artists have told us they have learned about these shows and successfully submitted music for airplay.
+
The Guide even provides you with its massive catalog of OVER 500 ACOUSTIC-MUSIC FRIENDLY VENUES in Southern California, to help musicians find places to perform and everyone find places to listen. (Our newly updated VENUE DIRECTORY is available at http://acousticamericana.blogspot.com/2010/04/venue-directory-from-tied-to-tracks_16.html )
+
But now, the Guide – because of its commitment to include everything we can learn and share about the vibrant acoustic music scene – requires something we just can’t supply for free.
+
It takes time to write all that information, and time to format what we receive from artists and venues and publicists and indie labels and festivals and promoters and benefit shows and producers.
+
Please understand the emphasis here: this thing requires a HUGE AMOUNT of time.
+
In fact, it always requires over 30 hours per week to maintain the Guide and get a fresh edition ready to go. (During festival season, it takes far more than that.) And almost none of that time receives any compensation, other than an artist’s “thank you” from the stage (which is always wonderful) or your personal expression of thanks when we see you or read your email among the hundreds (and hundreds) of emails received every day that bring even MORE news of gigs, CD releases, and other music events.
+
It is an additional challenge that the editor has had two eye surgeries, with two more to go (one this month). He says, “It slows me down on the computer. Things aren’t necessarily where I think I see them, to the extent that I see them well enough, anyway. But I want to keep publishing the Guide, and I will, if you and enough others will support the effort with your $25 (in return for some great stuff).”
+
PLEASE mail your check (soon, like, TODAY!) to:
+
Tied to the Tracks
PO Box 5427
Pasadena CA 91117-5427
+
When you do, send an email to me at tiedtothetracks@hotmail.com with a subject of “Guide Thank You” and let us know which combination of music DVD / CD or 3 CDs you want. (Choose from the catalog at http://acousticamericana.blogspot.com/2010/03/support-guide-and-get-some-great-dvds.html )
+
We’ll determine whether we can continue based on the replies received by early in the day, May 17. Together we can continue to make the Guide available each week!
+
Otherwise, May will be the end of publication.
.
.
===
.