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This gives us the authority to contact your UK pension fund(s) and obtain all the necessary information to generate our UK Pension Transfer Report and calculate an estimate of any applicable tax obligations. Once we receive a completed LOA, a Sterling Planners representative will contact you to establish eligibility of your pension transfer.
Please Note: This form DOES NOT authorise any transfer to commence – it simply enables us to gather information.
Once a UK Pension Report is prepared with our recommendations for your particular situation, we arrange a No Obligation Consultation with one of our UK Pensions (QROPS) specialists to discuss the details of your personalised UK Pension Transfer Report. We recommend the best available options for your particular situation.
If you decide to proceed after your personal consulation with a financial adviser, Sterling planners can do the rest, removing all the time and hassle from you. We recommend an appropriate QROPS fund and manage the entire process for you.
Simply fill in your details to receive our Letter of Authority Form instantly.
19 March 2018 - The UK Government has ruled out a proposed £90 billion cut in defined benefit (DB) scheme benefits through indexation changes. In last year's green paper on DB schemes, the DWP proposed 'across the board' cuts to… Read More.
January 2018 Breaking News: A well known UK company pension scheme has announced that effective from February 2018, all new Cash Equivalent Transfer Values (CETVs) issued for their Defined Benefit/Final Salary Pension Scheme will… Read More.
January 2018 Update. Breaking News - a well known UK company DB (Defined Benefit) pension scheme has announced all future Cash Equivalent Transfer Values (CETVs) from February 2018 will be reduced by 20% to help alleviate their underfunding… Read More.
October 2017: Sun-Herald, Money Article - 'Thousands of Aussies caught in tougher rules to transfer British pensions'. Laura McGeoch explains how UK legislative changes implemented in April 2015 have resulted in thousands of Australian… Read More.
May 2017 Update - From 1 July 2017, clients who are close to or have already reached their total Australian super fund balance of $1.6M, may have viable options to transfer additional UK pension funds to their Australian (complying… Read More.
Effective from 9 March 2017, transfers to offshore schemes (such as NZ, Malta, Gibraltar, Guernsey etc) will now be subject to a 25% HMRC tax charge unless both the individual and the QROPS reside in the same country. As predicted… Read More.
An article by James Phillips in Professional Pensions highlights that growing speculation over a ban on UK (DB) Defined Benefit Scheme transfers could lead to a rush on members requesting early transfers. Sterling Planners have witnessed… Read More.
Breaking News - Effective from 9 March 2017, legislation will be introduced in Finance Bill 2017 such that transfers to QROPS requested on or after 9 March 2017 will be taxed at a rate of 25% unless both the individual and the QROPS… Read More.
Getting expert QROPS advice could potentially save you thousands on a UK pension transfer - click here to see how. If you decide to transfer a UK pension without seeking specialist QROPS advice (eg with assistance from your accountant… Read More.
Important News for Large Transfer Values - If the combined values of all your UK pensions (including past benefit crystallisation events such as transferring to QROPS and income drawdown) as at 5 April 2014 was greater than £1.25 million… Read More.
An opportunity exists prior to 1 July 2017 for some UK Pension Transfers given the recent Australian Super Changes. On 15 September 2016 the Government announced some significant changes to the superannuation proposals previously… Read More.
2018 UK DB (Defined Benefit/Final Salary) Scheme Update - some CETVs (Cash Equivalent Transfer Values) begin to decline: Two recent developments have caused a surge in transfer requests for UK DB schemes: The long predicted decline… Read More.
Nic Blakemore, Sterling Planners Director, talks about our Sterling Investment Options in this video: FOR CLIENTS CONCERNED WITH FLUCTUATING EXCHANGE RATES - retain and invest your UK Pension Transfer in GBP/Sterling (if you are… Read More.
Sterling Planners Investment Update for Q4 2016 - Did Trump trump Brexit? - click here for more details Read More.
July 5 2016. For UK Pension Transfers to Australian QROPS, made between 6 April 2015 to 30 June 2015 (inclusive), HMRC has confirmed such transfers WILL NOT be subject to any UK tax charges in relation to the transfer. For transfers… Read More.
Transfer Values for Defined Benefit / Final Salary Schemes are at all-time highs given that UK interest rates are at historical lows. Evidence suggests these values are likely to decline if/when interest rates rise. For members under… Read More.
Former Management Consultant (from a Top Tier Accounting firm), David Gooding, describes why he wanted specialist QROPS advice for his own UK Large Transfer Value (i.e. a lump sum value greater than the current Non-concessional Contribution… Read More.
Getting expert QROPS advice could potentially save you thousands of $$$ on your transfer - click here to see how. If you decide to transfer a UK pension without seeking specialist QROPS advice (or with assistance from your accountant… Read More.
On 6 April 2015, UK legislation effectively banned QROPS transfers to Australia for members aged under 55yrs of age in addition to transfers of Unfunded Public Sector Schemes (such as NHS, Teachers, Civil Service, Police, Firefighters… Read More.
Fortnum Practice of the Year Award - 2015 Ray Miles, Executive Chairman of Fortnum Financial Group Ltd, presents Brent Hutton, owner and founder of Sterling Planners Pty Ltd with the highly coveted Practice of the Year Award for 2015. It… Read More.
Sterling Planners Investment Update for Q2 2015 - Iron Now Cheaper than Cabbage - click here for more details Read More.
An academic study conducted by researchers at Brisbane's Griffith University has argued the case for professional financial planning. Griffith Business School senior lecturer Rakesh Gupta, believes that " there needs to be a change… Read More.
For a summary of Sterling Planners' 2014/15 End of Financial Year Strategies for Superannuation - click here. Read More.
Britons are retiring in Australia in ever increasing numbers. In March 2015, Money Management Magazine published an article titled " Britons looking towards Australia for retirement ". A large cohort of British baby boomers are looking… Read More.
Sterling Planners Investment Update for Q1 2015 - Strange Days - click here for more details Read More.
In April 2015, the ATO made a new interpretive ruling, 'clarifying' how growth and any potential taxes on UK pension transfers are to be calculated (differing from previous ATO private rulings on this matter). The previous ruling… Read More.
NEWS FLASH: Pension Transfers from UK (unfunded) Public Sector Pension Schemes will cease from 6 April 2015 [including MyCSP, NHS, Police, Firefighters, Teachers, Armed Forces, SPPA (Scottish Public Pensions Agency - both Scottish… Read More.
Sterling Planners Investment Update for Q4 2014 - Where to from here - click here for more details Read More.
End of Financial Year Strategies: If you are between 55 and 65 years of age - click here If you are Employed - click hereIf you are Self Employed or living off investments - click hereIf you are thinking of boosting your Partners… Read More.
Sterling Planners Investment Update - May 2014 - Looking Forward For a summary of our commentary on the overall financial marketplace and our investment strategy overview - click here. Read More.
The Australian Tax Office (ATO) is urging all taxpayers with offshore assets to declare their interests, ahead of a global crackdown on undeclared international income and tax havens. The ATO's voluntary disclosure initiative, 'Project… Read More.
Sterling Planners Investment Update for February 2013 - click here for PDF document Read More.
Are you resident in Australia with property in the UK? If so, proposed changes to the UK capital gains tax, effective April 2015, may impact your financial situation. If you are living in Australia but still have property in the UK,… Read More.
Investment Update - The markets are somewhat like the Australian Cricket Team - good in parts, average in parts and bad in parts. Click here for summary. Read More.
With the end of the 2012-13 financial year just around the corner, Sterling Planners have summarised everything you need to consider regarding your superannuation - including Government co-contribution, spouse super contributions,concessional… Read More.
QROPS Guidance - On April 6 2012, new regulations were introduced in the UK, changing the reporting requirements of a Qualifying Recognised Overseas Pension Scheme ('QROPS'). Her Majesty's Revenue and Customs (HMRC) made a decision… Read More.
In November 2012, a cheque for $20,000 was presented to Nick Evans, RPA Newborn Care - Head of Department, byJulie Hutton from Sterling Planners (far right of photo) and Margaret Miles from the Fortnum Foundation 1000 Club. Sterling… Read More.
Sterling Planners Investment Update for 2012 - Signs of Life - click here for more details Read More.
Sterling Planners have created a summary of financial strategies for your consideration as we approach the end of the 2011/12 financial year. These strategies include information regarding Salary Sacrifice, Contributions Splitting,… Read More.
Effective May 4th 2012, our company trading name changed from PTD Financial Services Pty Ltd to Sterling Planners Pty Ltd. Our principal director, Brent Hutton established the Pension Transfers Direct (PTD) business in Perth, WA in… Read More.
Our previous 3 YEAR FINANCIAL VIEW was issued to all existing clients, effective from November 2011. Please find an updated version of this document effective from April 2012. Click Here to view the document. Read More.
Here at Sterling Planners Pty Ltd we believe strongly in supporting our community and giving back in a meaningful and significant way. These are the charities and organisations that we currently support. Read More.
Sterling Planners Three Year Financial Outlook Read More.
Sterling Planners Pty Ltd (AFSL Number 357306) and its advisers are members of Fortnum Financial Advisers and Authorised Representatives of Fortnum Private Wealth Ltd ABN 54 139 889 535 AFSL 357306 | Level 9, 75 Miller Street, North Sydney NSW 2060. | PO Box 1238, North Sydney NSW 2059
*this website holds information for Australian Residents only.
| Website by TWMG


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Enter a search term such as "mobile analytics" or browse our content using the filters above.
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Google launched its authorship program last year, which allows authors to get more enhanced listings in the search results by using the rel=author markup.
This is something we have done for many of the staff and guest writers on this blog, and it's (generally) easy to set up.
Here are five reasons why you should try this on your site...
How to implement rel=author
First of all, you need to set up a Google+ profile page, which will be linked to from your author name in the search results. Make sure you have a clear, recognisable mugshot, as this will be the one that shows next to your results.
There are a few methods, but the simplest way at the moment is to submit your email address to Google. This works if you have an email address on the same domain as your website.
If this isn't the case, then you can link your content to your Google+ profile.
1. Create a link to your Google+ profile from your webpage like this: Google
On Econsultancy, I have added the rel=author markup to the author information which is shown at the bottom of each blog post.
2. Add a reciprocal link back from your profile to the site(s) you just updated.
To do this, you need to edit the 'Contributor To' section on your G+ profile page.
Then simply click 'add custom link', and then enter the website URL. I've received conflicting advice on this. Some say you should add the main domain URL, others the author page on the blog. I've covered all bases:
3. Once you have done this, you can check this has worked using the rich snippets testing tool. This will show the information Google will extract from the page and preview the search listing:
This should be enough, though I found that, while some of my colleagues had enhanced listings almost immediately, I had to wait a while.
For alternative methods, see this useful post from AJ Kohn.
Why you need rel=author
Google is integrating more social signals
As Google looks to use more information from social media in its search results, this is one possible way to improve your search visibility.
It is already providing enhanced listings for some brands that are using Google+, and though results are unclear so far, it's something that is likely to be more significant in future.
As Kevin Gibbons pointed out in a recent post on Google+ and SEO:
A strong social footprint is likely to make your rankings more defensible and future proof to algorithm updates. So rather than thinking about the next quick fix or latest SEO or link building tactic, make content marketing the centre of your SEO strategy instead!
It makes your results stand out
In this example, my mugshot does make this listing stand out from the other all-text results. In theory, this should improve CTR:
It's easy to do
The steps described above take just a few minutes, and should help to give your search results an edge. At the very least, it's worth a try.
It increases credibility
By showing your mugshot and linking to your G+ profile page, this suggest that Google has verified the site and author, and thereby lends credibility to the search result.
It can benefit your website
Apart from the increased CTR from the enhanced search listings, it can be a strong trust signal for a website. According to Tom Anthony from Distilled:
Google can see that you have a range of authors who all have authoritative inbound links (with authorship it can see how many inbound links different authors on your site are getting) and who are all engaged and respected socially.
For more on the significance of rel=author and possible future developments around Google's authorship program, this post gathers together some expert opinions from SEOs.
Comments (7)
This is starting to really annoy me. I've been trying to use re=author for my blog a couple of weeks but I can't get it to work.
I've followed the instructions to the letter (having an email address on the domain led me to use the easy option) but it's still not showing in the SERPs and the rich snippet testing tool says nothing is there.
Any idea how long it can take?
For the record, my blog is www.tqsmagazine.co.uk and my G+ profile is https://plus.google.com/u/1/115902668771367222382/
I really like being able to string all of my content together. It's great to help build a stronger online presence and really establish a personal brand.
@Jamie It can take time - took at least a few weeks for me. I had a quick look through your site, but couldn't find an article with your name on it.
Are the 'admin' ones written by you? If so, perhaps that's the issue. On this blog, all of the authors have their full names next to the article, while the 'blog signature' underneath the post contains the rel=author markup.
It may be worth trying the second method if simply submitting your email hasn't worked.
Hi Graham, thanks for the reply, my name can be seen on 4 or 5 recent posts, at the end I just put "By Jamie McHale" as they suggest. Let's give it another week and if not I'll try the reciprocal link method.
Thanks again
Our in-house writers use this all the time now, well worth the effort.
I followed your instructions! Thanks for the useful information. I even went back and put my Google+ on all my past posts. Thanks again!
I had the rel=author meta tag implemented in my site a few months back, but didnt know you can also add it to links that go to your g+ profile to (i am using my g+ page for my sites authorship).
I have implemented both and they both get recognised in googles rich snippet testing tool.

subset: commoncrawl


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Hi guys, I'm designing a small embedded TCP/IP stack to learn the protocols. Thus far I have the ARP system setup and working and have began work on the ICMP protocol. I notice that the computer I have the AVR32 connected to does not respond to ARP broadcasts or pings. The system is working however responding to ping requests and storing mac addresses using ARP. The Ping example I've attached to this post shows an example of a ping request, Wireshark just says no response to the ping request.
Any advice would be appreciated, the only thing I can think of doing is setting up my own server using another AVR to connect too. Like why would Windows (10) not like talking to me... Thanks guys.


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A conveniently located home in the Gypsum Estates neighborhood, walking distance to parks, schools, restaurants and area businesses. The large fenced backyard compliments the nice flow of the interior, ranch-style floorplan. The generous master suite is ideally separated from the secondary bedrooms. The open kitchen living room are made warm & cozy with the fireplace. A new roof was recently installed.
The data relating to real estate for sale on this website comes in part from the Resort Data Exchange program of the Vail Multi List Service Inc. and Mountain Region Multi List Service. Real estate listings belonging to brokerage firms other than Slifer Smith & Frampton Real Estate are marked with the RDX logo or icon. The detailed information about them includes the listing brokers name.
Copyright © 2018 Vail Multi List, Inc. (VMLS). The information displayed herein was derived from sources believed to be accurate, but has not been verified by VMLS. Buyers are cautioned to verify all information to their own satisfaction. This information is exclusively for viewers' personal, non-commercial use. Any republication or reproduction of the information herein without the express permission of the VMLS is strictly prohibited.
Listing courtesy of Slifer Smith & Frampton - Eagle Ranch


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A Wall Street Journal poll of 350 major corporations found that the median compensation, including stock options, for CEOs last year was $2,635,799. That was a growth of 3.1 percent. Overall, US wages and benefits climbed 3.5 percent. So, in a way, ordinary workers fared better than the CEOs, didn't they? OK, just kidding. The CEOs pocketed an extra $79,253 or so on the year, while a worker with an income of $40,000 grossed an extra $1,400.
As of the latest count, Bill Gates's net worth was $51 billion, which is greater than the combined net worth of the 106 million Americans at the bottom of the pile. The press keeps going gaga over the stock-market boom, but let's not forget, comrades, that 90 percent of the stock gains went to the wealthiest 10 percent of households, with 42 percent of the bounty going to the superrich 1 percent. So let's hear no more about the growth of your piddling retirement account.
I mention those little differences in prosperity to provoke, I hope, the kind of anger that you need to appreciate this book by Russell Mokhiber and Robert Weissman. Mokhiber is editor of Corporate Crime Reporter, a legal weekly based in Washington, DC; Weissman is editor of Multinational Monitor, which also operates out of Washington and is a window on nasty corporate power. Their purpose in Corporate Predators is to show what happens when big business (as Ralph Nader says in the introduction) "goes on a rampage to control our society." Granted, there's nothing new about that, except in the fresh intensity of the rampage and the increasing collusion of the federal government–far, far more than when Woodrow Wilson complained, three generations ago, that "the government of the United States at present is the foster child of special interests."
The result, as you will see in Corporate Predators, is that while the special interests sometimes do get by with murder and mayhem–the chicken industry, for example, subjects its workers to some of both–more often they traffic in bottom-line crimes such as fraud, the device by which Medicare contractors bilk the government of an estimated $100 billion a year. Among the more avaricious is Blue Cross/Blue Shield, better known in this book as "Blue Criminal" because of the $221 billion it has paid in fines for cheating the government in six states.
In a recent New Yorker cartoon, a CEO says to his board members (who look much like stereotypical Mafiosi), "Tell the public we don't want to hurt them. We just want their money." But of course, in addition to robbing us they do hurt us, and nowhere more than in the way they mistreat the environment, usually with impunity. Mokhiber and Weissman remind us, for example, that while a million tons of chemicals dumped by General Electric have poisoned a 200-mile stretch of the Hudson River and rendered its fish inedible, the company has yet to spend a penny to clean it up. When an Ashland Oil Company tank collapsed and polluted 200 miles of the Monongahela and Ohio rivers, it was let off with a $2.25 million fine, which to Ashland was about as painful as the fine you would pay in New York for a parking violation.


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"I'm sorry the K-12 system has failed your students….they should know how to search by the time they get to college. But seeing that they don't, until your students come prepared, you are going to have to pick up the slack."
I then spent 30 minutes teaching university faculty how to search….because guess what……they didn't know how to either. Which is exactly what I've come across with K-12 teachers, which helps to explain the unpreparedness of our students. So who is teaching our teachers the skills they need to teach our students?
Via Manuel Pinto, Rosa Martins, Lourense Das, Suzie Blue


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Do you think if you give up your daily doughnut or stroll around the block after lunch, without any other dietary or lifestyle changes, you'll lose weight?
Do you think if you give up your daily doughnut or stroll around the block after lunch, without any other dietary or lifestyle changes, you'll lose weight?
Do you think you need to eat breakfast to properly fuel your metabolism, keep you from pigging out the rest of the day and keep inches off your waistline?
Do you think if you lose a lot of weight in a hurry, you're more prone to backslide and put it back on?
Do you think you are burning calories and getting a workout along with ... well, you know ... during sex?
Think again, according to a report this week in the New England Journal of Medicine.
The study, whose lead author is a biostatistician at UAB, contends there are tons of myths and assumptions backed up by no scientific evidence connected with obesity — how it happens and how best to combat it.
For example, it says sex burns no more calories than walking; the human body adapts to small changes (liking giving up the doughnut), so they become ineffective over time; there's no evidence that a quick early weight loss won't last; there's no evidence that eating breakfast — or, for that matter, snacking during the day — impacts weight; and school physical education classes don't last long enough and aren't intense enough to prevent obesity in kids.
The report has provoked controversy from other researchers who suspect those who funded it — the list includes food and beverage makers and manufacturers of weight-loss drugs — are just looking to push their merchandise, or entice people to have bariatric surgery instead of taking off pounds the old-fashioned way through sweat and hard work.
Of course, it's not like those parties don't have agendas. They think, as one professor commenting on the report observed, the key to solving the U.S. weight problem is to "change the food environment in order for people to make healthy choices."
As we've often noted, some folks aren't going to make the right choices even if given the means and the opportunity, and are going to get more stubborn about it the more they are pushed and nagged and made to feel guilty about their burgers, fries and quart-size sodas.
The report advises doing some things — breast-feeding babies, eating plenty of fruits and vegetables, exercising — not because of their specific impact on waistlines or scale readings, but because of their general health benefits. We think that's sound advice, presented in terms that could be a lot more effective than lecturing, finger-wagging or government mandates in getting people to heed it.


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Published: 2006/07/20
by Randy Ray
A Beautiful Flower Growing in a Crack of Concrete – Wetlands Preserved with Jonathan Healey
"Whatever some may claim, criticism is a subjective art, and even if it weren't, the flowers in the cinema's garden are so various that there's no such thing as one standard by which to judge them." – A Century of Film, Derek Malcolm
"It is the Celtic Way to find the middle ground between the beautiful and the ugly." – Sex, Drugs, and Cocoa Puffs, Chuck Klosterman
Wetlands Preserved marks the documentary film debut of Relix Senior Editor and Jambands.com Editor, Dean Budnick. It goes without saying that the project is close to this writer, as well, as a) many of the best live acts of the 1990s are represented in the film; b) as a West Coast head, I was never able to make it out to New York to witness a show at the legendary club located in Tribeca; c) the Vermont Fab Four gigs have always been a fascinating story in Phishtory (1,200 in a 600-capacity club?!); d) like Wetlands in its heyday, the Rays have a retired VW bus located in the backyard which is vacant yet filled with many smoke-filled stories of yesterday painted in psychedelic surreal colors; e) and the venue supported a $100,000 per annum environmental activism budget. Budnick has made a film that accurately portrays a critical point in recent music history with shitkicker Wetland's live tunes collected by Audio Archivist and Jambands.com Editor, Jesse Jarnow segueing into various colorful stories from musicians who played the hotter-than-hell joint to club owners to talent brokers to environmentalists to neighborhood real estate overlords to fans in a warm, humorous, honest and modern light.
The film is a fine representation of the club which lost its lease to a furniture store and encroaching gentrification, basking in skateboard film visuals and groundbreaking cinematic animation that layers multiple elements to shock photographs to life like some celluloid Dr. Frankenstein. Whereas the many eclectic live clips from Agnostic Front to moe. help showcase the various invigorating acts that former owners Larry Bloch and Peter Shapiro were able to corral, the animated visuals, numerous interview sequences with Bloch, Shapiro, musicians, writers, scenesters, Wetlands employees and activists help give the living history book a complex yet very appetizing flow.
Jonathan Healey served as the film's Director of Photography and Editor while working with Budnick to get his vision onto the screen. Budnickupon introducing the film at its premiere at the Ziegfeld Theatre at the Green Apple Music Festival to the audience along with producer, Peter Shapirowent out of his way to acknowledge Healey, prompting a beaming editor to stand from his seat and wave to the near capacity throng. Jambands.com takes an opportunity to investigate Healey's experience on Wetlands Preserved, his additional production background and future projects. The documentary will next be aired at the Rhode Island Film Festival on August 10 followed by a screening at the Breckenridge Film Festival on Seprember 9.
Part I Wetlands Preserved
"A thousand ages in thy sight
Are like an evening gone;
Short as the watch that ends the night
Before the rising sun" – The Book of the New Sun, Gene Wolfe
RR: Wetlands Perserved had layers upon layers of meaning from music to activism to a timeless vibe that made the experience almost three-dimensional. The film echoes this imagery while delivering a lot of information. What are your impressions of how the film turned out?
JH: I was incredibly pleased with the final cut of Wetlands Preserved. Dean
Budnick and I videotaped about 80-hours of interview footage and married that with countless photos, archival footage and animated music sequences. It was a daunting task to filter through these assets and determine which pieces of dialogue would best articulate Wetlands's story. It took us a lot of time to compile still photos and video footage and animate them in a style that would complement the dialogue we chose to use. Indeed, Wetlands Preserve did have layers of meaning from the music that was created there, to the activism and social justice causes the nightclub would champion to the hundreds of anecdotes people shared with us. The film actually depicts all of these described "layers" using hundreds of layered animations. Take that and add a person's dialogue and musical soundbed and you have quite a complex piece of art divulging lots of information. Think about it: An interviewee is telling the viewer about an account at Wetlands while underneath that audio is a live recording from the nightclub that either directly references this particular story or mood. Finally, you have all this visual information literally flying around the screen, or changing colors, or dissolving in and out. It can be a lot to comprehend; however, we did a great job keeping it understandable to anyone who might view the film. Plus, all of this maintains the movie's entertainment value by keeping everyone interested in what's they are seeing and hearing.
We had a few private screenings a year prior to the Ziegfeld premiere. These intermediary viewings always generated great ideas and response to this piece of work. Judging from the audience's reactions we were able to determine whether or not something worked or that something did not work, or the audience really likes these two characters or a particular thing we thought was funny in the edit didn't play on the screen. I'm glad we did these screenings as it's important to get outside eyes on early drafts of edits. This is because myself, as editor, and Dean, as director, would spend thousands of hours in front of the material and the decisions you make on what stays or goes can become increasingly more difficult to make since you become attached to certain elements or jaded by others (since you've watched it over and over and over).
By the time Wetlands Preserved screened at Ziegfeld Theatre, I thought it was ready. What I didn't expect was the tremendous turnout. From what I was told, somewhere between 800-1,000 people attended the screening. I was nervous that the room might look empty, but it certainly did not. In many cases where a lot of time was spent to create a particular storyline, or sequence, hearing the reaction in a small, private screening would really please me, but hearing roars of laughter, or even an incredible amount of hissing (in the case of Mayor Rudolph Giuliani's shakedown on Manhattan nightlife) was truly satisfactory to me. Of course the direct compliments I received from people were humbling. I was so thrilled to see the, albeit brief, reunion of all the people who were so inspired by the club. Watching old-timers share remembrances with one another, after the screening, really showed that film needed do be made. In a way, I was able to contribute to this gathering.
Annabelle Lukins, a longtime Wetlands local, made a statement that was unfortunately cut during the edit. Lukins said something to the effect that Wetlands provided an arena for many people, whether it was the musicians, the talent buyers, the photographers, whoever, to get opportunities that might not be afforded to them in the typical, tough, New York City environment. It was because of the club's open-mindedness and freedom to give anyone a chance that many folks got the break or breaks they needed to be doing what it is that they do now. That statement hit home with me because during my own personal residence at the club I was not really involved with anything other than watching my favorite bands perform. I'm truly thankful that this documentary presented itself to me and gave me one final chance to give back. I think I've done this and that's what pleases me the most about the film.
RR: What was your take on Richard Gehr's comment that Wetlands was "nostalgia as a camouflage for people that really didn't need to be there." I don't think Wetlands was a nostalgia trip. Did you?
JH: Do I think it was a nostalgia trip? Perhaps to those, like Gehr says, "who didn't need to be there." No. Wetlands was not a nostalgia trip. Wetlands served as an incubator for a lot of what we see in the live music arena, today. Sure, there were some silly murals on the wall, a VW Microbus, and they created psychedelic prints ads, but it's my understanding that Gehr is saying nostalgia' was applicable to those who didn't really know the venue's true mission Music and Activism. Someone who might stumble into the club unknowing might easily assume that Larry Bloch had created a 1960s throwback themed nightclub and leave. So be it. More room for everyone else to dance.
Part II Soul Shakedown Party
"I need your concentration
Just to feel your vibration" – PHISH, Chairman of the Boards and Big Red, Nassau Coliseum, 2/28/03
RR: What is your background in production?
JH: I started attending the Walter Cronkite School Of Broadcast Business Management at Arizona State after I recognized a void in the live music landscape Video. Back then, I wanted to be a station owner/manager and, perhaps, create a live music-oriented cable channel. The Internet was in its infancy. I launched an on-line music show dubbed Groove Tube. After college, I worked for [Saturday Night Live founder and executive producer] Lorne Michaels at his college-oriented cable network, Burly Bear Network. I wanted to get into the business any way I could, so I took a sales job assisting the sales team with their spot advertisement efforts.
I eventually found myself as a Director of Marketing, working on PR initiatives, as well as the company's corporate and consumer branding objectives. It was at this time I started working with a lot of still photographers and started to enjoy what these folks did for a living. I started writing letters to jambands, for the most part, asking if I might take photos for Burly Bear's website and, in some cases, write some editorial. Widespread Panic gave me my first break at Fleet Pavilion in Boston giving me the opportunity to shoot the first three songs of the first setsomething I'd become utterly familiar with in the years to come. Later, guys like Kevin Shapiro would offer opportunities with Trey Anastasio and the Vermont Youth Orchestra or Vida Blue. Eventually Chris Zahn and Jake Szufnarowski permitted me into Wetlands to photograph the Disco Biscuits, John Scofield and Soulive/Lettuce.
I spent a year or so only photographing bands and portraits of fans and became a little restless. I wanted to do more with my art. I reached out to Andy Navarro who, at the time, was managing Tom Marshall's Amfibian. I told him my situation I'm making the move from still photography to video and I'd like to film Amfibian's next performance at Wetlands Preserve and create some sort of short documentary or story for Burly Bear's website. He obliged and I ended up creating a wonderful four-part series showcasing interviews and performances from Amfibian's 2000 Wetlands Preserve and Higher Ground shows.
It was after that piece that Burly Bear gave me a lateral move within the corporation and offered me the Producer role for the Burly Bear Comedy and Film Festival. It was a great opportunity for me since it merged incredible amounts of marketing efforts with not only live production, but television production, as well. This event traveled from college to college showcasing up-and-coming stand-up comedy and comedic short films. We were kind of like a band. We traveled around in two 15-passenger vans, advanced shows, managed/booked talent, had load-ins and load-outs, and videotaped everything for on-air interstitials and industrials. I took a very hands-on approach with the videotaping, photography and audio recording for these events and realized I wanted to be working in production full-time.
Once the tour ended, I decided to leave the company and pursue my interests full-time. I took almost one year off learning how to edit, compose shots, and animate video and stills. During this time, I called upon a lot of my friends in the industry to help me out with jobs. I took anything I could get: still photographer on movie sets, editing EPKs for athletes, producing corporate films for various ad agencies and so on. I was really intrigued with all the new DVD technology that became readily available to consumers and took the bull by the horns since now bands could be offered increasingly cheap rates to produce, film, edit and author concert DVDs. Vermont rockers, RAQ and Seth Yacovone Band, reached out to me. I created some in-house concert DVDs for each of them that really gave me the opportunity to showcase my talents to other bands and companies.
Come 2002, an old contact of mine from Burly Bear Network, Nick DeNinno, was currently working with National Lampoon Networks and was searching for a producer to re-launch their music magazine show, AV Squad. I took the job and I've been producing the show ever since. It was that year, I also began working for the Jammy Awards.
RR: How did you get involved with Dean Budnick and Wetlands Preserved?
JH: When I was living in Boston, Dean wrote The Phishing Manual: A Compendium to the Music of Phish. After reading it, I thought it would be a nice Christmas gift for some friends of mine. I reached out to Dean, asked if I might get these books signed and he obliged. We met up at John Harvard's Brew House, in Cambridge, MA, had lunch and talked about all sorts of music-related topics. We stayed in touch by trading bootlegs and even catching the occasional moe. show at Boston College, or a Mike Gordon signing at the Harvard Bookstore.
I transferred to Arizona State and kind of lost touch, but when I returned to New York, I saw Dean at a Relix re-launch party at Spa, in New York City. It was there that I mentioned an idea for the Jammy Awards. Why not introduce video nominee montages and give the awards portion of the event some additional excitement? I think Peter Shapiro and Dean kicked the idea around for a Jammys or two, but I eventually received a Budnick/Shapiro tag team phone call, in 2002, that the idea was green-lighted. I spent a couple months working directly with Peter and Dean, cutting together high-end motion graphics for jumbotrons. And, now for some shameless self-promotion: there's an excellent photo of the inaugural screens in the June issue of Relix ("Jam of the Titans"). About a year and a half later, during a brief Jammys hiatus year, I received another Budnick/Shapiro tag team phone call. I thought they were going tell me the date for the next Jammys, but, instead, they were more interested if I owned camera, lighting and audio equipment. I did. That's when they shared with me their concept for Wetlands Preserved and asked me to shoot and edit the film.
RR: What was your role on the documentary?
JH: I served as Director of Photography during production and Editor in post-production. It was my job to light each interview, videotape it, as well as record sound. That's sort of my niche in this business. I'm like the Keller Williams of videography a one-man crew from soup to nuts. I really enjoy it, though. It's a great daily exercise to try and create something different for every interview whether it's the setting or the lighting and I believe I accomplished this in Wetlands Preserved. I tried to give every person their own cinematic feel based upon their role with club. For instance, John Dwork was highly involved with the club's lighting. His interview features incredible contrast as well as use of color gobos (light patterns) in the background. Sublime's Eric Wilson performed at the club, so we filmed him in the foreground with his crew loading in and setting up at a nightclub in the background.
As for post-production, I worked directly with Dean putting all of his notes and ideas together in edit. It really is like putting the pieces of a puzzle together and getting the perfect fit to tell the best story. In addition to editing clips together, I was responsible for most of the non-musical animations. I spent a lot of time creating the various animations that call to different photos, or advertisements, or video while a person is speaking. Wetlands Preserved probably had one of the smallest crews in the history of cinema, so everybody had to play a lot of roles.
Part III The Men with a Movie Camera and an Editing Machine
"a film that need only be seen once to be understood and enjoyed but demands to be studied on an editing table to be fully appreciated. The Man with a Movie Camera has the remarkable effect of encouraging the viewer to identify with the filmmaking process." – The A List, edited by Jay Carr
RR: How much film did you have to review?
JH: Ugh. Tons! We videotaped about 80-hours of interview footage featuring 100-interviewees. I would output "dailies" onto DVD, for Dean, who in turn had to watch every interview, with a time code, and then send me the timings for each clip he wanted to use. I'm blown away by Dean's directing talent to generate the Wetlands story in the fashion that he did. In essence, Dean served to log all of the content in addition to his directing role. Dean also reached out to Wetlands photographers who documented the countless concerts and events held at the club. We accumulated thousands upon thousands of still photos and about ten hours of archival video. Again, Dean reviewed everything and made the crucial decisions as to when and where to present this material. All the while, though, Dean gave me the freedom to alter or tweak, and in some cases, completely change the delivery of these images. In computer terms, there's almost a terabyte of content residing on my machine.
RR: How did you choose the edit sequence? What were some of the challenges in choosing the material?
JH: The concept of the first cut was to take everything relevant to Dean's idea of the Wetlands story and incorporate it in the edit. This resulted in a two-plus-hour film that was much too long; however, the story was there. We needed to simply cut it down under 100-minutes and still retain the important components of the feature. The next step or steps, rather, were several versions of the film 120-minutes, 110-minutes, etc. It became increasingly more difficult between the 100-minute and 90-minute phase. We really needed to "kill our babies" and that's the hard part of the editing process. [Author's Note: No real babies were harmed in the post-production of Wetlands Preserved.] It's a practice where some of your favorite bits of dialogue, or an animation sequence you spent days working on has to be cut. This is the method we used to hit our ideal film length.
As for the story arc, it was Dean's job to write a plot using chapters so viewers can easily understand the components of the club, the musicians who played there, the activism that was taking place, as well some insider anecdotes from former denizens. The film is broken up into an easily digestible format even for a Wetlands novice: the concept of Wetlands, the building of Wetlands, the club's vibe, understanding Larry Bloch, the music that was created there in all its varieties, examples of the various social justice actions, TriBeCa and, yet all the while punching in highly-animated musical sequences.
RR: Describe the non-musical animation process?
JH: The animation process begins with dialogue. Whether it's one person speaking or several, we cut together clips from interviews to tell a particular story. Once we created a working piece of spoken word we'd reference photos to better visualize what a person was talking about. These placeholders were still photos or archival video left untouched or, in some cases, utilized a basic virtual camera pan or ready-made effect such as a camera flash or film leader. In fact, the first cut of the film was entirely made from basic cuts of interviewees talking to these placeholders. Once we determined the basic visual delivery, meaning we approved of which photos or video were going to be used in a particular sequences, we would then export these sequence from Final Cut Pro HD into Adobe After Effects, using Automatic Duck, [Author's Note: No ducks were harmed in the post-production of Wetlands Preserved.] to better stylize or animate the sequence. I wanted every animation to be different or, at the very least, demonstrate all the different types of effects, coloring techniques, pan-and-scans, or 3D space.
Choosing how to animate all the various assets was usually determined by a story's feel as well as using a material's (such as a photos or archival videos) feel. For instance, several Wetlands Preserve strip advertisements, like the ones placed weekly in the Village Voice, are narrow, one-third of a page ads. In this case, we felt a simple pan-and-scan from top to bottom or bottom to top would suffice since this is how people read these sorts of advertisements in magazines and newspapers. In a more complex scenario, such as describing Wetlands' Inner Sanctum, we wanted to depict all the facets of the basement all the while giving them effects that held true to the spirit of that particular section of the nightclub. This meant providing the viewer with a hazy and psychedelic feel using several animation techniques.
RR:How were you involved with determining the animation style and content?
JH: Very hands-on. Dean and I both had similar visions for the way we were going to present the still photos. Rather than using the simple, pan-and-scan technique folks like Ken Burns use in their documentaries, we wanted to instill an electricity similar to the one that the club invoked in its customers. In recent years, films like The Kid Stays In The Picture and Dogtown and Z Boys utilize a foreground/background separation and movement technique (something you see a lot of on DVD menus, too) which, in my eyes, could easily be expanded and incorporated into our film. At the risk of being too clichI wanted our animations to look like The Kid Stays In The Picture's animations on acid.
With this concept in place, Dean provided me with an outline of what picture he'd like to be shown at what time in the movie or when a particular piece of dialogue was being said. At that point, it was up to me to bring these photos and video clips to life. Every animation in the film is different and took a lot of time, and a lot of time away from the project, to keep the ideas fresh. The film was edited with Apple's Final Cut Pro HD and utilized Automatic Duck's conduit to bring these sequences into Adobe After Effects and animate them. An incredible amount of masking and rotoscoping were used, in addition to several motion graphic effects. Even though every animation is different and has a unique touch, they still uphold to the movie's overall stylistic theme. As Editor and Animator, I was allowed a lot of freedom to run with any idea I had. I also had the assistance of John Koltai and TJ Sochor to take on some animations of their own as well assist me with mine.
As for the musical animations, Dean worked with RESMedia Group to commission more animators to create these sequences. 14 different animators were hired to create the 16-music montages. Dean supplied these animators with the music soundbed for each clip, told them a bit about the band, gave them a bit of context and in a few cases some creative ideas but let their artist approach determine the outcome of the segment. I worked with these animators on a technical level as a Post-Production Supervisor providing them with specs and guidelines for final outputs and such, as well as offering constructive criticism for their revisions.
RR: What choices did you have to make to synch the music and audio synchs?
JH: Dean culled from his personal archives of Wetlands recordings, as well as Larry Bloch's archives. He also called upon Jesse Jarnow to assist with some of the soundbed calls. Just as the visual animations were created to complement a person's story, so is the music. Whether it's a direct reference to what a person is seeing or hearing or whether it's music to better instill the mood within the viewer, all of the music contained in the film serves a purpose. Did I mention that all of the music featured in the film was recorded at Wetlands? As amazing as it is that our team was able to aggregate all of this live music material, it did pose some challenging fine tuning in the edit. Not to mention certain, on-the-fly shooting set-ups created for interesting background noise that also needed to be tweaked and/or removed. Ever try filming or recording interviews at Bonnaroo? We really had to take into account everything about our audio.
RR: Did you have to balance music with activism in the edit?
JH: Absolutely. I think one of the early struggles with the story arc was determining how much of each to use. There are many stories and anecdotes about Wetlands and if you ask, or in this case, film interviews with different people about it, you'll get a different story: It was the place that started the neo-hippie movement, or it was a place that nurtured the third wave of Ska. Some will tell you about a place that spearheaded eleventy-one-million social justice causes, while another describes it as that place down the street where hippies smoke weed and make lots of noise. The first cut was well over two-hours in length. Dean wanted to cover every aspect of the club even down to the would-be defunct kitchen. On the activism side, we had several interviews detailing specific actions The Activism Center at Wetlands were taking. Plus, everyone has so many complimentary statements to make we had to make sure the movie wasn't some puff piece that stroked the egos of the people that made it happen. Finding some of the more "dramatic" pieces of dialogue and developing them into the story line took some time.
If you look at the film in terms of its subplots, there are three stories: the story of Larry Bloch/Wetlands, the music and the activism. I think every cut we made along the way focused too much on one of these subplots. It was challenging finding the right balance. At some points, Dean and I often wondered if it would be a better film if, say, we focused strictly on the activism or focused more on the amazing performances, but that wouldn't be right. The more and more we worked on the film the easier it became to balance these topics out and present just enough of all of them.
Part IV Exile on Tribeca Street
"I blame it on Jimmy Page," said drummer Charlie Watts. "Led Zeppelin had come to the Statestwo or three hours on stage was what we heard they did, and it became something of a norm for anyone doing a concert." – According to the Rolling Stones, edited by Dora Loewenstein and Philip Dodd
RR: All the stars align during the Phish animated graphic sequence. Your thoughts on this particular scene?
JH: The Phish animation was created by Phoenix Perry and Jeffers Egan. The stars and undualting photos are a particular style that they brought to the table. I know Dean and I, being big fans of Phish, took special care with the final output. We didn't want it to be too kitsch and thought that expectations from the fans would be high. Phish performed at Wetlands Preserve seven or eight times between the club's opening in 1989 through 1990 so I'm not sure if I'd honestly draw some sort of parallel to the stars aligning, Phish gigging at Wetlands, and the success of the club, but I can say that Dean and I were quite pleased with what Perry and Egan produced. [Author's Note: this is a particularly sublime sequence.] That reminds me…the set-up to this scene features Mike Gordon talking about the club's desires to keep Phish playing until 4am. Gordon goes on to say how the band would play three sets and end around 2am; however, not long before being asked to return to stage to play until closing. Too bad these four set shows aren't in circulation. [Author's Note: Perhaps, because they never played that many sets? ;-)]
RR: What was your favorite sequence to edit? Memorable passages?
JH: There are several. From an Editor's perspective, I really enjoyed the on-the-fly editing of the Rodney Speed Power Jam story. Dean had just received a small amount of video from the 2000 Power Jam where Wetland's barback, Rodney Speed, was being celebrated as the night's super, secret, surprise guest. Dean wanted to insert this clip and utilize some dialogue we had of Jake Szufnarowski describing the night and, especially, Rodney's emergence. Dean sort of had a concept for this sequence, but I asked if I could spend five or ten minutes alone with it. Using some comedic timing and back-and-forth editing, the story comes across as both cute and funny. On a personal note, I can be seen in the front row of the crowd giving Rodney the devil horns hand-signsomething we didn't realize until weeks later.
From an Animator's standpoint, there are many sequences I enjoyed making and love watching. Just about anything where rooms or people are cut-out from the background and utilize z-depth is something I'm proud of. Some examples of this are the floating urinals in the bathroom photo while Zen Tricksters/Phil Lesh and Friend's Rob Barraco discuss the stereo, audio mixes in the bathroom. Perhaps a worthy "memorable passage," taboot! There's also a cool pan-and-scan of a New York Times newspaper article about Wetlands Preserve. After zooming around to different parts of the article, the virtual camera trucks back to reveal the entire full page and actually zooms into the picture of people dancing thus, bring the viewer instantly from a 2D to 3D environment.
There is one animation I'm extremely proud of, though, and I feel it connected with everyone who viewed it and that would be the "Where Are They Now?"-esque final credit roll. I spent one hot, summer month, locked-down in my air conditioned editing suite, working on this nine minute and 20-second animation. The reason it took so long was I needed to use a technique called rotoscoping. This is a time-intensive process of extracting the subject and removing the background video. Once this was done, I inserted older photos of the subject and presented it in a 3D space which is rotating 360-degrees. Sounds weird on paper, but looks great on the screen. It was a concept I wanted to execute from the beginning and wasn't sure if I could pull it off. The fact that I accomplished this made me extremely happy. Plus, since the film's first public screening, the response to that animation was great, also.RR: What projects are you working on, now?
JH: I'm continuing to produce, direct and edit National Lampoon's AV Squad. AV Squad is Lampoon's music video, interview and live performance magazine show. During the weekly 30-minute cable program, viewers are entertained by music videos, live, in-house performances and interviews. On top of that, this month I'll be producing and editing a music video for a very hard working jamband, as well as trying to expand AV Squad into a live settings. Finally, I'll continue to solicit more film projects like concert DVD or, perhaps, Dean and I could do another documentary together. Time will tell.


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Gennocro, Weisner receive all-state recognition
St. Marys Area High School sophomore Adair Gennocro and Elk County Catholic High School freshman Kennedy Weisner were named to the Pennsylvania Track and Field Coaches Association (PTFCA) all-state cross country second team.Gennocro, who won the District 9-AA individual championship, placed third third overall at the PIAA meet held Nov. 6. During the 2010 season, she also set four course records at the St. Marys Area, District 9, Brookville and Punxsutawney courses."To gain this accomplishment, Adair went undefeated in dual meets, set four course records, was ranked National Elite in five certified meets, was District 9-AA champ and was third at the AA state meet," said St. Marys coach Stan Foster.Weisner, who placed second at District 9 and second in the PIAA meet, had been flirting with course records all season."To be named to the all-state team is quite an honor and to have two girls in town be named is wonderful," said ECCHS coach Wee J. Fernan."We are proud of Kennedy and congratulate Adair. The honor is fitting for both runners, as they both had wonderful seasons. We can't speak for all of Adair's accomplishments, but Kennedy broke our Benzinger Park course record the first time she ran the course this fall and she posted the fastest times of any ECC runner at all of the meets we compete at regularly, often flirting with course records. I know both girls are avid athletes and work hard year-round to ensure their success. It is always nice to see hard work being recognized," said Fernan.The PTFCA all-state teams are as follows:GirlsAthlete of the year: Angel Piccirillo of Homer Center; coach of the year: William Squier of Elk Lake.First team: Janie Augustyn of West Chester Henderson, Elizabeth Chikotas of Saucon Valley, Hannah Grossman of Strath Haven, Victoria Gerlach of Pennridge, Katie Kinkead of Central Bucks East, Margo Malone of North Hills, Meghan McGovern of North Penn, Angel Piccirillo of Homer Center, Lindsay Rheiner of Council Rock North, Sara Saregent of Pennsbury and Paige Stoner of Pottsville.Second team: Leigha Anderson of Cumberland Valley, Adair Gennocro of St. Marys, Jenny Guidera of Central Bucks East, Kelsey Ibarra of Central York, Tessa Mundell of Governor Mifflin, Maggie Lawrence of Wilson (3), Angelica Peck of Blackhawk, Catie Skinner of Penn Charter and Kennedy Weisner of Elk County Catholic.For more on this story see the Nov. 23 edition of The Daily Press.


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Phoenix, Arizona (PRWEB) February 12, 2013
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Discover Dublin and beyond
Get more out of Dublin holidays and save with our flight + car package deals.
Passare alla pagina principale
Get more out of Dublin holidays and save with our flight + car package deals.
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Prenoti il suo hotel con British Airways per usufruire di questi vantaggi:


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Here's the contents of my free zine/one-sheeter. If anyone would like a paper copy then please let me know.
Apologies for my lack of Spanish.
Welcome to the first issue of 'Last Train To Eastleigh'! Hopefully it will be the first of many. The premise behind it was to try & provide a little bit of focus for the local indie-pop scene & with some gigs coming up in Southampton, the idea of a free one-sheeter appealed to me. There also aren't enough paper 'zines around anymore, plus I also felt the urge to be creative, just because I can! The format will deliberately concentrate on the words, with a noticeable absence of flash graphics! I shall try & put these out on a reasonably regular basis & will dish them out at gigs but can also mail them out for the price of a stamp. I shall also post the contents on-line at the Anorak & Southcoast forums (see Indie-Pop Resources section!) a short time after the paper version has come out.
The title is a play on the classic CHESTERF!ELDS song 'Last Train To Yeovil' & whilst I have been domiciled in Shirley for the last 11 years or so, Eastleigh is my hometown & I will probably be moving back there in the not too distant future. The title reminds me of going to see bands like THE SHOP ASSISTANTS; SOUP DRAGONS; TALULAH GOSH etc in London in the C86 era. If it was somewhere like the Clarendon in Hammersmith or the Bay 63 under the Westway in Ladbroke Grove, we'd often end up missing the 11.45pm train from Waterloo & having to wait for the 2.45am paper train to Eastleigh, getting home around 5 & going straight to work after little or no sleep! I could easily do that at 20, it's a bit more difficult in your 40s!
Please feel free to offer any comments or feedback about the contents found within. They are of course only my opinions or take on events, not necessarily gospel (not that I believe!) truths. The Southampton indie-pop history piece is kind of a work in progress & I'd like to update/add to it when I can – our history is important & needs to be documented! Finally, thanks to all my friends & those who have supported me – you're great! Rich 4/10…
95a Malmesbury Road,
THE JUNE BRIDES – London (Stoke Newington) Others Club
THE SCHOOL/POCKETBOOKS/LET'S WHISPER – (London Popfest) Brixton Jamm.
TENDER TRAP/ZIPPER/'ALLO DARLIN'/BETTY & THE WEREWOLVES – (London Popfest) Highbury Buffalo Bar.
COMET GAIN/MILKY WIMPSHAKE/LIECHTENSTEIN etc all-dayer – (London Popfest) Hoxton Macbeth.
HARVEY WILLIAMS & JULIAN HENRY/THE MIDDLE ONES/GREGORY WEBSTER – (London Popfest) Angel Salmon & Compass.
THE WEDDING PRESENT – Portsmouth Wedgewood Rooms.
THE SCHOOL – Southampton Joiners.
CRAYON FIELDS/MASCOT FIGHT – Buffalo Bar.
THE MOTIFS/THE MIDDLE ONES – London (Farringdon) Betsey Trotwood.
CRYSTAL STILTS/THE BATS/COMET GAIN – London ICA.
THE PAINS OF BEING PURE AT HEART/SHRAG – Joiners.
THE LUCKSMITHS/'ALLO DARLIN' – London (Kings Cross) Scala.
HARVEY WILLIAMS & JULIAN HENRY – Betsey Trotwood.
THE PASTELS & TENNISCOATS/VERONICA FALLS – London (Shepherds Bush) Bush Hall.
THE BLANCHE HUDSON WEEKEND 'Letters To Daddy' 7" – Squirrel.
In my first job, I worked with a woman who could not say "Squirrel". It always came out as "Sqwhirl" or "Sqwiwel" to much amusement! Anyway, this 3 song debut from this Leeds band is in a similar vein to THE MANHATTAN LOVE SUICIDES, who they have evolved from/out of. We're talking 60s girl group sound & that JESUS & MARY CHAIN/early PRIMITIVES fuzz, with a dark lyrical edge that reminds us that even THE SHANGRI-LAS had an undercurrent to them. Inspiring stuff & a new 7" is due very soon on Odd Box (http://www.oddboxrecords.com – also check out Bristol's great THE KICK INSIDE 7"). (Squirrel, PO Box 481, Leeds, LS5 3TH & http://www.squirrelrecords.co.uk).
THE GARLANDS/THE SUGARPLUMS 7" - Atomic Beat.
4th release from London's Atomic Beat Records. THE GARLANDS from Sweden were one of the hits of this year's London Popfest (see review) & their 2 songs are simply amazing slices of speedy indie-pop, with Christin's voice recalling GIRLS AT THEIR BEST!/TWA TOOTS. 'Open Arms' in particular is one of those rare life-affirming tunes that I can't keep still to & the chorus slays me every time. Their CDEP on Cosy/Cloudberry is great too. Was hard initially not to neglect THE SUGARPLUMS side, what with being blown away by THE GARLANDS but perseverance paid off. Not sure where they're from but I was reminded of Creation-era PASTELS & 1st LP BEAT HAPPENING (minus Calvin's deep voice) & 'Joyce's Bicycle Gang' ends on a bracing blast of fuzz. An essential buy I'd say! (http://www.atomicbeatrecords.co.uk).
Seeing Norwich's MIDDLE ONES on the final afternoon of last year's inaugural London Popfest was a real revelation. Fighting tiredness after 4 days of excess, I was swept away by their beguiling, infectious enthusiasm & superb melodies. The demo & a further London outing (with THE MOTIFS) confirmed it wasn't a one-off, so I was really looking forward to this 10" (an under-used/rated format) – my expectations were met & some! Slickness is not in THE MIDDLE ONES' vocabulary & they are all the better for it. Mostly acoustic instrumentation accentuates Anna & Grace's heartfelt songs, that update THE MARINE GIRLS/1st LP TRACY THORN's stripped down charm. Handmade scrapbook sleeve completes the sense of wonder. (http://www.wiaiwya.com).
SOURPATCH 'Crushin'' LP – Happy Happy Birthday To Me.
Debut album from a ¾ female San Jose (not even I would make a joke about them knowing the way!) group & it's a refreshing delight to slap on the turntable after the rigours of the working day. From the opening salvo of a woman coaching a young child into extolling the virtues of SOURPATCH, we're into enchanting songs at the punkier end of the K Records spectrum, or an American HEAVENLY or TALULAH GOSH. Would love to hear wonderful songs like 'Toothache'; 'Never (Ever Ever) Enough' or the title-track live, so hopefully they'll make it over one day. Vinyl version comes with a download code. (HHBTM, PO Box 742, Athens, GA 30603, USA & http://www.hhbtm.com).
THE WILD SWANS 'Liquid Mercury' 7" – Occultation.
'Revolutionary Spirit' by THE WILD SWANS was one of the greatest indie-pop songs of the early '80s. Liverpool/Zoo Records contemporaries of THE TEARDROP EXPLODES; ECHO & THE BUNNYMEN & WAH! HEAT but none of them made a record that can touch the thrill & atmospheric poise of 'Revolutionary Spirit'. After they imploded all too soon, main men Paul Simpson & Ged Quinn had chart success with CARE & THE LOTUS EATERS respectively, before returning last year with the fantastic 'English Electric Lightning' 10" & some triumphant hometown gigs. This 2 song 7" is equally splendid. The title-track matches Simpson's eloquent diary-entry style lyric with a gorgeous tune. The flip 'The Wickedest Man in The World' is another of their Scouse 'Piss Factory' monologues (the Liverpool bands were always in thrall to PATTI SMITH & NYC Punk) over duelling guitars & piano. Beautiful sleeve painting is less disconcerting than 'English Electric Lightning's tortured cat imagery & count me in for the forthcoming album. (http://www.occultation.co.uk).
Soon as I heard that THE DENTISTS were reforming for a couple of gigs (Medway hometown Gillingham being the other) & that their '80s Kent gigging buddies THE CLAIM were also playing the London one, there was no alternative but to snag a ticket! In all my 25+ years of London gig-going, strangely I hadn't been to this famous Camden Lock venue before. A fairly typical London venue really & full enough to create an atmosphere but not to be uncomfortable. I have to admit THE CLAIM passed me by in the 80s, which is odd as I love(d) their contemporaries like THE DENTISTS & THE JASMINE MINKS but whilst I'd heard the name, I never actually heard them until last year's great Rev-Ola 'Black Path' retrospective CD. Talking to someone at work beforehand about what the bands I was seeing tonight were like, I said THE CLAIM were "halfway between THE JAM & THE SMITHS". Of course that is an over-simplification but a more poetic JAM or rougher SMITHS isn't too far away. They played for almost an hour & it's clear I wasn't alone in enjoying the hell out of them & likewise the band themselves seemed to be having a ball. Minor quibble was them running out of time & having to omit 'Losers Corner'.
I first got into THE DENTISTS around 1985/86 when their 'Some People Are On The Pitch…' LP & 'You & Your Bloody Oranges' 12" turned up in Eastleigh's fine but short-lived record shop Mr G's (I bought numerous other C86-era gems there too) & even though I'd never heard of them before, I bought both as they looked interesting. That wasn't to be the first or last time I'd unearthed gems by taking a chance. That same work conversation pegged THE DENTISTS as "BUZZCOCKS playing BYRDS songs or vice versa". Opening with their classic debut single 'Strawberries Are Growing In My Garden (It's Wintertime)' set the tone & I was grinning from the word go. First half was with original drummer Ian Smith (author Vic Templar) & then final drummer Rob took over. Seeing as singer Mick Murphy had arrived back from Kenya only days before, they were incredibly tight. 'House The Size Of Mars' remains a favourite & with a rarities collection CD 'If All The Flies Were One Fly' (hopefully reviewed next time!) joining Rev-Ola's 'Some People Are On the Pitch…' CD in print, hopefully more DENTISTS back catalogue will see the light of day again. Inspirational night out & my only regret is that non-availability at the bar meant I couldn't "have a few Ricards"…
Saturday 17th April – THE PRIMITIVES – The Joiners.
Sunday 18th April – THE CROOKES – Hamptons.
Monday 26th April – THE PIPETTES – The Joiners.
Monday 3rd May – BEST COAST – The Joiners.
Thursday 13th May – FUZZBOX – The Joiners
Thought I'd take the time to detail some of my favourite internet places. In terms of record buying, I have mainly used Norman Records in Leeds for the last few years (http://www.normanrecords.com). More recently, Pebble Records in Eastbourne has come to the fore with a great selection & very quick turnaround of orders. They also have a label with singles & albums planned by reformed Scottish Sarah legends THE ORCHIDS & Preston's THE CAVALCADE (http://www.pebblerecords.co.uk). My favourite blog is Fire Escape Talking, with Ben turning me on to more than a few pivotal discoveries in recent years (http://www.fireescapetalking.blogspot.com). TweeNet has a comprehensive directory of bands/labels – including an Ambition Records page (http://www.twee.net). The U.S. Indie Pages is good for MP3s; reviews & a message board (http://www.indiepages.com). The best U.K. indie-pop forum is the Anorak board, which has a fiercely D.I.Y. but very friendly heart to it (http://www.anorakforum.com). There is an indie-pop thread on the local punk/hardcore forum Southcoast, which is worth a look at & punk kids who frequent the board are often to be found at indie-pop gigs (http://www.southcoasthq.com)...
As well as all the junk written about in here, the soundtrack to this issue has been BLONDIE; THE RAMONES; ANOTHER SUNNY DAY; THE COOKIES; FELT; indie-pop; punk rock; 60s soul & girl groups…
Whilst Southampton may not currently have a thriving indie-pop scene, with gigs in fits & starts & a dearth of bands, this hasn't always been the case. The city has a rich indie-pop history that has only partially been told before, so here goes!
The prize for the first indie-pop gig in Southampton probably goes to ORANGE JUICE supporting THE UNDERTONES at the Gaumont (now the Mayflower) in December 1980. This was the day before my 15th birthday & whilst there is little point in having regrets, I do rue the fact that my pocket money didn't stretch far enough for me to go. THE TEARDROP EXPLODES also played the Gaumont in June 1981. Oliver Gray's superb history of The Joiners 'Access One Step' book revealed that MICRODISNEY played there in July 1981. Australia's amazing GO-BETWEENS supported their former Postcard labelmates AZTEC CAMERA at the Gaumont in September 1984. A few months later, THE JUNE BRIDES played the Mayfair (now replaced by flats at the end of Court Rd) & in January 1986 they came back to play Woolston's Riverside (later burned down!). Chatting on line, JUNE BRIDE Phil Wilson told me he remembered both had scant attendance & to make matters worse their van broke down on the way back to London after one! THE MIGHTY LEMON DROPS played their first 2 gigs at the University in 1986 – the first was opening for goths THE MARCH VIOLETS but the second saw them supported by POP WILL EAT ITSELF. 1986 also saw some 'student only' gigs – me & my mate Mike sneaked into THE CHESTERF!ELDS/14 ICED BEARS at the Uni but didn't get into THE BODINES at La Sainte Union (long gone college along the Avenue) & didn't hear about 1000 VIOLINS at the Uni until after the fact.
The first regular indie night was The Tinderbox on Thursdays at the West Indian Club (now African-Caribbean Club in St Marys Rd) during the first half of 1988. Whilst not exclusively indie-pop, there were great gigs by MY BLOODY VALENTINE; BRILLIANT CORNERS; FLATMATES; DARLING BUDS & WEATHER PROPHETS amongst others. These sadly came to an end when promoter Ashley allegedly did a runner owing a ton of money. Then through 1988/89 DJs Gnome & Angus did a Friday night do at the Labour Club (on the Queensway, later McCluskys & since been empty for years). It had a dancefloor like a skating rink once drinks were spilled (I once had an entire pint of snakebite & black go over my jeans there!) but had memorable gigs by THE FIELD MICE (their 3rd ever gig although Sarah had already put out the class 'Emma's House' & 'Sensitive' 7"s by this point); STRAWBERRY STORY; THE POOH STICKS (the 'Trade Mark Of Quality' live LP was recorded there!) & THE NIVENS. The Polygon Club (now The Maple Leaf) had indie nights & gigs too (CHESTERF!ELDS; EMILY etc) & during this era THE WEDDING PRESENT played their first Southampton gig at the Mayfair & at the University we had THE HOUSE OF LOVE with openers LUSH (would later play headliners at The Joiners & the Uni).
As the '80s morphed into the '90s, The Joiners became the home of indie-pop (& also that of most 'alternative' music) in the city. The Next Big Thing gigs there started in 1988 & early on Mint put on ROTE KAPELLE & THE WISHING STONES. Mint had eclectic taste & the NBT gigs went right across the spectrum but through to the mid-'90s plenty of indie-pop greats graced the Joiners' back room such as THE POPGUNS (x3); SEA URCHINS; HEAVENLY (x3 including an ace one with BRATMOBILE!); BRILLIANT CORNERS (4 times – 1 with 14 ICED BEARS); PRIMITIVES; ST CHRISTOPHER; MOTORCYCLE BOY; JASMINE MINKS (x2); JESSE GARON & THE DESPERADOES; BRIGHTER (x2); EVEN AS WE SPEAK; WOLFHOUNDS (x2); WEDDING PRESENT; BOB (x2); BMX BANDITS; BEATNIK FILMSTARS (x2); CHESTERF!ELDS; DRISCOLLS; THE CHARLOTTES… Most of these were NBT nights but Iain from THE MAYFIELDS put a few on & so occasionally did the legendary Rob the Postie! PRIMAL SCREAM also played a packed gig there in 1989 but sadly this was after they had disavowed the wonderful jangly gems of their 1st 2 Creation singles & they also turned their noses up at the veggie food lovingly cooked for them & skulked off to McDonalds!
Can't talk about indie-pop without mentioning Ambition Records! The label was started in 1989 by DJ Gnome & the first 2 releases were 7"s by THE MAYFIELDS ('World Of Your Own') & JANE POW ('Safe'). THE MAYFIELDS were actually from Salisbury but I saw both them & JANE POW numerous times as they were the supports at many of the gigs listed earlier. JANE POW had a 2nd single ('Good Morning' 12") on Ambition before releasing albums on Target Records of Brighton (where they eventually moved to) & the US Slumberland Records. THE MAYFIELDS also had a 2nd 7" on the American Bus Stop label. Ambition later released singles by Southampton's LOVE BUTTONS ('You Can Never Have It All' 12") & the noisier EVOL ('Seven Miles Up' 7") & Northampton's GIRL OF MY BEST FRIEND ('Warm Around You' 7" – they played a Joiners gig with THE SNAP DRAGONS). In the spirit of the times, the Ambition catalogue also consisted of a JANE POW/GIRL OF MY BEST FRIEND flexi; a badge & 'The Garden Gnome' fanzine! Sharing roots with JANE POW in school bands were ACCRINGTON STANLEY & as well as often playing the Joiners, they featured on Ambition's 'Bobby Stokes Salutes The Fall Of Manchester' tape of bands covering Manchester bands! More recently ACCRINGTON STANLEY had a track on Volume 3 of the 'Sound Of Leamington Spa' compilation CD series & played a reunion gig at Talking Heads. After the demise of Ambition, Gnome moved to Japan & has recently been in contact with friends from the Labour Club days, so maybe it's high time for an Ambition retrospective CD?
After the mid '90s, the Southampton indie-pop scene went into decline as people moved on. This mirrored the national picture with Sarah Records stopping in 1995 & the scene went very underground. Locally there was the occasional gig with the punk rock gig collective I was a part of (the S.T.E.) putting on MILKY WIMPSHAKE at the Joiners in 1999 & a year or so later at Voltz (a gay bar in Above Bar, now the Aqua Lounge pole dance club!) & there was also HEFNER; EXPERIMENTAL POP BAND (ex BRILLIANT CORNERS) & COSMIC ROUGH RIDERS at the Joiners. Band-wise, SNAFFLER featuring ex (LOVE) BUTTONS singer Jo kept the flag flying with some great gigs & CDs (get 'Bingo Knickers' if you can find it).
Things picked up again as the 21st century progressed, fuelled by the popularity of BELLE & SEBASTIAN (Bournemouth is the closest they have come to playing Southampton!) & also the spread of the internet fanning a truly international scene. For me the keys to rediscovering my indie-pop past were the 'Rough Trade Shops – Indie Pop 1' 2xCD & the TEENAGE FANCLUB gig at the Uni in 2005 (they had earlier played Southampton at least 3 times in the early 90s). In 2007 myself & some friends formed a one-off band DE VLINDERS to play an all-dayer at the Hobbit. The short term nature of this meant it was quite shambolic (ask for a CD of the gig!) but out of it came the far superior (I wasn't involved!) STAY TOGETHERS who played some ace local gigs. More recently we have seen the emergence of MONTAGE POPULAIRE. Gig-wise, The Joiners has hosted in the last 4/5 years the likes of LOVE IS ALL; BEARSUIT; THE PAINS OF BEING PURE AT HEART; PIPETTES; ABERFELDY; SHRAG; CAMERA OBSCURA; WEDDING PRESENT (x2); BRICOLAGE; VIVIAN GIRLS; LOS CAMPESINOS & THE SCHOOL, We have also had FANFARLO at Hamptons & CAMERA OBSCURA & GIRLS at Talking Heads…
I had such a great time at last year's first London Popfest that when early-bird season tickets for this year's 4 day event went on sale in November, I snapped one up straight away! Seemed forever before it came around but finally I was meeting old Southampton friend Tom (& my host for the duration) at Waterloo on a soaking Thursday evening. Due to line closures we opted to take the bus to Dalston & Café Oto, where we met Norwich friends Ian & Debbie. First time here & Oto is a large venue with a nice line in bottled organic cider! Unlike last year, where Popfest concluded with an acoustic gig, 2010 began with one. ROB PRICE sings in AIRPORT GIRL & his solo set was pleasant enough – although my attention did wander. Not seen THE PINES before (although singer & ex BLACK TAMBOURINE Pam Berry had accompanied GREGORY WEBSTER last year). Good stuff, especially when they were joined by ROSE MELBERG for one song. WITHERED HAND was a Scottish fella with offbeat acerbic & witty acoustic songs. We were sat in the far corner so not an issue but a few people got annoyed with those talking at the bar – often a problem at acoustic gigs. ROSE MELBERG finished the night off with her great voice to the fore & soon we were bussing it back to Tom's Shepherds Bush gaff…
Bit of a lie-in Friday morning & then headed over to Borough for the afternoon's films. After a swift Aspall cider on tap in a pub near Borough market, we headed to the Roxy Bar & Screen. Hadn't seen the K Records documentary 'Shield Around The K' before & I was enthralled. Coming from the equally DIY punk scene, this aspect of indie-pop is something that I cherish & I had almost forgotten how great BEAT HAPPENING were. Even better was the DOLLY MIXTURE film 'Take 3 Girls'. Director Paul Kelly introducing said it was still a work-in-progress but the film told the story of the influential late '70s/early 80s band, capturing fully their joie de vivre – loved the anecdote about them trying to play quieter to fade out a song! Tom had snoozed on getting a season ticket & tonight's gig was sold out so while he headed off to a beer festival, me; Ian & Debbie went for delicious Thai Veg buffet in Highbury!...
The Buffalo Bar is a tiny basement club next to Highbury & Islington tube station & it was pretty crowded. THE SUNNY STREET opened & had people from POCKETBOOKS & ELECTROPHONVINTAGE. I enjoyed their Sarah/El Records inspired pop songs. Not seen HOROWITZ since the Luminaire all-dayer nearly 3 years ago & they are now a duo. Love their records & boy was that fuzz loud! Sweden's THE GARLANDS! Getting their split 7" (see review) days beforehand I knew exactly what a treat this was going to be – sublime songs & what a voice! I swear the hairs on my arms stood up when they played 'Open Arms'. Contender for the pick of Popfest & all too soon they were gone. After that THE JUST JOANS could only disappoint & the cider began to kick in so after a few songs we bailed…
Saturday morning & Tom cooked a lush veggie fry up for breakfast & then had a game of Scrabble & Continuo & played with Tom's cat Charlie (sadly he was hit by a car & killed 5 weeks later…), before getting the bus to Oxford Street. Tom paid in & then we went to a Samuel Smiths pub in Soho with ex MAYFIELDS Iain & Mark who we met outside. More great cider! Headed off for Indian veggie food & got to the 100 Club to find we'd missed GORDON MCINTYRE & PLOUF! but caught the end of RED SHOE DIARIES - good intricate indie-pop songs. The 100 Club still looks exactly like it did in the photos of the 1976 punk fest when THE SEX PISTOLS; THE CLASH & C86 influences BUZZCOCKS & THE SUBWAY SECT made history. When Norway's SODA FOUNTAIN RAG started I uttered that you can't go wrong with a singing female stand-up drummer! More guitar live than on the album, this was strident stuff & the vocal mistakes only added to the charm. It's clear to see why Sheffield's STANDARD FARE have a buzz about them – great songs & all the better that they seem to have stumbled into their sound without obvious indie-pop role models. Seen 'ALLO DARLIN' a few times now & they have finally gelled with me. Effervescent pop tunes & looking forward to the album. Sweden's DOROTEA had reformed especially for Popfest & the international dancefloor loved them – I was more impressed with the singer's ABHINANDA t-shirt & also had to commend DJ Roque for playing THE CHEFS' classic '24 Hours' between bands! SHRAG & BALLBOY concluded affairs nicely & we could have danced on but after copious pints of Gaymers ("cooking cider" – Tom!), our beds were calling…
Up early Sunday & headed over to the Lexington at Angel for the Pop Quiz. Me & Tom teamed up with Ben 'Fire Escape Talking' & there was almost an international incident when the Swedes harshly marked our answers! Upstairs for the Swedish duo LEAVING MORNINGTON CRESCENT – really top notch female vocals, male guitar & drum machine combo, as cracking as their EP. Debbie knew Jyoti WHITE TOWN from Norwich & his acoustic guitar with backing tapes was ideal for a Sunday afternoon & yeah he played his No 1 single 'Your Woman'. US duo HORSE SHOES had Jacob from THE DRUMS & evoked BLUEBOY & THE FIELD MICE perfectly. Tom thought reformed Factory/Sarah recording artistes THE WAKE were too drab but I loved them. Played all I wanted them to & a great way to finish Popfest. Stuffed from more Thai Veg buffet, I reflected on the train home what a swell 4 days it had been. Kudos to organisers John; Sean; Marianthi & Ian & roll on London Popfest 2011!...


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Lewiston Town Councilman and Ernest Palmer, candidate for town supervisor, announced today he will oppose a proposal submitted by Quasar Energy Group of Ohio to build a lagoon on Porter Center Road and fill it with 6.5 million gallons of biological waste.
The group plans to use a process known as anaerobic digestion to break down solid waste products from treatment facilities, along with grease and food products to produce a fertilizer called "equate," which would be spread in liquid form on farm fields. The product can only be used a few months a year and must be stored for future use. The food produced on these fields cannot be used for human consumption until 38 months have passed.
"For far too long, Lewiston has been the end destination for garbage and waste," Palmer said. "We must break this cycle and put an end to it. I will work with my colleagues on the Town Board to make sure this proposal is defeated."
The Niagara County Planning Board approved the proposal 5-2 last week, while the Town of Lewiston Planning Board and the Environmental Commission both tabled the proposed action. The proposed site is northeast of Swann Road.
Palmer encourages residents to join him in signing a petition against the proposal at www.protectlewiston.com. Additionally, residents can voice their concerns at the Town Board meeting Monday at 6 p.m.
"Enough is enough," Palmer said. "They want to put this lagoon within 900 feet of existing single family homes with children. Take it somewhere else."


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Publisher's perspective: Delivering a verdict on jury duty
I immediately recognized the jury summons mixed in with a load of other junk a letter carrier delivered to the Willard home in August.
I've seen plenty of these yellow summons sheets from Catawba County Superior Court Clerk Al Jean Bogle. It seems employees of The O-N-E make monthly trips to my office with the form in hand and hoping I will help free them from the obligation.
Yes, I have written a few jury duty "excuse" letters for the folks at The O-N-E.
With a small staff, every person plays a key role in the operation of our business, I explain to the jury clerk in my written pleas. We can't afford to be without a single integral member of our team. Not only that, but what judge, prosecutor or defense attorney in their right mind would want an employee of a newspaper determining the fate of a plaintiff or defendant?
All these arguments might explain how, without fail, every time I have written a letter, employees at The O-N-E have been released from jury service.
That's why, when the jury summons arrived at my house during the summer, I decided I'd take one for Team O-N-E.
Somebody needs to represent our newspaper business in a Catawba County jury pool. Somebody needs to perform this civic service to the readers and citizens in Catawba County.
I figured that somebody may as well be me.
Plus, as a newspaper publisher who's never bashful about sharing opinions — including some about the county's justice system and those involved in it — I figured I would be "excused" the moment the judge set eyes on me.
I was wrong, and believe it or not, I was glad I was.
I never got the chance to tell the court just how horrible a juror I would make. Instead, I spent the better part of 12 hours over three days gaining a clearer understanding of jury service, and why it is important. Likewise, I gained a better appreciation for people who appear for jury service and fulfill their obligation to a society that, as Superior Court Judge Nathan Poovey put it, relies on the philosophy that an individual is innocent until proven guilty.
First, if you haven't participated before, jury service isn't really what you might anticipate. Expecting to spend hours at a time cooped up in a court room, when you could be doing more important things?
OK, well then jury service is what you probably expect.
However, the county's clerk of court and superior court judges use a phone notification system that helps prospective jury members be as efficient with their time as possible. Simply put, you call a phone number each morning or afternoon, and if you are needed for jury service, a recorded message from a court clerk lets you know.
As a result, instead of spending three 10-hour days sitting and listening, waiting for a trial to end so a new jury can be selected, the service was more or less divided into half days. Sure, me and my fellow potential jurors still had to invest time in the room, but we only had to be there when it was absolutely necessary. I'd stop short of calling the experience "convenient," but it could have been an awful lot worse.
Speaking of those fellow jurors, it was interesting to see how a process that is more or less completely random can so effectively impanel a jury that pretty accurately reflects the make-up of the county's citizens. Of course, that's the goal, right? A "jury of peers." Still, it was interesting to see the process in action.
As I waited and hoped for my name to be called to fill a jury seat, I watched and listened as a couple of dozen peers were blindly selected to fill the jury box. Once there, they told personal stories that were, at times, pretty revealing about the jurors themselves and the demographics of our county.
Among potential jurors were a lot of educators — teachers from both public and private schools in the county. There were nurses, truck drivers, professionals and business owners. There were also a lot of retirees — folks who spent careers working in the furniture and textile industries. Those retirees have adult children who now fill the county's current employment landscape: teachers, communications and fiber optics producers, health care workers — and yes, the unemployed.
Racially speaking, the jury pool was mostly white, but black, Hispanic and Asian populations were also represented — much like the county's population as a whole.
Also like the county at-large, there are an awful lot of folks in the jury pool that have been victims of crimes. If they haven't been a crime victim, they know or are related to someone who has fallen prey to vandals, thieves, burglars, sexual molesters, assault perpetrators and even murderers.
And for every person who is chosen to fill a seat in a potential jury, it is likely they will have to revisit — and recount — those crimes, no matter how trivial or how brutal.
That isn't an easy thing to do, revealing yourself to a room full of strangers.
It also isn't easy to sacrifice time usually spent earning a family-supporting paycheck to sit idly in a court room. People called for jury duty have a million other things they could be and likely need to be doing — from grading papers and driving trucks to answering 9-1-1 calls or operating a small business.
Yet, in spite of lives filled with obligations, during this week and weeks throughout the year, the people of Catawba County sacrifice their time and themselves to take part in a tradition nearly as old as our nation itself.
The jury trial is a process that is protected by the U.S. Constitution, and it is one that is integral to the protection of all Americans' rights and liberties as judges, attorneys, and juries work together to uphold justice for other citizens. In fact, jurors may ultimately decide someone's right to freedom or even life itself.
That's a pretty big responsibility, but it doesn't happen if citizens over age 18 don't fulfill their civic obligation to perform jury service. Sure, I can see where it could be a burdensome duty — I know I am glad I won't see that yellow jury summons in my mailbox for at least a couple of years.
At the same time, though, it is encouraging to know that if I am ever accused of a crime or need to file a civil lawsuit, there is a ready, willing and able population of people that can shoulder the jury burden and deliver an unbiased verdict based on evidence presented in court.
Now, employees of the newspaper may never be among the folks making those decisions, but it is nice to know that there are plenty of other good people willing to take our place.
Michael Willard is the publisher of and a columnist for The Observer News Enterprise. His column appears in the weekend edition.


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Suitable for a family of six there are three beds: a double cab-over bed, a dinette conversion suitable for two children, and a double sofa-bed. There is ample storage space and a personal safe. There is a CD player/radio, microwave, fridge, gas cooker and grill, pressurised hot shower and large panoramic windows.
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