The May issue of BLANK is on stands now and features stories on Whitewater Canoeing, WUTK (Check it below), A NFL draft recap with a focus on the Vols who were drafted, Phoenix's performance at Rites of Spring in Nashville.
PLUS: A NFL Draft recap, How the US is attacking youth fitness (Scroll Down)...A full intro to Latitude 35...Movie reviews of "The girl with the Dragon Tattoo" and "North Face"...Is UT a basketball school? (Read it on this very website)And a full guide to the Hangout Festival in Gulf Shores, Alabama!!!!!
Community Spotlight : WUTK, UT's College of Rock
Down in the basement of Andy Holt Tower at the University of Tennessee is a wildly-popular radio station, but also a little known learning laboratory—a place where students from UT’s Department of Journalism and Electronic Media gain practical experience in the news and radio industries. Rockin’ ears for 28 years and more than just a college alternative radio station, WUTK helps students get jobs. But the station has been in an unfortunate situation the last few years since it lost nearly all funding from the university. Regardless, the student staff and the lone salaried employee of the station work night and day to keep things running smooth. The first name that comes to mind in conversations about WUTK is, of course, the General Manager, Benny Smith.
A broadcasting major, Smith worked at WUTK as in the mid- to late 80’s as a student DJ, then as music director. Since then he has worked for various local radio stations, promoted concerts for AC Entertainment and has worked for Metro Pulse magazine. But Smith returned home to UT to take charge of WUTK and has turned the once-failing station into an award-winning radio station and journalism teaching tool.
WUTK is a perennial front-runner for best radio station in the annual Metropulse Reader’s Poll, and are awaiting results for this year’s poll which could include an award for best radio personality. According to Smith, nationally they’ve been a top-four finalist for the College Media Journal’s annual awards, as well as a finalist in five other categories. They’ve also been a finalist in the MTV-U college radio awards. But before all these accolades, Smith had an uphill battle ahead of him.
Former production director and UT alumnus, Ryan Spargo says he saw a lack of attention to details and gives Smith the credit for the turnaround. "I had listened to the radio station before. No one cared. No one really paid attention to what they were doing or what they were saying. There was no flow to the music," he says. "Benny came in said, ‘We need to have a radio station that provides for the listeners—one that listeners can tune into and always know what’s playing, what they heard, what they’re going to hear, know about events going on around town.’ He basically opened up a web that everyone in the area can connect with and entertainment in Knoxville has boosted since. He really has saved the music front in Knoxville."
Jennell Klussman, current DJ and host of the Saturday night show, "the Chart Attack, insists it’s all Benny, all the time.
"Any given day, you will witness Benny wearing a dozen different hats," says Klussman. "Programming director, underwriting director, music director, production director, billing person, collections person, live remote person, spokesperson, technical assistance person, instructor, counselor, father, music lover...the list goes on.
The thing is, if everyone worked as hard as Benny did, he wouldn't have to. "
Of course, Smith lists a whole slew of people who are all cogs in the wheel at WUTK—much like an acceptance speech at the Grammys.
The newsroom is sort of like a living room at home. It has many visitors. Students drop in when they have free time to get a little extra work done. Sometimes they just come down to hang out and play Monday Morning Quarterback, tell jokes or talk about the concert the station presented the night before. But Smith says he was disappointed with student involvement when he returned. He says he couldn’t find students to emcee shows and describes student pride in being part of the station as "depleted." But things are different now.
"I have a waiting list of students wanting to work down here, now. [It’s a] very good problem," says Smith. "And we are really starting to see WUTK students get hired either part-time or full-time more and more due to their experience and the connections they make while working at WUTK.
One of the better-known byproducts of the station is Michael Grider who graduated from UT in May 2006 with a degree in Journalism and Electronic Media. Grider spent much of his college career at WUTK, doing whatever he could to learn the radio business."He did so much to help us here: programming, getting our clocks together, helping to turn the music department around," says Smith.
Grider began working at the station as a D.J., but knew it wasn’t quite what he wanted. Smith moved Grider to programming music, but says he still wasn’t happy. Finally, Smith asked him to be the news director, and Grider felt like he had found his calling. Grider interned at WNOX which airs talk-format shows by local favorite radio personalities Hallerin Hilton Hill and Phil Williams. He was hired on to work in the news department after he graduated from UT, and is currently working as web reporter for WVLT.
Even with all the success students enjoy after their time training at the station, the fact still remains that aside from basic utilities, WUTK receives no funding from the university. WUTK is currently paying its own way and has been for several years.
"Other than paying for the utilities and space, there have been a few rare cases where we were afforded new equipment through some grants to the college, but it is few and far between," says Smith. "And usually we are low on the list of those included in grant proposals."
Smith says that his own salary, licensing and tech fees, t-shirts and computers, copy paper, and equipment upgrades and repairs are all paid for by donors, sponsors and underwriting.
"We just appreciate our listeners, donors, and underwriters so much. They keep us on the air, and keep this student lab open," he says.
To be clear, Smith says that the staff and administration of the College of Communications including Dean Wirth and Andrew Schaffer in the Communications Development office have been proactive lately in trying to establish an endowment campaign and in petitioning the university to allow the station to hire an underwriting director.
"It’s a shame that UT does not really fund us, and that we receive no money from tuition even though we function as a lab and a classroom," says Smith. "And the public needs to be made more aware of this, as there is a belief out there that we receive operating funds from UT. We really do not."
It just doesn’t seem right considering many journalism students are required to work there for course credit. A student worker at WUTK can perfect their radio voice—not only for announcing music, but also reporting news. Students learn how to gather and report news, and interview guests. They can learn about programming, advertising, media sales and operating equipment commonly used in radio stations and newsrooms around the country.
"The practical experience that’s down here…I’ll never understand students who don’t understand that," says Smith. "That’s what sets you apart come interview time—to be able to go out and interview for an entry-level position—not just with your schoolwork, but your practical experience. You just can’t put a price on that. And this is where you come to get it, down here," says Smith.
"Students are starting to realize that once they get down here they can gain and learn as much as they want as long as they apply themselves."
Visit the WUTK website, wutkradio.com to donate to the station, and potential sponsors and underwriters can call the station at 974-1120 for more information.
By Jessie Krueger...pub@blanknews.com
UT IS A BASKETBALL SCHOOL. AND THAT'S OKAYMay 25th, 2010
"The Question" was first asked a little less than a decade ago. Some say it might have been asked in the late 70s, when Ernie and Bernie were putting on their weekly show in the Stokely Athletic Center, but as far as I can tell, the first time I recall hearing "The Question" was in February of 2003.
Call it the perfect storm, but the stage that winter was set for a monumental changing of the guard. The old guard football Vols had plummeted from the top-ten and the fans’ good graces. The season before saw the Vols one win shy of a second National Championship game in four years. In the preason the expectations also held nothing short of a Heisman Trophy winner and a BCS title for the Vols.
Instead, the Shields-Watkins’ warriors went a dismal eight-five, their worst season under Phillip Fulmer. Tennessee was crushed by Maryland in the Peach Bowl. Starting quarterback Casey Clausen was universally despised. Top-recruit Chris Leak vowed that his dream of playing for Tennessee was dead, and he signed with Florida. Fans were disgusted, and they needed something to excite Big Orange country.
Then basketball season started.
In Buzz Peterson’s second year, the Vols were on the cusp of the top twenty-five and seemed like a lock for the NCAA tournament if they could just get by number five Florida. The feeling in Thompson-Boling Arena that night was electric, a feeling Neyland Stadium had been lacking.
When I stormed the court following a rapturous sixty-six to fifty-nine victory, midway between trading high-fives with Brandon Crump and Ron Slay, someone in the crowd asked what before that moment would have been laughable. The Question:
"Could the University of Tennessee be a basketball school?"
Before then, not only had nonsense like that been laughable, but even mentioning such blasphemy would have had you tarred, feathered and run out of town on the same hate train that saw the inglorious exits of Johnny Majors or Jerry Green. Tennessee would be a basketball school when rain fell up. When two plus two equaled five.
But on that particular night, it at least seemed plausible, in the same way that parallel dimensions or doppelgangers are "plausible."
However, at the time, there was insufficient data to make any sort of reasonable decision. The hardwood Vols fell apart at the end of the season and didn’t even make the NCAA tournament. Tennessee always had been and always would be a football school. And following two consecutive years of lackluster basketball and ten-win football teams, "The Question" had seemed like nothing more than an aberration, a momentary lapse of reason.
"The Question" wasn’t asked again until at least 2006. The stage was quite similar, but the axis had started shifting more heavily in one direction.
The preseason top-five gridiron Vols had finished a dismal five to six, their worst season under Phillip Fulmer. Tennessee played in no bowl game for the first time since 1988. Starting quarterback Rick Clausen was universally despised. Tennessee ended its winning streak against Vanderbilt that had existed before most underclassmen were born.
Then basketball season started.
And a loud-mouthed northerner named Bruce stormed his way on to campus, screaming through megaphones in dining halls and publicly vowing to "kick Florida’s ass." When he sweated through his Big Orange jacket on national television en route to his second victory of the season against the hated Gators, "The Question" resurfaced.
"Could UT be a basketball school?"
The excitement and enthusiasm that fans once felt for football was now pouring into TBA by the boatload.
But again, we Vol fans kept pathetically crawling back to football, like a jilted lover begging for an old flame with a drinking problem and a propensity for domestic violence. Sure, we knew it wasn’t good for us, but it was at least comfortable.
Now it’s 2010, eight years after "The Question" was first conjured. Let’s take a look at the data since 2002:
Coaches – Football: 3. Basketball: 2.
Losing seasons – Football: 2. Basketball: 1.
Winning percentage – Football: 62.7. Basketball: 65.9.
Postseason appearances – Football: 6. Basketball: 7.
And it doesn’t take some "Analyst" on ESPN to tell you that the five-year forecast of UT Athletics bodes much more promising for basketball than it does football.
That "dismal" eight to five season seems like light years away by now. If Derek Dooley can manage eight wins in 2010, go ahead and start naming your children after him, because he would clearly be the second coming.
Meanwhile, there’s no reason to think basketball is going anywhere. Bruce Pearl has won with a team full of All-Americans, and he’s won with a team that didn’t even have the best players in the state.
I don’t need numbers to help me answer "The Question." I’ve been to Neyland Stadium. I’ve been to Thompson-Boling Arena. I know where the real excitement lies.
On the surface, some will say that UT will always be a football school because of the sheer mass of people that fall upon East Tennessee and the way the city stops on game days. But if you ask me, there is no "Question." The University of Tennessee is a basketball school.
By Kevin Dalby
Don't Agree? Then cry about it...then email us at pub@blanknews.com.
Fit to be Fit
May 25th, 2010
Physical activity and healthy eating are not a mere matter of getting off the couch and putting down the chips—a simple decision made among the motivated, educated, and strong-willed elite amongst our lazy, stupid, weak populace. Sure, individual personality traits have a lot to do with our health behaviors, but our mighty sovereign selves are surrounded by several "spheres" of influence that can either help or hinder our best (or worst) intentions to be healthy. These "spheres," which are recognized by behavioral and public health experts, include our social environments; the institutions and organizations upon which we rely; and the physical and political environments of the communities, immediate and extended, of which we are a part. All of these factors can significantly impact our lifestyles and states of health in ways we may not readily notice (but can readily blame if it makes us pathetic slugs feel better.)
In all seriousness, our environments matter, especially for those who do not have the means to overcome them. Children are particularly vulnerable, as evidenced by childhood overweight and obesity rates that have skyrocketed over the past three decades. Currently, about a third of our nation’s children are overweight or obese, putting them at increased risk for cardiovascular disease, hypertension, and Type II diabetes, not to mention the emotional ramifications of being "the fat kid." To help remedy this epidemic, the Robert Wood Johnson Foundation created the Healthy Kids, Healthy Communities nationwide program. This program targets the community-level sphere of influence by assisting local health departments in efforts to sway policies impacting aspects of communities’ physical environments related to physical activity and healthy eating. Constructing greenways, installing handicapped-accessible sidewalks, building more parks, allowing mixed-zoning, improving neighborhood lighting, reducing speed limits, and supporting corner grocery stores or farmers markets are just some examples of opportunities for policy change that could make healthy living easier, safer and more integrated into people’s daily lives.
Recently, the Knox County Health Department became one of fifty local agencies across the country to receive (and one of more than 500 to request) grant money from the Robert Wood Johnson Foundation. One of the largest outlays of money in history for a health-related cause, the Healthy Kids, Healthy Communities fund provided the KCHD with a sizeable $360,000. This money is to be applied over the course of several years to assessing community needs, identifying priorities, strategizing for change, implementing an action plan and evaluating outcomes. During year one of the KCHD’s local operation of the Healthy Kids, Healthy Communities program, the KCHD has identified three of the county’s most vulnerable communities for intervention: Mascot, Inskip and Lonsdale. The childhood overweight/obesity rates in these communities are 53.4 percent, 45.7 percent, and 51.8 percent, respectively. Additionally, these communities have special socioeconomic, political and environmental concerns; represent urban, suburban and rural settings; and present opportunities for improvement.
Leaders for the KCHD program, which include Stephanie Welch, KCHD Community Development and Planning Director; Ben Epperson, Healthy Kids, Healthy Communities program manager; and Kevin Durand, Healthy Kids, Healthy Communities program assistant manager; have planned a collaborative approach with these communities so that residents are involved in each step of the process. The basis for this involvement is the notion that community members likely have important knowledge about their communities that public health professionals may not know but may need in order to facilitate effective and long-lasting positive change. Makes sense, no?
Partnerships extend to other entities, as well. On board with this program are the Knoxville Regional Transportation Planning Organization, the YMCA and the University of Tennessee’s Nutrition and Public Health programs, for example. The YMCA provided the KCHD with the assessment tool they developed for their own Activate America initiative. This tool is part of their Community Healthy Living Index (CHLI) package of assessment tools, and it focuses on neighborhood design, physical environment related to physical activity, physical environment related to food and nutrition, safety, and collaborative capacity/community engagement. Students from the University of Tennessee’s Master of Public Health program under the guidance of Charles Hamilton, DrPH, just recently finished assisting the KCHD and community members in using CHLI to collect data on these areas during walking audits in each of the three communities. The resulting report from the CHLI assessments comprises the first major information-gathering hurdle of the program.
Their findings reveal many of the same challenges. The most prevalent problems shared by Mascot, Inskip, and Lonsdale are poor connectivity for pedestrians and , and inadequate food outlets offering nutritious options. Insufficient recreational areas and safety of pedestrian/bicycle travel were common issues raised by community members, as well. Other issues, such as crime and community engagement, were more variable, highlighting the importance of avoiding a one-size-fits-all approach to planning for change and, accordingly, the importance of involving the people to be most affected by change in planning efforts. After all, this is dealing with the problem of overweight and obesity; one-size-fits-all ain’t gonna work.
Next up in the KCHD’s Healthy Kids, Healthy Communities game plan are community focus groups and key informant interviews to gather any additional information and prioritize problems prior to intervention. It will be several years before any changes may be apparent in Mascot, Inskip, or Lonsdale, but due to the careful involvement of residents, it can be assured that these changes will be tailored to the communities’ unique needs. Then, hopefully, there will be some tailoring to waistlines.
By Tegan Medico...pub@blanknews.com
BIG EARS 2010 Recap
April 10th, 2010
The Ex The National My Brightest Diamond
Knoxvilles second year festival takes shape as legitimate force on the festival circuit
When it was cold, it was cold. When the sun shone, it shone. When it rained, it rained. But it was in a nice, experientially eclectic, this-is-your-powerful-world kind of way. It was a fitting backdrop for a weekend full of equally intense musical sundries, many of which with an almost fantastical power to launch you into a world not so cold, sunny, or rainy, but whatever you let your senses imagine it to be.
When I moved to Knoxville, I had never even heard of Bonnaroo, let alone AC Entertainments daughter festival, BIG EARS. Before I moved to Knoxville, I had never even had the opportunity to go to a downtown venue and listen to legitimately talented and dedicated artists perform live. About a year and a half later, already tickled pink by Knoxvilles rich local music scene, I found myself taking in all that is BIG EARS, hopping from venue to venue to catch some of the most innovative, unconventional, and awesome acts circulating on the mainstream, not so mainstream, and downright invisible stream. I would say that my country bumpkin butt was up the creek without a paddle, but who wants a paddle in waters like that? I was happy to drown in it all.
Luckily, I had company. Without knowing exact numbers or taking a customer satisfaction survey, it is safe to say that BIG EARS 2010 was a triumphant success.
From its kickoff at the Knoxville Art Museum Friday evening with moving sets by Sam Amidon, Iva Bittova and The Calder Quartet, to the conclusion with The National at the Tennessee Theater Sunday night, people were everywhere in center city Knoxville, and they were singing, smiling, dancing, clapping, and yelling for more (I lost count of the number of encores). Of course, there were the protestors of AC Entertainment, namely the organizers of the "Kno Ears" counter-festival in an alley behind Market Square late Saturday night, but of the thirty or forty people I saw in that alley, about half I had also seen at one Big Ears show or another, myself included. When it comes to good music, people will follow wherever their ears take them. If your ears are big enough, they may take you to places you never expected to be. I suppose that was the point.
Covering a festival in your hometown is nothing like, well, covering a festival in any other place. Theres familiarity, and inside that lies comfort. And then theres the opportunity to take your dog for a walk every now and then. But more than anything, theres pride.
The mood in downtown Knoxville was incredibly positive all weekend. Businesses were packed. Restaurant consumers adorned smiles amidst longer than usual wait times. Festival goers from Europe and Central America were shoulder to shoulder with Knoxvillians and everywhere you looked, good conversation was taking place.
For once, Knoxville seemed like the center of the universe.
Joanna Newsom Adrian Belew
With the future now firmly in focus, the people of Knoxville have a legitimate economy stimulating festival to plan for each year.
BIG EARS is a truly unique music experience in many ways, but its crowning achievement was its lack of boundaries. Where most festivals disconnect its artists from its paying customers, BIG EARS allowed for unprecedented interaction. More often than not, artists could be found in the audience, side by side with fans. Having the opportunity to sit beside Sufjan Stevens at the Bijou Theatre or seeing Annie Clark, of St. Vincent fame, walk down Gay Street was surreal. But when you think about it, the stage was set perfectly for such unguarded presence. Most of the artists who played BIG EARS are just outside of widespread commercial acclaim. While the dedicated listener could easily identify these artists, the average person would just as easily walk right past these musicians without ever knowing it.
Reviews are still rolling in; The New York Times said the BIG EARS experience was, "like a string of mind-blowing midnight movies." Consequence of Sound, a brilliant online music source, wrote, "Many of the artists who played BIG EARS stuck around for most of the weekend, either to take in the festival, to play multiple sets, or to add to other artists sets in the great spirit of collaboration that ran throughout the entire weekend. And Rolling Stone called it, "arguably the classiest, most diverse festival in the country." The praise doesnt stop there. The artists themselves got in on the love fest as well. Annie Clark revealed, "This is the most amazing lineup in a festival Ive ever been a part of." And Shara Worder of My Brightest Diamond and Clogs expressed that the Tennessee Theatre was her favorite place to play. The festival was also unique in the praise that the artists gave Ashley Capps directly. Never before has the appreciation between promoter and artist been so willing. In turn Capps repeatedly thanked his staff, which he said, "had been going without sleep for weeks."
Clark and Worder were part of a dominant theme that rang true throughout the weekend. The theme was girl power, or in this case: woman power. Female leads conducted many of the finest sets of the weekend. It starting on Friday with the jaw-dropping Iva Bittova at the Knoxville Museum of Art and continued later that evening with the hushed indie rock of The xx. The ladies of The Dirty Projectors were spot on while Worders sit-down set with The Clogs added to the awe-full mystique the following day and Joanna Newsom made it official later in the night with an incredibly personal set of band-backed harpings. When Newsom starts singing atop her beautiful harp strums, flowers begin to grow. There couldnt have been a finer ambassador of spring for Knoxville on this night.
Liz Bougatsos led the most exciting performance of the festival as front woman of Gang Gang Dance to close out the second night of the three-day event. Sunday was more of the same. Clark ruled the stage during St. Vincents set and sold a lot of records in the process. Then it was back to Worder, this time as a rocking mama-to-be with My Brightest Diamond. Five months pregnant, she ranged from moody blues to downright rock, occasionally taking a break to rub her extended torso.
It wasnt all about the ladies though. Other highlights included The Ex, whose original punk sound dominated a packed house at the BIG EARS Annex, which formerly housed the Catalyst. The few folks whose interests include both great music and UT athletics were in pure ecstasy on Friday night as they celebrated the basketball teams first Elite 8 appearance with The Exs determined effort. The second half of the set provided the finest moments of the weekend for many. Serious, nonstop, rocknroll was their mission. The kind you cant take hope to mama. Mission accomplished.
The Clogs performance was one of the most anticipated of the weekend, but no one really knew what to expect. The chamber rock experimentation was a true learning experience, one that those in attendance wont soon forget. Sufjan Stevens added a delicate brilliance to the set.
The 802 tour featured Sam Amidon, Doveman, Nico Muhly & Nadia Sirota. This was the most moving set of the weekend. The words of one attendee described the shows beauty accurately, "Man, I dont want to sound like a sissy, but I started crying during that last song."
Just a couple of hours later, Adrian Belew captivated an early Saturday crowd at the Square Room with otherworldly guitar variations.
Meanwhile, local acts like Shortwave Society and Destroyed by Magnets were proving that they were a lot more than just another name on the festival T-shirt, as they won over new fans from all over the globe.
During the Dirty Projectors afternoon Tennessee Theatre set, a proud local asked in a lull that the band, "Keep on kicking ass," to which lead David Longstreth replied with a smile, "Well do our best." And their best was what the crowd got.
Then there was Vampire Weekend. This sort of music isnt for everyone, but its hard not to believe that lead singer Ezra Koenigs ear-to-ear grin wasnt sincere. Lines wrapped around the block four hours before the sold-out show and those who waited took in every moment with glee once they were allowed in.
The Books offered music atop video footage that they have gathered from thrift stores in front of an appreciative crowd on Sunday afternoon before The Calder Quartet and artist in residence Terry Riley played one last show. My Brightest Diamond and The National concluded the festival with a cherry on top, leaving "Inner Ear" pass holders exhausted and fulfilled.
Its hard to imagine whats next for both the festival and those who attended it. Musical walls were taken down brick by brick for the people who walked into the various downtown venues not knowing what to expect. With a greater appreciation in tote, listeners certainly aged themselves when it comes to musical maturity. There are many folks who discovered artists they will grow to love for the first time during a weekend that will be remembered as the one that really put BIG EARS on the map.
As for where the music festival goeswho knows. Just book it and we will come. BIG EARS has earned our trust and if the festivals organizers say its something we need to hear, we will take their word for it.
By Tegan Medico and Rusty Odom
pub@blanknews.com
The Theatres of East Tennessee
East Tennessee boasts many beautiful attractions. This is a look at some of its finest entertainment venues, with a specific focus on the Princess Theatre in Harriman, scheduled to reopen in early 2011.
The Princess Theatre in Harriman
For eighty years, the Princess Theatre brought joy to downtown Harriman.
It first opened its doors in September of 1926. Six years later, flames damaged the theatre and in 1939, it was completely destroyed by fire. But the people of Harriman rebuilt and in just ten short months, the Princess was opened once again.
The theatre shone as a mark of the perseverance of the people of Harriman. And for nearly three generations, the Princess was the flagship attraction of Harriman, allowing people from town and surrounding counties their only chance to experience what it was like to be part of a sold-out show. At its peak during World War II, each of three daily showings sold out more often than not.
During the 1980s the theatre faced adversity again, this time due to the choice of the parent company to pull away. Cecil Johnson kept the theatre going until 1999 when it closed its doors for the last time.
The Princess had been the center of life in Harriman for decades. Many people in the region recall great memories of first dates, gatherings of friends and seeing classic movies like "Ole Yeller" for the first time at the Princess. The residents in Roane and neighboring counties have noticed that without having the Princess Theater, the community is suffering. The need for the closeness that such a fixture brings between the citizens of the area is equally as important as what the Princess could provide as a crucial part of a much-needed re-vitalization of downtown Harriman.
Its hard to imagine that any good could come out of the horrendous Ash Spill of just a few years ago, but TVA has awarded Roane County with 1.7 million dollars to use at their calling. With little disagreement, the Princess was chosen as the recipient of the funds and once again, she will awaken after years at rest.
As of the first week of April, the City of Harriman had approved the project. Mayor Chris Mason issued a statement on the citys website saying, "This project has my whole-hearted support and also has the support of the city council." The support doesnt stop there.
The Heartland Series Bill Landry has teamed up with actor Muse Watson and a bevy of local politicians and citizens who plan to reopen this sleeping beauty sometime next spring.
But the plans dont just service those interested in seeing a show without having to drive into a bigger town. The current renovation includes three separate buildings, with a focus on the future of Harriman in mind. A partnership with Roane State Community College is what makes the plans to renovate much more than meets the eye.
A new television station (channel 15) will be housed directly next door to the Princess. Not only will this give the theatre broadcasting capabilities, it will also serve as a hands-on classroom for communications students at the local college. Once the $1.7 Million renovation is complete, the city will turn over the complex to the college to be operated and maintained by the students. "The college is going to offer media production courses and will eventually present a degree for it. This wouldnt be possible without this project," said Landry.
"We have all the equipment to record, edit and produce," added Landry. "And were going to have a classroom just a few feet away from the TV studio."
Three cameras will record each production at the Princess so that they can be televised throughout Roane County and also in Anderson and Knox counties when appropriate as a cable access channel.
According the Landry, the skys the limit for what sort of productions the Princess can accommodate. "It will house graduations, concerts, Baptist singings, theatrical presentations, touring shows, bluegrass bands, and more. Hopefully we can have it open four or five days a week in due time. With this TV station and the connection with the school, the possibilities are there."
Landry teaches a media class at Roane State and his students are already working on a production for the station about the Obed River.
The third piece of the triad is a 450-seat conference center, located next to the TV station. Much of the downtown business district will be vacated when Roane County Medical Center moves locations to exit 350 in the coming months. This will open up more room for the convention center, which could perfectly accompany the theatre and the TV station in the citys rebirth.
"It started ten years ago," said Gary Baker, one of the chief ambassadors of the new Princess project. "It took a new city administration that was forward thanking and when you combine that with Bill Landry getting involved with Dr. Goff at Roane State and the passion of the citizens of Roane County, we are finally making it happen."
"This facility if for a seven county region. This is for citizens of Knoxville as much as it is the people of Harriman," added Baker "We hope that independent filmmakers from all over the area see this as a place to showcase their movies."
Thanks to a strong constructional blueprint, the Princess restoration will be easier than most long-vacant theaters. "The Princess is structurally sound and much of it is still in tact. Its a wonderful building and its a sound investment as far as making it a valuable part of the community. As a structure its one of the best weve been in," said Frank Sparkman, project architect for the revitalization of the Princess.
The theater is located at 421 Roane Street in the middle of downtown. Once finished, it will seat 900 plus in its audience.
Landry has spent a good bit of his post-Heartland Series time working on the project. "The Princess Theatre has been a symbol and an arts concept in the minds of the people in Roane County for decades. This will not only be a educational center, it will be a community hub."
You dont have to look very far to see the results of what such a project can do to a city. Downtown Knoxville has grown exponentially since the reopening of the Bijou and the Tennessee Theatres. Ten years ago, vacant buildings littered Gay Street and now people fight over new loft space, not just to open a business, but to inhabit. The Princess has a tough road to plow, but if the past is any indication of the future, the people of Harriman will make it work.
The Palace Theater
Carl Pflanze erected the Palace Theater building in 1868 to house his furniture and casket factory. In those days if you did one, you did the other. Pflanze was the original owner of Cherokee Lumber Company. This company was in continuous service to Blount countians until 2001. The furniture store remained until 1927 when it became the first site of McCammon Ammons Funeral Parlor.
After a few years of business the Pflanze building housed Wrights Five and Dime store. In October 1933 the building was consumed by fire. The Crescent Amusement Company bought the building and in just 30 days built the Palace Theater. The upper office and projector booth have remained the same since 1933. This company also owned the Capitol Theater located further west on Broadway. The two theaters were operating for the sole purpose of shutting down the Park Theater, located across the street.
In 1938, the Crescent Amusement Company bought the Park Theater. The Palace was then relocated to the former Park Theater and kept the Park name. Roys Record Shop now occupies that location.
The original Pflanze building was a little smaller that it is today. The building at that time only reached halfway through the block between West Broadway and Harper Streets.
In 1938 the Cole Drug Store purchased the property and extended the building all the to Harper St. The Palace Caf now operated under the Palace Theater at 113 W. Harper.
In 1974 Walter and Walker Harrill purchased the building with the intent of restoring it to the way they remembered it in 1934, as the Palace Theater. This popular theater closed in the early 1980s for the second time.
The theater remained unused for nearly two decades. Steve Kaufman and Donna Dixon purchased the building in 1999 and restored it with the help of local historians. It has become Maryvilles premier acoustic music venue and the town's first espresso bar. It has proven to be the "In place to be" in Maryville and has lead a resurgence in the growth of downtown Maryville. More information can be found online at www.palacetheater.com.
The Capitol
The site of the present Capitol Theatre was originally the WA Dunlap Building, built circa 1922. It was also opened as a furniture store and undertaking establishment. The building later housed the J.C. Penney Company until the company lost its lease circa 1934. Crescent Amusement Company then began construction of the Capitol Theatre that same year. The Capitol was the largest venue of three movie houses in downtown Maryville, seating just fewer than 1000 people.
Typical of art deco style movie houses of that era, the Capitol was the premier entertainment venue for locals, where parents would often drop their children off for an afternoon of westerns while they shopped. The buildings fly loft over the stage allowed the silver screen to retract in order to also accommodate live theater and musical performances. After it finally closed in the 1970s, the Capitol housed a variety of tenants, which included a record shop, disco, wedding dress store, and more recently a coffee shop and art studio of local artist Heath Claiborne.
The Capitol now serves as a special events facility in a dinner theater setting, providing a stage, retractable silver screen, dance floor, catering kitchen and flexible seating. The theatre not only serves as an entertainment venue for live performances and movies, but is available for private parties, corporate events, and the like. The Capitol participates in the Maryville Art Walk on the last Friday of each month as well. For more information visit www.bookthecapitol.com
The Laurel Theater
The Laurel Theater was once the Fort Sanders Presbyterian Church, which was completed in 1898.
Before the 1982 fire it boasted a tower, a steeply sloped floor and a historic stained glass window on the West side depicting two arms crossed in friendship, one with a blue sleeve and one with a grey, believed to be one of the first memorials to honor the dead of both sides of the Civil War.
It was purchased by soldiers quartered near Knoxville during the Spanish American war as a gesture of good will following incidents of rowdy behavior that offended community mores.
By the 1960s the congregation had moved to the suburbs and the church was being leased to the Catholic Student Association, now based at the John XXIII center on Melrose. In 1968 it became part of an ecumenical outreach program with Methodist, Presbyterian, Catholic and Episcopalian participation, led by young pastors coming out of divinity schools with radical ideas of the Christian mission in the spirit of the Vietnam Era.
The first pastor of the Epworth Congregation was Methodist Renfro Sproul, who founded a series of programs to reach out to the student community encompassing music, art, education, politics, community architecture and cooperative models; the children of these initiatives include the Knoxville Community Design Center, Laurel High School, the Knoxville Community Food Co-op (Three Rivers Market) and Jubilee Community Arts and its affiliate organizations. The famous Glenmary Sisters, later FOCUS, were also a part of this scene. The Epworth Center (now, and sometimes then, the Laurel Theater) was regularly attacked by Cas Walker in his Watchtower paper as a haven of communists and libertines. In 1972, Episcopalian minister Bill Daniels succeeded Sproul as pastor of Epworth and founding director of Jubilee Community Arts, the organization that now owns and operates the Laurel. Daniels was interested in and knowledgeable about the traditional music of the area and was able to raise grant funds from the National Endowment for the Arts in the area of folk life programming. He brought many important rural performing artists to the Laurel and the Jubilee Center (the former Epworth Methodist church on 16th and Highland) and the Epworth/Jubilee became a focal point for the old time music revival (actually, beginning in 1969 when the first Jubilee Festival was organized, by John McCutcheon, Rich Kirby and others). A coffee pot started the electrical fire in the basement that took most of the roof and the much of the Eastern side of the Laurel in 1982. The firefighters were obliged to shatter the historic window with a brick. The Presbytery turned over the insurance money to the Laurel and there was tremendous exertion of volunteer labor and fundraising over the next four years and beyond, but Daniels resigned and the Epworth congregation disbanded shortly thereafter. Jubilee Community Arts incorporated as a 501(c) 3 and director Janie Wilson, a former social worker, took the lead in restoring the building and expanding the music and cultural programs that now call the Laurel home. The building was eventually purchased from the Presbytery for $55,000. The owners made the payments by renting out the parking lot on football weekends and the mortgage was paid off completely under current director Brent Cantrell in the late 90s. After Janie Wilson's tenure, succeeding director Melody Reeves began to bend the focus back to folk life programming. The theater now hosts many affiliate organizations that hold regular dances, readings and other activities as well as JCA's concert series. We are also now the home of the Tennessee Folklore Society and produce CDs and radio for WUOT and WDVX. Executive Director Brent Cantrell is a folklorist, who like every director of an arts organization, has attracted his share of controversy and passions for and against his programming philosophy. The Laurel feels engaged in a struggle with powerful commercial and cultural forces that threaten to overwhelm an endangered cultural legacy. We host popular artists but our heart is in the presentation of the oldest surviving forms of regional music and folkways, however uncool that proves to be. The Laurel has a narrow program focus, and a skeptical attitude towards the prevailing obsession with originality and novelty. The Laurel is a physical and acoustical wonder. Events at the Laurel, private and public, have been a source of deep feelings and loyalty and the occasion of any number of lasting loves and friendships across the forty to a hundred and twelve years of its documented history. For more information visithttp://jubileearts.org/.
The Clarence Brown Theatre
The Clarence Brown Theatre is a 574-seat proscenium theatre built in 1970. It is dedicated to Clarence Brown, distinguished film director and UT alumnus. Located in the center of the UT campus, The Clarence Brown is home to the box office, scene shop, costume and craft shop, electrics and lighting shop, a properties shop, actors dressing rooms and offices. The theatre provides access and seating for the physically challenged, and listening systems for the deaf and hearing impaired.
The CBT also houses a Lab Theatre, which is used for theatre instruction. Most performance and movement classes are held in the Lab Theatre. It also is host to CBT Studio Series. Information on these performances is available at the CBT Box Office.
The Ula Love Doughty Carousel Theatre
The oldest theatre on campus, the Carousel Theatre was constructed in the early 1950s and named for CBT benefactor Ula Love Doughty. It is an arena theatre with flexible seating for approximately 350. All seating is general admission.
The Tennessee Theatre
The Tennessee Theater opened on October 1, 1928. It was placed on the National Register of Historic Places in 1982. In 1999 it was awarded the Designation as The Official State Theater of Tennessee. The Tennessee is ranked 47th internationally as a performing venue by Pollstar Magazine. In 2001, the mammoth Wurlitzer organ was completely rebuilt.
The entire Theater soon underwent a huge renovation and the theater re-opened on January 14, 2005.
The renovations took on numerous needed areas, ranging from the marquee and vertical sign on the front of the building to the addition of stage space in the rear of the building. The original chandeliers, original patterned carpet, historically correct draperies and old box office were all restored to their original splendor.
Some modernizations took place too. A state of the art box office was built (the old one was restored and retained). New concession stands were added along with new seats, bringing the seating capacity to 1,631. Increased restroom capacity and fully accessible restrooms were added on the balcony level, new performance and stage lighting was installed and a new sound system with acoustical "tuning" of the audience chamber was also installed. Safety issues were addressed with the addition of a full fire protection and suppression system and the HVAC was upgraded.
The Backstage area was blessed with the deepening of the stage, from 26 feet to 45 feet. A load in scenery lift was added and an enlarged orchestra pit was built with a new pit lift. The dressing room space from expanded from 2,000 to 10,000 square feet. Ten of the new dressing rooms were given dressing stations and full baths, 3 with dressing stations only, bringing the total of dressing stations to an astounding 63. A new orchestra shell was built, new rigging and a backstage passenger elevator was installed.
With the improvements made to The Tennessee Theater, Knoxville and East Tennessee has a jewel of a piece of history that generations of future Knoxvillians will be able to enjoy.
The theatre is currently operated with the help of AC Entertainment and is just coming off of international acclaim due to its presence as the feature venue at the BIG EARS music festival.
-Thanks to Paul Mashburn, Steve Kaufman, Robin Conklin, Toby Koosman, Debbie Wilbourn, Bill Snyder & Charles Collins for contributing to this story
Is the sun setting on Sundown?
March 2010
by Jared Hussey
Which came first: the chicken or the egg? Better yet, what came first: Sundown in the City or Market Square rebirth? Do not scoff or cry sarcasm; it is one and the same. They began at the same time, and they each begat one another so we are left to decide for ourselves. I suppose only God knows which came first.
In the current debate surrounding the decision to strip-down Sundown for the sake of Market Square vendors and residents, we turn to priorities. How important is Sundown? Where does it rank in terms of vitality? And most importantly, is it more important than the concerns of those who petitioned against it? We tried to get to the bottom of it and going in, we knew only one thing concrete and factualthe once summer-long, 12-show line up was now down to 5 shows on April 22, May 6 and 20, and June 3 and 17.
Knoxville is a hot bed for several things, but live instrumental entertainment has not been one of its most sought after fields since the early days of country music. But in 1998, all that changed. The organizers of Sundown in The City quickly realized that when you satisfy the peoples craving for great music, they embrace it. They adopt it and make it their own. They nurture it and stimulate its growth. This is why Sundown is more than just a free show. Its networking in its purest form. Its Facebook in the flesh. Is their anything more encouraging and uplifting than seeing all of Knoxvilles beautiful children, both young and old, gathered under a flawless twilight sky in the perfect warmth of summer evening? Only time will tell if the festival and the square are symbiotic and interdependent like living creatures.
Ultimately what matters most is the Market Squareans, if you will. Those incredibly lucky individuals who get to call it home or run their little piece of entrepreneurial heaven share their neighborhood with all of us for three months every summer. I say that out of respect, because after all, it is the quintessence of downtown gathering.
Several businesses were hip to giving their opinion on the decision. Starting at one end and working our way down we were able to canvass the many businesses in the square and surrounding area. We asked business owners from the downtown sector if they were happy about fewer shows for Sundown or if they feel it will negatively impact their business.
If you ask Bernadette West at Preservation Pub, shell tell you that Sundown has served a great purpose, and she understands that things change over time.
"I think the square is completely different from when they started Sundown," she said. "AC (Entertainment) was trying to do the same thing that we were in the beginning. We just wanted to get people downtown and everybodys been successful in doing that."
"At this point, I would prefer having five really good acts instead of several so-so acts. But anything that happens downtown is a positive. I think downtown needs to be a vibrant meeting place for all kinds of people, not just the certain demographic that the businesses are after. The more diversity downtown has the better the future will be."
Ask any Knoxville native in the 25-35 age group if they hung out downtown in their early years, and theyll probably agree with West. Where would downtown be now if Sundown had started ten years earlier? From an economic standpoint, Sundown has become a weekly hit-or-miss night depending on which business owner you talked to.
A representative of Earth to Old City said, "Sundown brought more money in when the economy was better, but now it doesnt matter because people are saving for other things regardless." Moving down to Tomato Head, we were able to speak with Mahasti Vafrie. His response to fewer shows was, "This is absolutely negative. We got so much foot traffic from Sundown."
That feeling was reiterated next door. Lisa, who is one of the managers at Caf 4 went on to say, "We absolutely love Sundown." Across to the other side of the square is Shonos. They serve as a pillar and a staple in the culture of the new Square.
"This is absolutely negative," said Willy Shonos. "Sundown was so good for us, and it offered great exposure for all the local businesses."
Soccer Taco was next, and while opting not to elaborate, they did vote a "Definite negative" on the decision. After that was Coco Moon. The person we spoke to wished to remain anonymous but would go on record saying, "Sundown is a chance for businesses that have very slow winters to recoup some of the losses."
LaCosta was next, and manager Ken Eddelman was our first on-the-fence response. Ken said, "Sundown had a negative effect on the high end, but a positive effect on the low end." He explained, "We loose the $50-$100 dinner customers, but replace them with a whole lot of $3 beer customers."
In an attempt to homogenize the results pool its good to venture off the square because just one block over, Gay Street is tied into Sundown just as much as businesses on the Square. To represent the voice of Gay St. as a whole, there is none more fitting than Downtown Grill & Brewery. There we found general manager Mark Harrison. When we asked his opinion of the reduction of shows, we became the bearer of bad news as this was the first he had heard of it. Harrison replied, "I am very sad to hear this. This is where people go before and after the show. This could hit us hard."
We ran into just two businesses that felt the change will affect them positively. Coffee n Chocolate, and Barnes & Barnes were both happy to hear the latest decision. Barnes & Barnes said they didnt make a whole lot of money off of Sundown anyway, and Coffee n Chocolate told us it was bad for business. If they were signers of the petition, no one knows, but they obviously support the new schedule.
As of now, Sundown in the City will still be held in Market Square. Some rumors out there say the concert series could move to the Worlds Fair Park, but many sources discount the idea. If you remember, the lawn once hosted Hot Summer Nights. That particular summer concert series presented some incredible shows, but not for free. While it seems like the logical way to go with this dilemma, and it certainly would maintain the awesomeness that is Sundown, its still not the Square. Sometimes its the venue that makes it special and not just the music. This topic may create more questions than it does answers, but one thing is certain: Sundown in the City in Market Square has been the go-to event in Knoxville over the last ten years. And for that,we can all be grateful.
Cymbals Eat Guitars Interview
Blank recently caught with Cymbals Eat Guitars Bass player and Vocalist Matthew Whipple to ask him about the bands growing success and what its like to be touring as part of a three-headed indie music monster. Cymbals Eat Guitars will be playing the Pilot Light on March 10th with Freelance Whales and Bear in Heaven. This is a must see show if youre a fan of rock music, but if you miss it, just check them out on the interweb.
Blank: In a sentence or two, how did the band come about? Is it true that you found each other on Craig's List? Where'd the name come from?
MW: The band has sort of been a long-term outlet for Joe's songs since he and Matt our drummer played together in high school. There have been a few players over the years who were found via craigslist but their stints in the band were pretty short. The current lineup feels like the one that's here to stay for a good long while. Joe and Matt have been playing together forever, and Brian and I both came into the band via auditions, mutual friends, and the like. The name refers to what Lou Reed used to say about the early Velvet Underground records explaining why Moe Tucker played a drum kit with no cymbals.
Blank: I'm old fashioned. I like to have a cd or record in my hands. But nowadays people don't mind getting their music online. I see that you have included slap bracelets into the mix when you buy your record package. Don't you find it interesting how music is marketed nowadays?
MW: Certainly. It's neat because bands can come up with creative things like that to cater to fans that buy the records of the bands they love. The slap bracelets are actually tied in with our song "Tunguska", though, which has an actual lyric about slap bracelets, so it just sort of makes sense. It's not so much a marketing tool as just a special bonus. We like to think the music is enough to sell the record to whoever is considering buying it.
Blank: You are known for your live shows. How do you keep your performances fresh and unique?
MW: We try to incorporate new songs into our sets as soon as they are ready, in our minds and ears, to be played for our fans. That can sometimes take a long time, since it takes us about 3 or 4 months to complete a song, and that involves a lot of editing, consideration, and reconsideration. We're playing 2 brand new songs on this tour, one called "Definite Darkness" and another called "Wavelengths", both of which will be on our next record.
Blank: I know it's hard to have a level of fame as a goal, but is there a bar of recognition that you've set and a bar that you would'nt like to pass (so that you can go out and have a glass of milk in peace)?
MW: There's no real feeling of "fame" in what we do and I don't think there ever will be. Three quarters of us live with our parents in the suburbs, so there is really no way to be concerned with something so non-existent in our home lives. In terms of shows, in my opinion there is a certain threshold in terms of the size of your shows that I don't think a band can cross without losing some of the fans that helped you get there. The last few stadium shows I have been to have been pretty lame across the board. It's not special to be half a mile away from your favorite band watching them on a giant screen. I'd rather watch something like that on TV...emotionally it wouldn't feel any different. We like a relative level of intimacy and just want to be able to go out on tour and fill decent-size rooms with enthusiastic people.
Blank: Now that you're on the inside of it all, has the road effected the way you look at people who make music for a living?
MW: Absolutely. You realize very quickly that it has taken some of your favorite bands 10 or 15 years to finally be making a relatively comfortable living doing it. That is not to say any of us got into this with any notions of immediate financial success. If anything, it's just more inspiration to keep making great music for at least that long.
Blank: Is there anyone involved that doesn't get enough credit?
MW: That's an interesting question. Brian our keyboard player is the only member of the band who can drive a stick shift. We would not be able to tour in Europe without him! He's taking a well-deserved break from driving currently. He went to school for music so he often takes on the role of translator/interpreter when we're discussing a song arrangement or a certain part. He is also very quick with a fix when a piece of gear breaks, which is often, and always at a very inopportune moment.
Blank: How do you like your sound described?
MW: We really enjoy when it is apparent that someone has really listened closely to our record and comes up with comparisons that maybe we haven't heard before but that totally make sense. While it is lovely to be compared favorably to your favorite bands, it's becoming increasingly obvious when someone is just repeating what they have read elsewhere. Words like "epic", "ornate", "meticulous" and "monumental" also tickle us pink.
Blank: Who do you enjoy listening to these days? If you like Pavement, how happy are you that they are back together and on the road?
MW: Driving across North Carolina in the van today we have listened to Ryan Adams, Neutral Milk Hotel, Guided by Voices, and Pavement. And yes, we are incredibly excited to have the chance to finally see Pavement live. None of us were old enough or in a place as music fans to appreciate Pavement before they took a break, and now we're playing several of the same festivals this summer. It's wild. Can't wait!
Blank: You've gone from reading Pitchfork to having the 43rd best album of the year in the magazine. How does that feel?
MW: It feels wonderful. We have all been dedicated Pitchfork readers for some time now. To be heralded by them has been a great honor considering they have informed our own tastes considerably over the years. We get derided pretty often as a "Pitchfork band" but we don't see anything wrong with the label. They essentially granted us an audience in reviewing our record and we're forever grateful.
Blank: What's it like on this tour with two other crazy talented independant acts?
MW: Freelance Whales and Bear in Heaven have been wonderful to tour with so far. Everybody is easy to get along with, and both bands are totally excellent live. Don't miss their sets if you come to a show!
The next big thing from Google: Google Wave.
by Jessie Krueger
February 13, 2010
Chances are you don't have the slightest idea what Google Wave is. Many people have heard of it, but don't know anything about it. Unfortunately, it's difficult to explain in a few words. The best way to understand is to have people watch Google's loooooooong video, but it's an hour and a half long. Most people aren't going to watch it just to find out what Wave is, but to better understand how to actually operate Wave once on board. Let me attempt to explain: Google Wave is a real-time, online collaboration combining email, instant message and bulletin boards, bringing together friends and strangers alike. More importantly, it will be the next big thing if we can find a way to easily explain it.
Google inventors have said that it's what email would look like if it were invented today, not two decades ago. Consider the varying speed of computers and internet. How many times have you had a family member send a photo or video attachment that was too large for your email provider to open, or took too long for your computer to download?
Is it particularly easy to reply to only certain sections of email messages, or can you reply to only one or two people included on a group email?
Google Wave has solved all of those problems and then some.
The basic components of Google Wave
Email
Your Wave name is YourChosenName@googlewave.com. A wave in this instance is a message. You start a new wave, but instead of typing an email address, you drag and drop names from your contact list into the message. Compose your message and hit "Send." You may drag as many names as you like into the wave.
Easily upload photos, videos, maps, PDF's and a variety of other file attachments that show up directly in the wave or are downloadable with one mouse-click.
Wave members can reply directly to one person (or a sub-setof people) on the original recipient list, and can reply only to specific parts of the message, forming what's called a thread. Other members can continue that thread, start a new one somewhere in the message or reply to the message as a whole. It forms a tree-like document that is fluid, not linear like traditional email.
Instant message
The messages you type into a wave are seen in real-time by all members. Each keystroke appears in the wave as you type for everyone to see, and the message can be edited by or replied to by anyone at any time.
Collaboration
For me, the document collaboration possibilities are particularly appealing. This article was typed directly into Google Wave (which has a spell check and a basic selection of font styles and sizes, headers, indentation and other formatting options). There is no email sent back and forth, no attachments and once the other editor and publisher are dragged into the wave, the document can be viewed and edited at any time. Not only is it real-time, but it's any-time.
Google Wave can be used like a bulletin board by making a wave available to the public. Wave automatically gives you a fake contact that, when dragged into a wave, makes that wave open to the public and searchable. Since Google is the premiere search engine (and in fact became its own verb), you had to assume there would be a search function.
A Google Wave member can search for public waves with endless keywords. Just search the words "public Knoxville newspaper" and Blank will be one of the first listings.
Unpolished
Wave is in the pre-beta or preview phase. Basically, Google is testing the baby version so they can fill in the gaps and fix the problems. Right now you have to be invited to use Google Wave by someone who already is a user. Once enrolled, each user gets a certain number of invitations to share with friends. You can also request access straight from Google, but it's a pretty slow process.
If you would like an invitation, send an email to pub@blanknews.com or jessie@blanknews.com and we'll see what we can do to help. Just do us a favor and at least pretend you're truly interested in the product and not just killing time. Invites aren't that easy to come by.
