And he,

particular time, that would be a good idea to improve the produce and the fruit and vegetables from the area.

And he started off and he asked the tenants and the small farmers and the cottagers in Piltown to bring their produce.

And they set out a little competition for prizes and who could grow the best teddy cabbage, who could grow the best turnip, who could grow the best place of potatoes, and who could grow a sheaf of corn or oats at the time, you know.

And it started from that then, and that was the beginning of the IGA show.

So this year, to commemorate that, we have all those old produce on display this year at our show.

So that's the first part.

poetry classes.

Mm-hmm.

So there was kind of difficulty navigating that initially.

The other problem with me trying to help mature and build the CTI program, which is really why I joined, is I like building things.

And the idea of building a CTI program was really cool, is that I didn't come in with CTI experience.

I didn't actually have a lot of CTI background.

So it was a lot of fumbling around, trying to figure things out and so on.

And then eventually, actually, I took the GCTI course, or SANS 4578.

expanding a little bit more on the process of maturing the CTI program?

Did you know them back in Canterbury?

I didn't know the Narcs when they were in Christchurch.

The early 80s were a time when I was doing a lot of session work in Auckland.

I went to the States a few times, touring in Canada, around Asia and Australia with various lineups as a session keyboardist with Roger Fox, Suzanne Prentice, country shows, all sorts of stuff.

I met the guys from the Narcs in 1983 when they were playing at the Esplanade Hotel in Devonport, where I was living between tours.

We hung together.

I had heard about their legendary gigs at the Hillsborough in Christchurch, where they were regularly playing to 800 people on Friday nights.

You completely transformed their sound.