<i> Two Wilson Sasha Puppies and two Wilson Sasha WATTs, wrapped up and nestled into a Land Cruiser, ready for the long drive from Art Dudley’s Cherry Valley farm to John Atkinson’s Bay Ridge castle.</i>

Here we are in Art Dudley’s listening room, preparing to load the Wilson Audio Sasha into the back of John Atkinson’s Land Cruiser. After removing the Sasha’s WATT head unit from its large Puppy woofer cabinet, we carefully tipped the Puppy onto its side, removed the spikes from its bottom plate, installed the dedicated casters in place of those spikes, hoisted the Puppy back into an upright position, and dressed it up in protective Saran-Wrap.

JA struggles while I take a photo: In the back of JA’s Land Cruiser, the Wilson Sasha’s WATT head unit fits perfectly behind its partnering Puppy.

For a journalist at a trade show, few things are more awkward than entering a room and finding that the exhibitor and his staff are the only people there: No dealers. No customers. Just a few desperate souls ready to pin their last half-hope on a man with a badge&#151;and the badge says <I>Press</I>.

One of my favorite moments of SSI 2010 came during Saturday afternoon's outstanding "<a href="http://blog.stereophile.com/ssi2010/roast_the_editors/">Ask the Editors</a>" session, when a member of the audience asked the panel about <I>audio nirvana</I>. What components or systems, if any, had helped us achieve that elusive, mythical state when everything is perfect and right? I sat up straight in my seat and buried my fingernails into the palms of my hands, anxious to offer a response. When my turn to answer came, I stuttered, overwhelmed by the moment, but I think I said enough to communicate the idea that audio nirvana is a fleeting target, one that depends more on the listener's mood and ability to be <I>moved</I> and less on the system or individual components within any particular system.

<I>The Jazz Review</I> was one of the most fascinating journals in the history of music-writing. Its editors were Nat Hentoff and Martin Williams, two of the most insightful critics of its day (the late 1950s and early ’60s). But its main distinction was that it consisted almost entirely of jazz musicians, writing articles and reviews about other jazz musicians.