[Affirmative.] Rena was very, very patient with Viola, and very, very patient with making sure that she got connected to other peoplethe proper representation in New York. NEIL WILLIAMS: They becameno, they were in sections. I would say, "Yeah, all right Viola. So, I mean, I can go five minutes down here and be in beautiful nature surroundings. And he had experience in Japan. He tried to get him to come back more, and I'm sure it contributed to him getting further out there, and eventuallyyou know his tragedy. NEIL WILLIAMS: Because they wereat the time, they were smaller, NEIL WILLIAMS: They were just big enough, but they were alsothey had thissense about them that obviously somebody was very tied, emotionally, to this image. NEIL WILLIAMS: I mean, I used toI found a note crumpled upor stepped on, on the floor of her truck. There were some reallya lot of good moments. Yeah, and I have a special connection with some, too. NEIL WILLIAMS: But he liked them and started buying them from Betty Asher. Was she making them as whole figures? And it was like, Viola read it, and it ended up on the floor of her truck with footprints on it, because she would embrace these things; she was, "Alright I own it," and it wasshe wasn't attached to those kinds of things. And he was harmlessgot caught selling weed in the wrong time. NEIL WILLIAMS: Well Stephane Janssen did the same thing, too for. And, for some reason, clay immediately. Very unusual. This is card number three. MIJA RIEDEL: That is an interesting detail. NEIL WILLIAMS: And the irony about itfast forwardthis does relate. And that can come inartwork can come in a number of different facetshow you live your life, writing, how you influence, impact, socially, your circle; how you are remembered; or it can be through artwork. And it was two floors, and hundreds and hundreds of pieces. And we're so full of ourselves now, like we've invented shit. She still was immediately drawn back to building things in clay, and painting, and doing the pastels, and junk pieces. There can bethey can get really good quality if you get connected with the right person. So, there is awhat we talked about earlier, that good art should ask more answersmight ask more questions than it answers. And of course after that it was everywhere, and everyone wanted to tag around and see what she doing and, NEIL WILLIAMS: get into her studio. And he was very fascinated by them, them being clustered and so. So, he filled the word in her life, and she filled the visuals in his. Another five years go by, and the mortality rate gets down to less than one percent over a 20-year period. We talked about him a little yesterday. *. NEIL WILLIAMS: but for some reason, especially with female. In their scalein terms of their scale alone, yeah. MIJA RIEDEL: I have to leave that for a heartbeat. MIJA RIEDEL: This is Mija Riedel with Neil Williams at the artist's home and studio in Auburn California on June 6, 2014 for the Smithsonian Archives of American Art, card number two. They're quietly sneaking in the back door of some really nice places.". MIJA RIEDEL: Since we're talking about Rena and Dorothy Weiss, why don't we answer these questions about exhibitions, and your relationships with dealers over the years? So, again, I think they were in the column reference to give a point of context so they weren't just completely, purely abstracted non-objective shapes. We can send them to wherever school. So, what's the scale on these, roughly, from what to what? Michele was married for nearly 30 years to the physician Martin MacNeill and was the mother of Neil is a thoroughly decent person who won't let you down and a creative without 'the attitude'' that so often comes with such talents. NEIL WILLIAMS: It was elusive; it was not subtle. NEIL WILLIAMS: Mm-hmm. And it'sI don't run around feeling proud of it, but I guess I am. He is creative, passionate about his work, quirky, self-motivated but above all, has a huge heart and is so pleasant to work with. And the third piece, you play. I mean, Betty Asher was wonderful, of course, the matriarch of west coast art, and Rena kept an eye on me and was always very generous and very helpful, especially if I needed to reach out and, "Rena, I have a few new pieces I would like to be able to get some more materials," and she would buy them and resell them. Quote from: InTheKnow on 2009-Sep-29, 01:46 PM, Quote from: Big Wheel on 2009-Sep-29, 02:17 PM, Quote from: OldLarsy on 2009-Sep-29, 02:37 PM, Quote from: el zoro on 2009-Sep-29, 03:17 PM, Quote from: dubbledee on 2009-Sep-28, 09:38 PM, Quote from: Big Wheel on 2009-Sep-29, 04:12 PM, Quote from: MagiC~* on 2009-Sep-29, 09:17 PM, Quote from: MagiC~* on 2009-Sep-29, 09:25 PM, Quote from: Mark on 2009-Dec-17, 08:10 PM, Quote from: Mark on 2009-Dec-17, 08:57 PM, Quote from: Max Manewer on 2009-Dec-17, 06:36 PM. Differences in early work to later to now is that it's gotten, I think, noticeably better, and it's improved in small steps, usually in five-year increments. So they're just straight-line cuts all the way down, in thirds. It's amazing some of that stuff was made and successfully made and not a piece got broken, and there was hundreds and hundreds of body parts travelling across country and for ceramics as a material, it traveled well, and it was successful, and it was tremendous. NEIL WILLIAMS: She would decide. NEIL WILLIAMS: But he's one of our pride and joys, and we still think about him and talk about him a lot. MIJA RIEDEL: You don't have to go anywhere to view beautiful nature surroundings. Before they went to just color field, and more of a wash water color block of areas of color. Arlene LewAllen in Santa Fe was just a brief little group show through Stephan [ph] that was a memorial show to Michael Johns, after Michael passed. NEIL WILLIAMS: as a grounding or point of departure, of context. NEIL WILLIAMS: for the rest of their life. NEIL WILLIAMS: So I think that's why I made so many bowls. I mean, Betty Asher's, Stphane Janssen's collection wasare you familiar with him at all? May you find comfort knowing that life continues forever in heaven even as the memories shared live forever in our hearts. So, that's how these have evolved and stayed interesting. And it was great, because I kept havingfinding things to talk about. MIJA RIEDEL: Mm-hmm. I bless you as you keep Him central in your life, all will be well., Subscribe for free and get daily or weekly updates straight to your inbox, The three things you need to know everyday, Highlights from the last week to keep you informed. MIJA RIEDEL: And do you sell that [work MR] regularly through a shop or fairs? NEIL WILLIAMS: Boy, I don't know. NEIL WILLIAMS: in order to take in to battle, in the field of painting and sculpture. But he admitted he borrowed it from Henry Moore. Washington,DC20001, 300 Park Avenue SouthSuite 300 NEIL WILLIAMS: She talked aboutwell, she talked out milking depression for all it was worth. And I said, "Viola, it was a compliment. MIJA RIEDEL: You said something yesterday that I want to go back and revisit briefly. Many around Yosemite, too, over the years. Because once boredom sets in, or once you, you know, you talkyou see so many artists or crafts people who go one automatic pilot, and the work loses its' soul, and it shows. The other thing that's consistent, I think, with her is the physicality of being able to build that amount of work, and that scale of work. He's been really a wonderful, positive impact in my life. So, there's a number of stories like that in the area. NEIL WILLIAMS: And, she's got a great level of appreciation for arts, and she's been really, really good, reallyshe's tough though, too. So, she was protective of her in a very dignified way. Oh, we were talking about support systems and it fits in, I think, howseems like this day and age artists don't survive without angels? Funding for this interview was provided by the Artists' Legacy Foundation. It's not that kind of work I do. So usually we got them in two. Because she spoke in gaps back then. NEIL WILLIAMS: But she also said there was nothing wrong with good pots. You part with friendships of 30 years because there's no other options, whatever. And the fool wouldn't take them. NEIL WILLIAMS: It's brick with concrete and plaster. NEIL WILLIAMS: Andalways incredible number one supportive of. NEIL WILLIAMS: Travelyeah, so I love to go to museums, I love to do that. And, when we got there, he was getting towards the end, and he was off on the last three plates, and it just about threw him so he had toViola kindly went up to him, "That looks so good, thank you so much." WebThis is Aalto. . MIJA RIEDEL: So, it wasn't even consignment? MIJA RIEDEL: They started in the early '80's, yeah? One of them was Joseph Johnson Memorial Scholarship, which was Crocker Museum-affiliated at the time, through Bank of America. 0000030898 00000 n MIJA RIEDEL: Mm-hmm. Who do you complain to? I know that they're getting good, and that's a great feeling. They should pick you up and transport you elsewhere. But having a directdo I go and use it as a resource for my work, like a lot of painters do? Fitting together. But it should have something more than just being a painting or a sculpture. 0000005828 00000 n NEIL WILLIAMS: I haven't doubted it since, but I've had moments of, you know, 'what the hell am I doing,' but at the same time I've always known that's what I was going to do. NEIL WILLIAMS: Nothing that's going to be profound or, MIJA RIEDEL: [Laughs.] And it'll jump up, a little bit. Duchamp was right, it can be a drug for a lot of people throughout history. NEIL WILLIAMS: Yeah. NEIL WILLIAMS: There have been lulls, but I've always known it's okay to just keep working through them. NEIL WILLIAMS: There was a castingit was up in Walla Walla, Washington, the Foundry of Mark Anderson, I believe was the name of thewas casting Manuel's bronzesManuel Neri's bronzes, and I think even Bob Arneson did some bronzes. NEIL WILLIAMS: She's notshe wasn't reallythose kinds of things made her nervous. So I travel locally, and we're really fortunate here. It was her first big coming out show since she'd hid out for nine years and just made work, put it in your backyard or up your attic orand, she was talking about the opening, "Well, I hope so-and-so's going to be there." But, certainly the FBI and everyone else keeps records on it, but they won't release the records ofthe full records of why people disappeared, so many. [Affirmative.] NEIL WILLIAMS: Like I said, she was very asexual, NEIL WILLIAMS: like he was, too. MIJA RIEDEL: You were mentioning a younger friend who has been a significant part. I believe in creative bravery,the commercial power of creativity,keeping things simple, integrity, the importance of craft, a healthy amount of chaos, and always rememberingto be yourself. But no, it was worth it. He was like the only painter from an art background. You have to be in complete embrace with it. The onesI'm still in touch in with the high school art teacher. NEIL WILLIAMS: I'm feeling much better, thank you. And eventually, one day, you look back and it's like, "Wow, okay, there's an improvement there," and it's getting closer to the feeling like, "Oh my God," sometimes, which is nice although fleeting. WebWilliams, Tyrone. NEIL WILLIAMS: That's because I'm not going to give up. In other words, it was time to go; session was over. What's the trick? "No, art is about art!" He said he knew that he would survive going to Vietnam, he had no doubt. She didn't press her to accept an offer from another gallery in New York right away. MIJA RIEDEL: So, your Freshman year, the end of the first term? Represent employers and employees in labour disputes, We accept appointments from employers to preside as chairpersons at misconduct tribunals, incapacity tribunals, grievance tribunals and retrenchment proceedings, To earn the respect of the general public, colleagues and peers in our our profession as Labour Attorneys, The greatest reward is the positive change we have the power to bring to the people we interact with in our profession as Labour Attorneys, Website Terms and Conditions |Privacy Policy | Cookie Policy|Sitemap |SA Covid 19 Website, This website uses cookies to improve your experience. And Squeak said it really well, too. NEIL WILLIAMS: No, uh-uh. And, I think it helped me growing up here a lot, to be able to go to off to school, or to be able to relate to such a variety of different people successfully. NEIL WILLIAMS: He would write stuffI mean, I'd find little notes all over the place, little critiques about, you know. Right. NEIL WILLIAMS: But its mainit kept the vessel alive and interesting for me. 566 Following. Read more of Church News coverage of devotionals here, President and Sister Worthen on prophets, promises and logokophosis, at BYU devotional, Elder Andersen encourages BYUPathway students to believe in yourself; trust in the Lord, Elder Andersens visit to the Pacific leaves members with increased faith in Jesus Christ. NEIL WILLIAMS: That's ifso if they weren't just a pair of banal, NEIL WILLIAMS: things standing there with some splashes of color on them. NEIL WILLIAMS: at their critical points so they maintain the original, or at least the echo of the original form. I would certainly buy it as a reader but. NEIL WILLIAMS: Similarities are consistent vessel and volume study. My work was being shown and sold through Dorothy Weiss at the same time. I'm feeling much better.". I'm. NEIL WILLIAMS: So, it was a great testament to what an amazing educator Thiebaud was, too. You just go on doing what you're doing." NEIL WILLIAMS: So it bolstered herI could see it really bolstered a certain competence level, to be able toyou know, even though she wasn't necessarily good at speaking in some public arenas, she was really thought-provoking when she was talking about her work. MIJA RIEDEL: Mm-hmm. Cannes LionBritish Arrow AwardLIAArt Directors Club of New YorkGraphisAWWWARDSDubai LynxCreative ReviewRanked Top 3 Copywriter (Creativepool), "What a great guy to bounce ideas around with. A presentation of a bouquet of flowers is a special way of showing youre thinking of them and their loss, as the bright colours reflect the personality of the passed loved one. But I knew, just to see the magnificence of color and form, that there was something very special going on here. And they would go off in otherall kinds of different directions, andI remember one exercise, she had us do in a student environment, was making a still-life; bringing objects in; making a still-life, drawing it, then sculpting it in clay, and then photographing it, so that you had that experience of two, three-dimensional and building a still-lifecontemplatingresourcing and contemplating the image, and then picking it apart, putting it back together. MIJA RIEDEL: And it was always clearly clay? But those kinds of thingstalk about being surrounded by angels. Viola wasliked to be in control. And I didn't doubt it. Ive seen so many people who go to wrong sources. The first piece, you make as technically virtuoso as you can. NEIL WILLIAMS: They are over at the end of Elm Street at 49. NEIL WILLIAMS: So, it's a system of support and friends that are in it for the right reason [Laughs.]. And I had never heard of it, never saw it. It's not ephemeralit worked in a very. NEIL WILLIAMS: And I think because she didn't she got married instead at the time and had four kids andwent that route. NEIL WILLIAMS: and a pair because of, you know, the connotations of pairing, and hopefully the intimacy thatand the negative shape between the two was really important. NEIL WILLIAMS: some teenagers and some adults. What is important to you to try and bring to the classes or workshops that you teach? NEIL WILLIAMS: anymore. MIJA RIEDEL: Some people said that Charles was gay. Or I'll say whyI don't understand what all the fuss was about; certain artists and certain aspects of work, soI realized I could drive myself crazy off of thinking about that. Davis who, when she passed away, it went to a U.C. NEIL WILLIAMS: And Arlene LewAllen was the best. It filledI think what it is, the youngest of four boys, by the time I came around, my mother had nothing left [Laughs.]. NEIL WILLIAMS: Like, "Oh, what a beautiful red" and she would layer colors like she would painting. MIJA RIEDEL: Hopefully all these interviews, especially [in relation MR] to Viola, built together, will give us a much more complete understanding of her work, and career, and character. But her compulsion, her raw compulsion, I believe was the perception and the practice of perception of the color and the practice of wanting to paint it all over something. Possibly a perfect example of a horse making the Jockey. A little morenot overblown, but unfinished and a little more amorphous. He did all of those California specials where he'We're in Auburn, and we're'- and he goes through and interviews people about the history. And that was my skill thatI mean we all have our saving graces. She said, "It might not be very self-respectable after a few years, but". Mm-hmm, mm-hmm. Nah just asking because if it was he has to be a bloody idiot. I regret nothing. The former Army Ranger, who did five tours in Iraq and Afghanistan, posted a video of himself riding a surfboard three days ago. Her corrections and emendations appear below in brackets with initials. Fun, she loves celebrating life, and always likes to have fun and pushes me to do things and get out of my comfort zone that I wouldn't normally do. Parents owned the local feed store. Mrs. Tremble. NEIL WILLIAMS: And of course Cheri [Williams], of course Cheri. It naturally evokes those, because it's so hands-on, it's so tactile. Okay. NEIL WILLIAMS: I like that connection. And so he had discipline of throwing and formulating on clay and materials; glazes and firing wood kilns and things that I was really fascinated with when I was young, because it was a great introduction to realizing how many different hatsI mean you have to be a chemist. You have to understand earth, fire, and water in their most extreme conditions, and that was reallyit made sense to me for some reason. She'd teach all day and then she'd go and work in the studio until 2:00 in the morning, or I'd work for her until midnight and go home on Friday night and collapse, and I'd get a phone that'd ring at 7:00 in the morning, and the conversation would be like, "Oh Neil, Rena called and the Red Woman in the Dress, and Charles [Fiske] asked if you could do this, and wondering so-and-so is coming over to see it at noon," and it was all scattered. Unclassified cookies are cookies that we are in the process of classifying, together with the providers of individual cookies. She gave that to me as aalsoher students, as a way of unlocking experiences andpersonal experiences. I also think the simplicity of being able to do that because I know they were so physically demanding. The law states that we can store cookies on your device if they are strictly necessary for the operation of this site. What a different way of thinking about an audience. I think Arneson said it, because that there was so much work, he said to Richard Shaw, he says, "You ever get the feeling you're not working hard enough lately?" He had the CaliforniaHuell Howser for KVIE? And they were always done in pairs. Drawing and painting, I just wasn't connecting with. Neils older brothers, Gary and Lee, became chef and chief barman there. But theyI mean, be able to sit out here in the evenings and occasionally see a peregrine falcon fly by at 150 miles an hour or an eagle. But they clustered them, so they morphed together and they were honeycombed together, in multiple, NEIL WILLIAMS: In Auburn, yeah. ", NEIL WILLIAMS: So there is some childhood playfulness aspect of it, which I think is okay, as long as it's not too light, and as long as it doesn't diminish, I think the effort, or that it's been a life-long body of work. She was intoxicated by color and form, like one of theas any good art junkie could be. [Affirmative.] And it's something that, if you were able tohowever they needed to work through it, who knows what could have come from them? Sohopefully there's a certain sensuality that's evolving, and getting much moreI want them to feel elegant. WebNeil Williams (19341977) was a Welsh aerobatics pilot. Elder Neil L. Andersen of the Quorum of the Twelve Apostles speaks during the campus devotional in the Marriott Center on the BYU campus in Provo, Utah, on Tuesday, Jan. 17, 2023. NEIL WILLIAMS: So logisticsI don't know, I look back. Tel Aviv Museum wants an installation." [Affirmative.] MIJA RIEDEL: What do you see as the similarities and the differences between your earliest work and your current work? She earned it. She had so much going on, and she was building things so big, and they were getting so over the top in scale. MIJA RIEDEL: You mentioned Kandinsky, and because of the conversation we had, I can't help but wonder if you think about your work in any kind of spiritual context, or if spirituality has any effect on the work? And she did, every step of the way I saw. So, I have just been surviving since on some commercial production line, and however else and whatever elsesome teaching and whatever else I need to do in order to makekeep making the work. And, like I say, thrown, but I get them off the wheel as soon as possible to reshape and rework them. And, not that she wasn't focused and she couldn't focus and obviously get a lot accomplished, NEIL WILLIAMS: but she would sometimes talk, and start a sentence or a thought and it would drop. He hasmany strengths, including creating big brand idea/concepts, crafting emotive brand stories that flow effortlessly and leading the development and ideation of advertising campaigns. NEIL WILLIAMS: But it was hard work, because she worked so hard. MIJA RIEDEL: Mm-hmm. I think she knew what she needed. She later on started just hand building them and nixed the molds, but. Father was completely emotionally detached. Take your pick.". NEIL WILLIAMS: Not designing them. MIJA RIEDEL: and you talked about how instrumental Rena was to Viola's career, what a difference her arrival in Viola's life seemed to make to getting her work out there. Neil Williams Obituary: In the loving memory of Neil Williams, we are saddened to inform you that Neil Williams, a beloved and loyal friend, has passed away. NEIL WILLIAMS: The flow, and if she had a group of figures, say she would make a dozen figures in a year, she would be building, say, a pair of them. NEIL WILLIAMS: That's one thingthat's one thing that I realized that I do well issince I was 14, is I was able to throw very well. MIJA RIEDEL: Just the description of the columns as keyholes or thresholds. And if someone else wanted to pick up andat their end, and if they wanted 50 percent of what I do, then they, it would have to be right. I don't know. [Laughs.] NEIL WILLIAMS: Okay. It fulfilledspiritually, it fulfilled self-respect. And it wasshe was so sincere in her dealings with ViolaI know, I'm sure Viola used to frustrate the hell out of her sometimes about certain things. [Laughs.]. I hope they come." [Laughs.] Switch to the light mode that's kinder on your eyes at day time. Thanks for the heads up." Was there a wheel? And Elmer was a fantastic painter but heit was real interesting because I was really young and didn't know a lot, but I knew he was an important painter, professor at U.C. He was extremely difficult. NEIL WILLIAMS: So I didn't know it was even available, and they said, 'Oh yeah, they're encouraging it.' Technically, was she firing everything in gas kilns to the same temperature as electric kilns? Have you heard the old statement that hope springs eternal? WebNeil Williams horse jockey, racing stats, runners and news from Racing and Sports. NEIL WILLIAMS: And he's always been reallyhe's always been there. And there's a whole other story about a local dentist who did these huge, enormous, really terrible sculptures, that came up about thewe'll go take a look at them later maybe and laugh at them. MIJA RIEDEL: Did you work in slabs and flat clay pieces as well? [Affirmative.] So we sat for a moment, and it was like, I didn't know what to say, and then he just looked at me andhe was very peaceful man. Like I was saying at her memorial service, there's two ways towards immortality for a personchildren and artwork. MIJA RIEDEL: So when did you graduate high school? NEIL WILLIAMS: directly. Maybe I should be. And you can keep records on it. NEIL WILLIAMS: Well, to see what was done and then you look at the dates on some of those things. NEIL WILLIAMS: [Laughs.] Come to the final critique, he made these little old ladies pick their best work out, frame it, present it like it's a museum quality show. [Affirmative.] They worked alone, and they were more isolationists. Mario's retired, but theythe thing about them is they remindand that's why Jason Rhoades kept coming backthey remind everyone what it is to stay a human being in all of that. I remember, I used to read all kinds of stuff. MIJA RIEDEL: What did she look for, Neil? Does it matter that they go back that far, to childhood? . You know, it's like, "Personal experience!" Usually based on a strong black-and-white pattern, or black, gray and white, with larger color planes enhancing, or playing off of that established black-and-white pattern. NEIL WILLIAMS: I still am physically, but back then, she got an incredible amount of physical labor out of me, and it worked really well for her, because I was learning so much. [Laughs.]. And we became really good friendsbecause it wasn't just about working hard for her, it was about giving her a sounding board, and then we talked a lot about things outside of the arts, but, NEIL WILLIAMS: She saw that I wasI worked hard and I had a good discipline, and I got a good sense, I think, of what she was doing immediately. That's why I haven't had the solo shows in so long. NEIL WILLIAMS: and she seemed to intuitively know how to handle her and what would be the best way for her. As an ambulance rushed him to the hospital, something unexpected happened. That's why a lot of those people end up with thoseI mean, it's work, it's hard, I know, but the comfort zones of teaching. MIJA RIEDEL: Now would you take chainsaw, as well, or whatever the saw was that Sam was describing and cut them up that way? You know, and I knew Rena was fascinated by her, and intrigued by her because she told me onceshe said that it was so interesting to look back when she was younger and to see how different her and Viola's lives where. I don't do a lot of reading now, butoh, yeah, a lot of writers. And so we'd have them all numbered and ready to go, but we'd put the show up in a few hours and they were likeeveryone was happy and purring and ready for a reception after that. And if somebody connects with it, that's great. NEIL WILLIAMS: Yeah, some of the people who have come out of that program areit's just silly. [Affirmative.] I thought, "Okay." [Laughs.]. MIJA RIEDEL: I can really see Gorky, in particular. NEIL WILLIAMS: Oh my God, right herethat's a whole other disc I think. I think thatfor me, when she started doing the larger works and the color fields, I didn't feel the emotional connection that she had with them before. She used to work there in the summers, she liked being around the students. A little bit of contact there. MIJA RIEDEL: Anybody you care to mention? MR] the transition from the more patterned painting on, for example, the women's dresses. Or, that's what I mean about. NEIL WILLIAMS: Yes, I went down there and my brother was living in Berkley. If the Savior has not returned, how will you keep the flame of your faith burning brightly for the next five decades?. The intention is to display ads that are relevant and engaging for the individual user and thereby more valuable for publishers and third party advertisers. NEIL WILLIAMS: And unless you understood, and you could fill in the blanks, where with some students it was just like "What is she talking about?" It's all pretty simple. NEIL WILLIAMS: Yeah. NEIL WILLIAMS: Not back then. And it's been very liberating, it's been very freeing. There's a calling here that is just going to be-I knew it was going to be interesting, and I knew it was going tomy sense was it could get crazy at times, but it was manageable. . MIJA RIEDEL: Okay. NEIL WILLIAMS: No, I got hooked up with a local potter up the road here. Save my name, email, and website in this browser for the next time I comment. As it stands now, I remember one beautiful oneas it stands now, this backyard is as good as you will see in any premiere gallery in the country. NEIL WILLIAMS: I mean, I don't know howwhere they, after I left, whether they were pursued and that's thebut I can only assume that they didn't take off like. MIJA RIEDEL: I'm thinking about the difference between going to the studio to make your own work and, NEIL WILLIAMS: I've done a lot of work on the class, NEIL WILLIAMS: but as far as, some of them, MIJA RIEDEL: How does that affect the process? But I'm notI don't know. 1:00 p.m.4:00 p.m. How have they changed? I said, "What is that?" What a loss. On Friday 17 July 2009, Tyrone Leonard Williams rode all four winners at the Langholm Racing Association meeting at Castleholm in Langholm, just one of many flapping tracks that the former professional jockey rode at once he'd 'retired' in 2005.
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