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Nancy Medina Interview (Two Trains Running)
By Cameron Bell on Thursday, September 26, 2019
You can read this amazing interview with the director of Two Trains Running, Nancy Medina, who talks about the play and the production behind it. Two Trains Running will be coming to CAST this October so make sure to book online on their website to see this masterpiece of a play.
Words: Nancy Medina
Photography: Two Trains Running
What initially drew you towards Two Trains Running?
I loved the characters and location in which it was set. It is 1969 in Pittsburgh, PA, and we meet seven African American characters in a restaurant which is in danger of being torn down due to the city's urban renewal plans. All the characters in the play are invested in this restaurant and its future. Most of the characters have come from the South and as the story unfolds we come to understand the reasons why many fled, escaping terrorism and seeking better opportunity up North. The displacement of a people is a theme I am very much interested in, as a child of the diaspora, I too am constantly searching to understand my past and roots and for a place to belong. Two Trains Running is an extremely layered play which looks at a complicated American history through the prism of everyday life. The characters are familiar to me, the unsung heroes of normal daily living, trying to get by, who have strong, important voices and opinions that only get aired in private. That aspect really spoke strongly to me in wanting to direct this play, as I grew up with these people all my life. My family is from the Dominican Republic and my parents emigrated to NYC in 1966. I have met all these characters either as members of my family or people in the neighbourhood, to be able to amplify the voices I grew up with is an immense privilege. What I find to be most profound is that everything the characters speak about in 1969 is still relevant to us in 2019, issues with police brutality, a rigged economic system, housing inequalities, crime, poverty, trauma, mental illness, race hostilities. This play is very political in very subtle ways and I found that to be very powerful. The element of protest is one I wanted to draw out and put a focus on because these people's lives matter. The humour in the play also drew me to it, there is no better resistance to fighting oppression then to embrace joy, laughter and the beauty in humanity.
August Wilson is a celebrated and award-winning writer in the U.S., why do you think that Two Trains Running has so rarely been performed in the UK?
The play premiered in the UK in the 1990's at the Tricyle Theatre, now the Kiln Theatre in London. This current production is the first time the play is being performed regionally. Our current theatrical climate is begging for untold stories. Many stories are out there, they just need to be produced and staged. I feel partly that theatres have safeguarded their spaces for financial and pragmatic reasons and have sheltered the public by mainly staging productions that are risk adverse or falls in line with what they deem as entertainment or high art. I think we've lost sight of what art is meant to do, that risk isn't always negative and that there isn't just one way to tell a story or just one story to tell. The legacy of slavery and how all, even today, are complicit in that history seems to be a much tougher conversation to have in the UK than in America.
What do you hope audiences from around the UK will take from the production?
I hope that audiences will engage with a story that at first may feel foreign to them but at the heart is universal. A story in which human beings fight for self preservation, dignity, self worth, love, their dreams, their right to just be. I hope people leave the theatre and have deep conversations on history and how many of the themes are still being played out today. And I sincerely wish that the conversations move on to action, that people ask themselves serious questions on what they can do to decolonise their minds and make a better future for our children.
How has it been working with the cast on this?
There is something very special about having an all black cast. There is an ease to speak freely and candidly. We can all relate to the material in significant ways that comes from having a shared lived experience of racism and growing up under racist structures. We've shared many personal stories and have also had huge laughs. It's a beautiful thing to feel seen, heard and recognised.
The production relies heavily on jazz influences, how will this present itself in the play?
August Wilson named one of his biggest influences to be the Blues. You hear it in the musicality of the language in which he writes. The characters all riff off each other at such a pace in conversation that it sounds like my music to my ears. The pace is very important in the piece because it taps into the Blues and Jazz elements of the dialogue. In the play the jukebox is broken, so the sound designer, Ed Lewis and I talked quite a bit about how we can tap into the music of the time coming from the outside world. We hear the outside buzz and music played in the community almost constantly throughout the piece. The background noise not only helps us be in the world but also underscores many of the speeches in the text that directly relate to protest songs of the time.
Has any of your previous work prepared you for the process of directing Two Trains Running?
To date this is the biggest show I've worked on, thanks to the RTST Award, Royal & Derngate and ETT. Previous work has helped me have confidence in myself that has allowed me to slide into a larger scale of making work, have the skills I need to deal with all departments and keep the integrity that is essential to the work. Every play is different and demands its own method of storytelling. The themes in Two Trains Running are themes I have come across before as they are ones I choose to continue exploring. Research I have done for other plays have really come in handy for this as its set in the 1960's. It's always a joy to reread James Baldwin, Malcolm X, Angela Davies and others of that generation.
What's next after Two Trains Running?
After this big plans include settling back into Bristol life with my family, organising after school activities and catching up on laundry. I will be doing some teaching with young people for the Boomsatsuma Professional Acting Diploma and directing a play for the Bristol Old Vic Theatre School. 2020 has some exciting theatre projects I'm looking forward to but can't say just yet.


Bacchanalia grabs all of the headlines about spring break for colleges giving a distorted view of student travel, especially as it has evolved over the past decade.
In fact, history and culture rank as more important than parties for both males and females. Of relief to parents of young daughters, several other experiences including local food rank higher than parties and nightlife.
Significantly, by more than three to one, females would have still traveled even without those social gatherings.
I found it interesting that 60% of this travel is female, and families pick up just over a third of the cost. The students come from more than 4,100 public and private colleges.
Nothing replaces experience in the workforce during college but it is interesting that 97% of these student travelers felt the trip improved their self-confidence, and 99% believed the travel provided insights to personal strengths and weaknesses.
Nearly 9-in-10 of the student travelers surveyed felt the trip helped them get a job.
I had just turned 19 when I took my first cross country plane trip from my native Rockies in 1967. I wasn't ready yet, physically or emotionally, to make the most of my trip to Western Europe.
My daughter studied there for several months in high school and returned during her college years.
Students today are even more prepared for these experiences than either me or even my daughter were.
Of course, mobile devices are a game-changer. My daughter, who is now the single mother of two grandsons and a chief privacy and ethics officer, often marvels with me at what it would have been like to have that access while she was growing up.
By 2020, the market value of this type of travel will reach $320 billion with U.S. destinations being equal beneficiaries of those inbound to this country.
Important to note is that student travelers are more than three times as likely to use various Internet devices for in-destination information as they are local hosts.
Today's student travelers are also more resilient when it comes to "terrorism, political and social unrest, disease and natural disasters" requiring helicopter parents to lighten up.


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NASA Associate Administrator Statements on the Asteroid Initiative in the FY 2014 Budget Request
Posted: Wednesday, April 10, 2013
The following are statements from the associate administrators of NASA's Human Exploration and Operations Mission Directorate, Science Mission Directorate, and Space Technology Mission Directorate on the administration's budget request for the 2014 fiscal year.
From Associate Administrator for Human Exploration and Operations William Gerstenmaier:
"The mission to find, capture and redirect an asteroid robotically, and then visit it with astronauts to study it and return samples takes advantage of expertise across all of NASA in an integrated approach to exploration. Along with the scientific research and technology demonstrations happening around the clock on the International Space Station that are teaching us how humans can live and work in space, this mission will give us valuable experience we need in deep space operations to send humans to more distant destinations in the solar system, including Mars. Through the balance of this fiscal year, we will work to define an affordable mission architecture. In Fiscal Year 2014, NASA will begin developing and testing prototype capture mechanisms and concepts for crew interactions with the asteroid."
From Associate Administrator for Science John Grunsfeld:
"The crucial first step in this endeavor is to enhance our ongoing efforts to identify and characterize near-Earth objects for scientific investigation and to find potentially hazardous asteroids and targets appropriate for capture. The capture mission will be a highly visible and significant collaboration of robotic and human exploration in translunar space."
From Associate Administrator for Space Technology Michael Gazarik:
"This mission accelerates our technology development activities in high-powered solar electric propulsion. The ambitious mission to rendezvous, capture and redirect a small asteroid to Earth-Moon space could not be accomplished without solar electric propulsion technology. This technology also will support the commercial telecommunications and satellite industries, and is an essential step toward future NASA human and robotic exploration forays into deep space."
Michael Cabbage
NASA Headquarters, Washington, D.C.
mcabbage@nasa.gov
NASA budget and supporting information:
http://www.nasa.gov/budget

redpajama_set_name: RedPajamaCommonCrawl


Yesterday, Dudley had to have dental surgery, during which he had 19 (!!!) teeth removed. Greyhounds have infamously terrible teeth, because of their narrow jaws (also seen in other breeds like dachshunds), which is often exacerbated by their terrible diet and zero oral healthcare for however long they had to spend living at the track.
That Dudley walked out of there with still half his teeth in his mouth at age 11 is unusually lucky for a grey! (Dogs have 42 teeth, and he had two removed a few years ago.) Zelda, by comparison, still has an entire mouthful of perfect, pearly white teeth.
He was still very groggy when he got home, as greyhounds don't have much fat to help them metabolize anesthesia. I kept a close eye on him throughout the evening, and of course Nurse Zelly was very helpful with the watchfulness.
Dudley got through the night just fine. (I can't say the same for the bloodied pillows and blankets on which he slept, lol!) He's on his pain meds and antibiotics, which he took like a champ. And now he's back to his usual goofy self, although he's very annoyed with me that he's not allowed ALL HIS FAVORITE CRUNCHY FOOD AND TREATS NOW NOW NOW. Not for 10 days.
What this means, of course, for all the rest of us is that we're gonna have a lot more grody beef tongue in our future.


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If leaders stand for nothing, our country falls for anything
The political news these days is dizzying. Without even thinking about the small food fights for 'head of house' , councillorships, village chairmanships and the like, there is still enough of a fight going in the top echelons of our national leadership to make us befuddled.
First in the yellow corner; the yellow boys and girls are doing their thing as usual. Vying for this nomination and that nomination. The only seat they are not fighting for is the one of Kaguta's son. That's one fight that many have learnt can leave you heavily scorched, if not worse. There are enough walking dead to remind us. At least if you are fighting in the yellow corner, there is not much likelihood of you crossing to the other corners. If you get ravaged, you will stay in the cold and call yourself an 'independent' at election time. But then again, remove the son of Kaguta from refereeing these fights and these chaps would likely be at each other's throats. The fighting is choreographed but just because there is an arbiter they dare not displease.
Not so in the blue corner. The blue boys and girls have been fighting for the last six years or so, they are more exhausted than you care to think. They have had so many nasty fights they look like slugger on his last legs. They have fought for leadership of their party, for control of Kampala and the whole of the opposition. Their own internal revolution at times sounds like a war of attrition. Now they look leaderless and rudderless.
In the green and red corners, the chaps who yesterday were the cornerstones of power and all its appurtenances have also imploded. There are two shades of green and two shades of red. Mostly based on religion and tribalism. There is not much to write home about these folks.
And then there are the new comers. The most prominent of them have also painted themselves into a reddish corner. They call themselves the National Unity Platform or NUP. They are the erstwhile 'People Power' crowd. And they are as angry as any young man or woman whose birthright has been stolen. But that is understandable. The seismic shifts in the World's economy have make them the most vulnerable. We promised them an education which really amounted to little. We have promised them youth empowerment, only for us to also grab it. They are your typical ninjas. Mostly no incomes, no jobs and no assets or savings. They dream of saving us and themselves courtesy of their music and a bit of weed.
The other travelers on this road are the purple and orange folks. Purple is usually reserved for bishops, but who are we not to think of these chaps as bishops? Orange could stand for anything as well but we shall find out in due course. If you know about Trojan horses, then these orange chaps must be watched with care and trepidation. These two groups are mostly a breakaway factions of the yellow and blue gangs. What all these groups have in common is to be our leaders, and who can begrudge them that in an honest contest?
Problem is we don't know what all these chaps truly stand for. Despite a varied field, the main protagonists in any camp you think of have been donning alternative colours at different times in their leadership journeys. Imagine campaigning for a post because you helped abuse the constitution or having been the Leader of the Opposition in parliament, you had no qualms crossing to another party five months to another election. Our leaders speak of a struggle for liberation and transformation of our country. But what ideals or political theory/systems do they believe in? Like the Rotarians have said before, "Lord, help us (our leaders) to stand for something, because a (wo)man who stands for nothing will fall for anything." It's the silly season indeed!
Samuel Sejjaaka is Country Team Leader at Mat Abacus Business School. Twitter @samuelsejjaaka
Political partiespoliticsUganda
Humility: a bit of it never hurts
Welcome to the 'next normal; it is the trust economy
On umbrella trees, safety belts and 'digiris': the folly of bad logic
GoU: Damned if you do, damned if you don't!
A very concise history of land and social constructs (Part II)


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The Granary Burying Ground
Tremont Street between School and Park Streets
Boston, MA United States
Tremont Street between School and Park Streets.
The Granary Burying Ground was established in 1660 to relieve Boston's oldest cemetery—the nearby King's Chapel Burying Ground—from overcrowding. At that time, it was part of the Common, with disorderly headstones and grass maintained by grazing cows. In the 1800s, trees were planted, the Egyptian revival gateway and fence were constructed, and grave markers were moved into orderly rows, both for aesthetics and for easier passage of the newly invented lawn mower. Though only about 2,300 tombstones and monuments are still existent, there are believed to be over 5,000 people buried in the Granary Burying Ground, including Paul Revere, the parents of Benjamin Franklin, three signers of the Declaration of Independence (Samuel Adams, John Hancock, and Robert Treat Paine), a judge of the Salem witch trials, and the five victims of the Boston Massacre. The last burial there was in 1880.
Poet Phillis Wheatley, the first African-American woman to publish a book, was a slave in the house of John Wheatley, who died in 1778—freeing Phillis Wheatley from slavery—and was interred in the Granary Burying Ground. John, in a letter verifying the authenticity of Phillis' collection Poems on Various Subjects, Religious and Moral, wrote
"Without any Assistance from School Education, and by only what she was taught in the Family, she, in sixteen Months Time from her Arrival, attained the English Language, to which she was an utter Stranger before…"
Also buried in the Granary Burying Ground is Mary Goose, who has been touted as the original Mother Goose, "author"—though more likely the collector—of many famous nursery rhymes. This rumor is disputed, as earlier French references have been found to a "Mother Goose" figure, who is largely built on an archetypical country woman. Today, even historians who argue that Mother Goose originated in Boston believe that it was the second wife of Isaac Goose, Elizabeth—mother of six and stepmother to Mary Goose's ten children—who was the "real" Mother Goose. When Elizabeth's daughter married a printer, her rhymes were supposedly collected in the first book of Mother Goose's nursery rhymes.


#1 – I love to write, I might be good at it and want to explore doing it professionally. | Live. Love. Grow.
#1 – I love to write, I might be good at it and want to explore doing it professionally.
This is the only time that I plan to go in order of my list(under my very descriptive page "What For?"). I have a huge desire to get things out of my head and onto paper (aka plastered all over the Internet). So, that's why I'm starting my posts with #1 on my list, because it actually is number one right now.
My mom sent me a text this week that was relaying a message from one of my high school English teachers, Dr. Fay. I've known for some time that he has always thought highly of me, and my abilities in his classroom. And I find it amusing that once in a while during the years since I graduated (12 years ago) he still mentions it to my mom when he comes across her. Maybe it's because she's a beautiful woman and he's playing to her soft spots (mom's love to hear compliments about their children), but maybe, just maybe he really was impressed with the teenage version of me and my writing abilities.
But I digress… my point is, after hearing for a decade or so that I have some writing abilities, I'm ready to explore them!
In addition to the warm little story of my high school English teacher, I actually really like to write and I do think I am good at it. Casey (my husband) does too, and I love when he tells me so! It's just rewarding looking back at the words that you've written, and the fact that you can delete and re-write when it's not quite right is a nice perk too.
And now that I've shared how fond I am of myself… I really hope I'm not bluffing!
I must touch on the 3rd part of this posts' title (I want to explore doing it professionally)… I'm not looking to write a book, or become a professional blogger (is that even a profession?). I would just like to explore where and how I can put my skills to the test. Again, that's assuming that after writing this blog for awhile I (and others) still think highly of myself. And what if, just what if, I got the skills baby? Then I'll write a book about something… who knows what, but believe me, it will be GOOD!
Ok, that's it for now… it'll be a fun journey, this blogging thing, so please join me!!
I have always thought that you are brilliant!
Just write for writings sake! I never thought I was a good writer and I am still undecided but I'm writing anyway and it's a really great creative outlet. And, I agree with Courtney, you are brilliant.


14/01/2018�� (FIRINDA) ADANA KEBABI \rBakery Adana Kebab Recipe Fat-free, lamb meat Tail oilBroad wooden skewers Big chisel knifeSpicy pepper paste Red cape pepper Bitter flake and salt\rHello, ladies and gentlemen, everyone is happy\r Materials for adana kebab Lamb bTail oilb Broad wooden skewers\rBig chisel knife\rSpicy pepper paste\rRed cape pepper\rBitter flake and salt\rWe will make an adana kebab... For slightly more than $4, you could get an Adana kebab platter. Adana kebabs are made from ground lamb seasoned with a mixture of spices. The platter came with grilled hot peppers, grilled tomatoes, seasoned onions, rice, salad, and warm pita type bread. It was the best deal on delicious food in Istanbul, which is a city full of endless affordable, delicious food choices.
23/11/2015�� Now there .\r\rSTEP BY STEP RECIPE: Chicken Kebab Recipe Ingredients 1.5 chicken breast 1 tbsp. on thyme 2 teaspoon of salt 1 teaspoon of ground red pepper 1 dessert .\r\rGordon Ramsay goes to a top Indian restaurant to learn how to cook good tandoori food with the clay oven. For the Cookalong Live show.... The grill masters � usta � of the city of Adana in southern Turkey are famous for cooking the best kebabs. True Adana kebabs are so fiercely protected that they have recently been given a Controlled Designation of Origin by the Turkish patents office.
How To Make, Skewer Cook Adana Kebab. WELCOME TO HENRYS HOWTOSI am a fulltime self trained executive chef as well as having alot of experience and kno- A complete source of entertainment, watch free online drama, videos and shows, watch free live channels. How To Make, Skewer Cook Adana Kebab WELCOME TO HENRYS HOWTOSI am a fulltime self trained executive chef as well � how to use google play books Meanwhile make the salad. Combine tomatoes, red onion and parsley in a large bowl. Add sumac and lemon juice. Stir. Combine tomatoes, red onion and parsley in a large bowl. Add sumac and lemon juice.
Looks great. Here is one i use works well with lamb also. Chicken, Kebab, Adana, Turkish, Richard Fl. After trying Chicken Adana at the Bosphorous Restaurant in Winter Park, Fl a few times, I decided to attempt to make it myself. how to make a timeline on the computer Adana kebabs is a long , hand minced meat kebab mounted on a skewer and grilled on an open mangal filled with burning charcoal. It is named so after the fourth largest city of Turkey. It is named so after the fourth largest city of Turkey.
Warning: sit down, you might pass out due to the large amounts of chillies and the amazing taste of Adana Kebab. Have some bites of your sweet little baby. Capture it and tell your friends! Have some bites of your sweet little baby.
Turkish �Adana� Kebabs by Sabrina Ghayour - Friday June 11, 2010 1:11 am Continuing the theme of classic Turkish recipes and in perfect time for the BBQ season, this next dish is one of my absolute favourite kebab recipes of all time - The �Adana� kebab.
Adana kebabs is a long , hand minced meat kebab mounted on a skewer and grilled on an open mangal filled with burning charcoal. It is named so after the fourth largest city of Turkey. It is named so after the fourth largest city of Turkey.


I have heard this song by The Civil Wars before, but I just recently came upon this music video. After hearing it once, I had to hear it again and again. It makes me want to learn more about the history of this song. I absolutely love the passionate dialogue between the two and the haunting sound of their voices together. As you may know, I am a sucker for romance, my heart just melts when he says, "I don't have a choice, but I still choose you."
I *LOVE* the civil wars! their voices together.....soo beautiful I can't get over it. they used to offer a free download of their "live in eddie's attic" cd (it has poison and wine on it!) on their myspace! I have it playing on repeat on my ipod all the time!


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Tristan Thompson Speaker & Booking Information
Forward with the Chicago Bulls
Basketball Speakers
Book Tristan Thompson for your Next Event
Tristan Thompson Biography
Tristan Thompson has been a reliable contributor and a winner at the highest level during his NBA career. He first made news as a prep star, leading his high school to two National Championships. He was also named a McDonald's All-American as well as a Jordan Brand Classic All-American. Thompson then moved onto college where he averaged 13.1 points and 7.8 rebounds in his time playing for the Texas Longhorns. He won the team's Most Valuable Player Award in the 2010-11 season and was also in the top 5 of voting for the Wayman Tisdale Award given to the National Freshman of the Year.
Thompson became the four overall selection in the 2011 NBA Draft going to the Cleveland Cavaliers, where he spent the first nine seasons of his career. He was named to the NBA All-Rookie Second Team in 2012 and became a permanent starter the following year. In 2016, Thompson won an NBA title with the Cavs. He went on to play for the Boston Celtics, Sacramento Kings and Indiana Pacers before landing with the Chicago Bulls in 2022.
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Kyrie Irving All-Star Guard For The Brooklyn Nets
Anderson Varejao Former Cleveland Cavaliers Forward
JR Smith Guard For The Los Angeles Lakers
Larry Nance Former Cleveland Cavaliers Star
Evan Mobley Cleveland Cavaliers Star Center


This is an ambitious project to combat hunger and malnutrition. The project is aimed at benefiting and Saving Lives of Acute Malnourished Children an area which is known for predominantly malnourished families of India and the inhabitants of District Baran of Rajasthan. and The project will be catering the need of Sahariya people in 60 villages in Shahabad block of Baran district in Rajasthan state with special focus on 6000 Sahariya families who have even no funds to pay for fare and medicine expenses to access Malnutrition Treatment Centre (MTC) set up by State Government of Rajasthan with the financial assistance of UNICEF , however it will also be benefitting many other people, government departments, Panchayati Raj Institutions and civil society organizations indirectly. The project is planned to deal with the issue of food insecurity and severe malnutrition among women, children and men from Sahariya community through short term relief as well as long term sustainable measures to permanently eradicate this problem from this region. In this process of project implementation the effort of the project would strengthen the functioning of the ICDS centres as well as increase the health status data of the region which will positively impact the image and quality of women and children development department, similarly the development of micro plans will help the panchayat in developing micro plans for other panchayats.
Survival of the Sahariya children is on stake because of continuous deprival and neglect by the duty bearers and service providers. Sahariya community (women, men, boys and girls) has witnessed an age long exploitation process resulting comparatively week reflection and action process. The community lack information as well as awareness on better health and sanitation practices with an addition of damaging social and cultural practices like child marriage, denial of colostrums etc. The community at various levels (father, mother and child) doesn't have equal and sufficient access to resources to meet the basic food and nutrition requirement. The ill habits like consumptions of alcohol have further aggravated the problem of access of resources to children. The conditions of hygiene and cleanliness among Sahariya are at worst. The implementation of various government schemes and programs meant for people in general and Sahariya in particular are not as per the spirit. The capacities of the service providers for various provisions like ICDS, health services and education is very poor with low sensitivity and high prevalence of corruption. The support structures like SMC, VHSC and PRI are inactive and not competent enough to deliver the desired roles and responsibilities.
"Combat Malnutrition Centre" is an ambitious Centre to adopt the Community-based Management of Acute Malnutrition approach. Involving caregivers and authorities in planning processes for identification, treatment, and prevention of malnutrition. Without this, there will be no change in the statistics. Immediate and Long-term objectives are as mentioned below.
To ensure food security and nutrition for Saharia Children and promote food security of women and children through improved livelihoods and socio-economic and political empowerment of excluded castes and tribe in Baran district of Rajasthan.
To help everyone family of Acute Malnourished Child who asks for monetary, social and psychological help to admit each child to MTC and also ensuring the Supplementary nutritious food and medicines to combat hunger and malnutrition.
The Centre's approach is to identify and correctly diagnose the most affected children of Sahariya Community, and treat them using therapeutic food and micronutrients. Locally-trained community workers then follow up with home visits to ensure children do not return to an under nourished state. Pregnant women and young mothers are educated on the importance of varied nutrition, based on local product availability and affordable local items. We also undertake awareness-raising campaigns in the Sahariya community to create an understanding of undernutrition, and promote the implementation of nutrition policies at local, block and district government levels. Combat Malnutrition Centre upholds the humanitarian mandate to save the lives of malnourished children; ensure everyone can access clean water, food, training and healthcare; enable sahariya community- a primitive vulnerable tribal group- to be free from hunger of Sahabad Block of Baran District of Rajasthan.
The project i.e. Combat Malnutrition Centre is planned with multiple approaches and strategies to address the existing situation of deprivation and vulnerability. The Centre on one hand is increasing the level of information and capacities of the community through various means like training, awareness campaign and exposures and on the other hand organizing them towards their issues through community organization process to enable them to raise their voice on appropriate platforms. The Centre is also constructively engaging the children and youth in the process through organizing them around the issues of their interest.
The Centre promotes community-based approaches for the management of acute malnutrition. Severe acute malnutrition, the most serious form of hunger, is deadly if left untreated and threatens thousands of lives each year. For young children, the consequences of acute malnutrition are particularly severe and reach far into the future. The Centre is in high spirit to detect, treat and prevent acute malnutrition in children so they can regain their health and fulfil their potential.
The Centre's goal is to reach 16 thousand acute malnourished children, mothers and families by 2019.
The Centre is mainly focus upon the areas of Nutrition, Mental Health & Care Practices and Campaigning & Influencing.
We will not rest until severe acute malnutrition is eradicated in Shahabad of Baran. The one thousand children who die of severe acute malnutrition each year deserve to live.


As more and more Americans own motorcycles, motorcycle accidents have increased over the years. Motorcycle accidents can be caused by many things such as road hazards, pot holes, limited visibility, motorcyclist invisibility, motorcycle defects, weather, or negligence.
It is important after a motorcycle accident to seek medical help immediately. Other information should be gathered at the scene of the accident like insurance information, contact information of any witnesses or people involved in the accident. Police should be called and a police report filed.
Motorcycles provide little if any protection in an accident, and injuries can be devastating. Medical bills and injuries can cause significant financial hardship. Insurance companies will want you to settle for as little as possible. Don't allow them to make you settle. Call an attorney.
Witt and Associates has been representing clients involved in motorcycle accidents for years. We have the experience and the diligence to make sure our clients receive the settlement they deserve. If you need help, call our office today for a free consultation. We won't collect any fees until your case is won.


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The Big Killing is a 1928 American comedy silent film directed by F. Richard Jones and written by Frank Butler. The film stars Wallace Beery, Raymond Hatton, Anders Randolf, Mary Brian, Gardner James, Lane Chandler and Paul McAllister. The film was released on July 1, 1928, by Paramount Pictures.

Cast
Wallace Beery as Powderhorn Pete
Raymond Hatton as Deadeye Dan
Anders Randolf as Old Man Beagle
Mary Brian	as Old Man Beagle's Daughter, Mary Beagle
Gardner James as Jim Hicks
Lane Chandler as George Hicks
Paul McAllister as Old Man Hicks
James Mason as First Beagle Son
Ralph Yearsley as Second Beagle Son
Ethan Laidlaw as Third Beagle Son
Leo Willis	as Fourth Beagle Son
Buck Moulton as Fifth Beagle Son
Bob Kortman as Sixth Beagle Son
Walter James as Sheriff
Tiny Ward as Barker

Preservation status
The film survives in the Library of Congress collections.

References

External links

1928 films
1920s English-language films
Silent American comedy films
1928 comedy films
Paramount Pictures films
Films directed by F. Richard Jones
American black-and-white films
American silent feature films
1920s American films

redpajama_set_name: RedPajamaWikipedia


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Muswellbrook Shire covers 3,402km2, of which 1,455km (43%) is national parks. The 2010 population of Muswelbrook Shire was 16,676 people. Industry in Muswellbrook includes agriculture, viticulture, equine industry, power generation and also coal mining. With the exception of agriculture, these industries are all experiencing growth.
Muswellbrook Shire consists of 2 larger towns, Muswellbrook and Denman, as well as a number of outlining rural communities including Sandy Hollow, Wybong, Baerami, Martindale, McCullys Gap, Widden and Muscle Creek.
The climate of Muswellbrook and the Upper Hunter is characterised by hot summer days often relieved by evening 'southerly busters' and cool, dry winters. Summer temperatures often reach over 40°c for several days in January and February. Winter temperatures can result in frequent frosts in the coldest months.
Muswellbrook LGA is in a summer dominated rainfall pattern however heavy isolated falls have been known during winter. The average rainfall is around 700mm.
A well established dairy and beef cattle industry made up of predominantly small to medium sized holdings which, in the last year or so, are beginning to change due to market forces such as the deregulation of the diary industry. In more recent times, viticulture and the equine industry have played just as important role in the development of the area.
Coal has had a long history in the Hunter and in the Muswellbrook Shire coal mining has been part of its make up since the late 1800's. Initially underground mining was the norm in the shire but as technology has increased, more and more open cut mines have been established.
Such as Muswellbrook Coal, BHP Bilitons - Drayton, Bayswater and Mt Arthur mines, Mangoola Coal, Drayton Coal , Bengalla Mining Company. There are a total of 27 mines in and around the Muswellbrook Shire.
Coal mining has ensured that many residents of the shire have, or are working on the mines. Mining within the Shire of Muswellbrook employs 16.4%* of the total workforce. The coal mines are now looking to outside companies to do many tasks on site that used to be done by mine employees; many people are now working for these companies that support the mines in the entire Upper Hunter and beyond.
AGL Macquarie produces approximately 12% of the electricity needed by consumers in eastern Australia. AGL Macquarie's assets include the 2,640 MW Bayswater power station, the 2,000 MW Liddell power station, the 50 MW Hunter Valley gas turbines and the Liddell solar thermal project. AGL Macquarie is the former NSW Government power producer, Macquarie Generation, which AGL acquired in September 2014. Over recent years Bayswater power station has produced approximately 15,000 GWh of electricity a year, enough power for two million average Australian homes and families. Liddell power station produces around 8,000 GWh of electricity or enough power for approximately one million average Australian family homes. Production from AGL Macquarie is equivalent to 30% of the electricity needs of New South Wales. AGL Macquarie is the largest domestic buyer of NSW coal and employs over 650 people, most of who live in the Upper Hunter. For more information on AGL Macquaire please click the link:
http://www.agl.com.au/about-agl/how-we-source-energy/thermal-energy/agl-macquarie
The area is well serviced when it comes to travelling to and from the Shire. There is easy movement around Muswellbrook area with train, bus and taxi services.
Muswellbrook is situated on the New England Highway, which is is the major inland route linking Sydney and Brisbane. Denman and Sandy Hollow are situated on the Golden Highway, which links Dubbo with the busy port of Newcastle. Nearly all general freight is moved along the New England Highway form Muswellbrook to the Power Stations and on the Coal Loader in the port of Newcastle. Regular rail passenger services connect Muswellbrook with Newcastle, Sydney and Brisbane.
http://www.muswellbrook.nsw.gov.au/
Denman is rapidly gaining a reputation for gracious country hospitality, fine wines and gourmet foods. Vineyards, Olive Groves, National Parks and internationally renown Horse Studs make the Denman district a must see on any tourist itinerary.
On the first saturday in May, the main street of Denman is transformed into the 'Biggest Street Party in Australia' for the UPPER HUNTER WINE AND FOOD AFFAIR. This event showcases the leading wine and food producers of the district as well as providing entertainment for the whole family.
On the first Saturday of each month except May, the DENMAN FARMERS MARKET which will firmly establish the Denman district as a major wine and food destination.
Visitors traveling the 'Greater Blue Mountains Drive' will find Denman the perfect place to break their journey, with quality restaurants, accommodation, cafe's and tourist attraction's available.
Denman is a small rural town with a population of 1,954. Denman hosts spectacular views of rich pastures spreading out from the banks of the meandering Hunter and Goulburn Rivers. The town is situated on the bank of the Hunter River. The Goulburn river system meets the Hunter River 2km southeast of the town. The Hunter River has a constant flow of water thanks to Glenbawn Dam at the head of the river system.
The township fulfils a role as a service centre to outlying agricultural areas. There are many agricultural ventures nearby, including: dairy farms , vineyards , horse studs and beef cattle studs.
Denman has experienced growth in its population and also Real Estate prices recently due to the development of Mangoola Coal. http://www.visitdenman.com.au/
The small rural town of Merriwa is located at the western extremity of the upper Hunter district, alongside the Merriwa River, 327 km north-west of Sydney and 62 km west of Scone. It has a current population of about 1,674.
Today Merriwa is at the centre of a vast mixed farming area focusing principally on cattle, sheep, wheat and horse studs, although olive trees are becoming increasingly common in the area.
The Festival of the Fleeces is held on the long weekend in June. This celebration of rural heritage includes shearing and shed hand competitions, games, a street parade, yard dog trials, a billy cart derby, spinning display and a woolshed dance. The rodeo is held in February, the Polocrosse carnival in July and the Agricultural Show in September. For more information please contact Merriwa Information Centre on Ph: 02 6521 7046 http://www.merriwa-c.schools.nsw.edu.au/
Located midway between Scone and Muswellbrook, 267 kilometres north of Sydney, is the New England Highway town of Aberdeen. The town developed on the site of the Upper Hunter River ford used by pioneer settlers in the early 19th century. Aberdeen has a population of approximately 1,792.
Aberdeen is situated on the Upper Hunter Wine Trail, which runs from Scone in the north down to Muswellbrook and Denman in the south, along which you'll find some of Australia's most well-known vineyards, such as Rosemount Estate and Arrowfield.
Driving north-east of the town the Rouchel Road scenic drive will take you past beautiful scenery, the Hunter Valley Museum of Rural Life and the remains of a mill believed to be the oldest surviving structure of its kind in Australia.
Further on, you will find the tourist hotspot of the region, the large expanse of Lake Glenbawn. The lake, whose shores are well-equipped with barbeque and picnic facilities, draws watersport enthusiasts from far and wide. Anglers for one are attracted by the bass, golden perch and catfish lurking in the depths. The Aberdeen Highland Games is celebrated on the first weekend of July each year. The day has a number of events, such as the street parade, opening and closing ceremonies, activities for all, BBQ's, stalls and much more.
The Highland Games started a few years ago and has progressed and is now attracting people from all over the state. Stall holders come from all over the state as well to be host for their family name and tradition. http://www.aberdeenhighlandgames.com/


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About ProClassesLive
ProClassesLive is a business started by former teachers who borrowed thousands of dollars to go to college. Our certificate, for which we charge $799.00, is the equivalent of $18,000.00 in courses at a public, four year college.
With a year and as little as $799.00, you will be prepared for an entry level position. Since most classes require a final project, these projects can populate a portfolio of work to demonstrate to potential employers that graduates have the required skills to work in technology. For example, we can teach you how to make good looking professional website, but also how to create apps that run on web, Linux, Mac, Windows, iPhone, and Android.
Apps like these: Color Roulette Running Total
Founder and Lead Instructor
David Prince was a former professor of Mobile and Web Design at the Art Institutes, as well as the director of the Web Design department at the Art Institute of Dallas. David has over 20 years experience with technology, and almost ten years experience as a classroom instructor. He has a Masters in Learning and Technology, and has taught at the Elementary, Junior High, High School, College, and Adult Professional level. David has trained students from Honeywell, Hewlett Packard, Verizon, and AT&T among many other companies, and more importantly, he has PLACED students at these companies.
© ProClassesLive.com


The Property Jungle.com, a property-themed Website, is to promote local information guide UpMyStreet.com on its homepage. Users will be able to run checks on local amenities and local property price movements, as they browse for properties for sale on ThePropertyJungle site.
Geoff Howard-Spink, founder of Lowe Howard-Spink, and Rick Sheldon, former chief executive of CIA International, have launched an Internet-based consumer research service called effcom.net.


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Le Tour du Guangxi 2017 est la première édition du Tour du Guangxi, course cycliste sur route masculine. C'est la dernière épreuve du calendrier de l'UCI World Tour 2017.

Équipes
Le  Tour du Guangxi est l'une des dix épreuves intégrant l'UCI World Tour en 2017 et auxquelles les équipes World Tour ne sont pas obligées de participer. Seize d'entre elles sont présentes. Deux équipes continentales professionnelles sont invitées.

Étapes

Déroulement de la course

Classements finals

Classement général final

Évolution des classements

Liste des participants
 Liste des participants

Notes et références

Articles connexes
 UCI World Tour 2017

Liens externes

2017
Cyclisme en Chine en 2017
Cyclisme sur route en 2017
Cyclisme en octobre 2017


One of Chicago's most anticipated charity events, First Look offers food, beverages, entertainment and a preview of the nation's largest auto show.
Last year, First Look helped raise nearly $3 million for 18 local charities.
Over the past 27 years, the Chicago Auto Show's First Look for Charity benefit has raised more than $50 million for local charities.
Be the first to see the nation's largest auto show by attending the black-tie First Look for Charity, benefiting 18 nonprofits. Top-shelf refreshments complements abundant hors d'oeuvres, from notable Chicago eateries. Two attendees will win new vehicles.


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Q: Understanding WiFi routing and gateway The solution is explained here
The problem
I have 3 interfaces eth0, wlan0, wlan1 (2 wifi USB dongles) on my Raspberry Pi.

*

*wlan1 will be used to connect to a WiFi camera via SSDP.

*wlan0 will be used to have a TCP connection to a server (IP/domain name known). I know nothing about the WiFi wlan0 is connected to via DHCP. It could change from time to time. It doesn't know the gateway especially.

*eth0 will be used for debugging SSH access, via my MacBook Air connection sharing service by example.

Actually, all these interfaces are working. Here's the ifconfig output (wlan1 and eth0 are on the same network but that will not be the case in the future) :
eth0      Link encap:Ethernet  HWaddr b8:27:eb:8c:e2:10
          inet addr:192.168.0.19  Bcast:192.168.0.255  Mask:255.255.255.0
          UP BROADCAST RUNNING MULTICAST  MTU:1500  Metric:1
          RX packets:1174 errors:0 dropped:0 overruns:0 frame:0
          TX packets:141 errors:0 dropped:0 overruns:0 carrier:0
          collisions:0 txqueuelen:1000
          RX bytes:93616 (91.4 KiB)  TX bytes:12342 (12.0 KiB)

lo        Link encap:Local Loopback
          inet addr:127.0.0.1  Mask:255.0.0.0
          UP LOOPBACK RUNNING  MTU:65536  Metric:1
          RX packets:0 errors:0 dropped:0 overruns:0 frame:0
          TX packets:0 errors:0 dropped:0 overruns:0 carrier:0
          collisions:0 txqueuelen:0
          RX bytes:0 (0.0 B)  TX bytes:0 (0.0 B)

wlan0     Link encap:Ethernet  HWaddr c0:4a:00:2a:ab:6c
          inet addr:192.168.43.44  Bcast:192.168.43.255  Mask:255.255.255.0
          UP BROADCAST RUNNING MULTICAST  MTU:1500  Metric:1
          RX packets:5 errors:0 dropped:0 overruns:0 frame:0
          TX packets:5 errors:0 dropped:0 overruns:0 carrier:0
          collisions:0 txqueuelen:1000
          RX bytes:1142 (1.1 KiB)  TX bytes:1145 (1.1 KiB)

wlan1     Link encap:Ethernet  HWaddr 74:da:38:0c:c6:f0
          inet addr:192.168.0.14  Bcast:192.168.0.255  Mask:255.255.255.0
          UP BROADCAST RUNNING MULTICAST  MTU:1500  Metric:1
          RX packets:1480 errors:0 dropped:0 overruns:0 frame:0
          TX packets:155 errors:0 dropped:0 overruns:0 carrier:0
          collisions:0 txqueuelen:1000
          RX bytes:222449 (217.2 KiB)  TX bytes:29711 (29.0 KiB)

And here's the output of sudo route -n :
0.0.0.0         192.168.0.254   0.0.0.0         UG    0      0        0 eth0
192.168.0.0     0.0.0.0         255.255.255.0   U     0      0        0 wlan1
192.168.0.0     0.0.0.0         255.255.255.0   U     0      0        0 eth0
192.168.43.0    0.0.0.0         255.255.255.0   U     0      0        0 wlan0

If I understand well what I've read for the last 24 hours, I need to do routing stuff. But I don't understand what and how.
Did I have to change the default route? If yes, how can I manage to do that since I don't know the wlan0 or wlan1 gateway before connecting to the network?
Is that an impossible problem?
Edit : add /etc/network/interfaces
auto lo
iface lo inet loopback

auto eth0
iface eth0 inet dhcp
        post-up route del default dev wlan0

auto wlan0
allow-hotplug wlan0
iface wlan0 inet dhcp
        wpa-ssid "wifi1"
        wpa-psk "psw1"

auto wlan1
allow-hotplug wlan1
iface wlan1 inet dhcp
        wpa-ssid "wifi2"
        wpa-psk "pwd2"

A: You can look at your file located at /etc/network/interfaces to find the default gateway.  It is probably 192.168.0.1, but I can't be sure.  The gateway is just your router's address.
Type "cat /etc/network/interfaces" to see the info.  Edit with root privileges (sudo) if you want to change it.
Try This:
auto lo
iface lo inet loopback

auto eth0
iface eth0 inet static
    # post-up route del default dev wlan0
    address 192.168.0.19
    netmask 255.255.255.0
    gateway 192.168.0.1

auto wlan0
allow-hotplug wlan0
iface wlan0 inet static
    wpa-ssid "wifi1"
    wpa-psk "psw1"
    address 192.168.43.44
    netmask 255.255.255.0
    gateway 192.168.0.1

auto wlan1
allow-hotplug wlan1
iface wlan1 inet static
    wpa-ssid "wifi2"
    wpa-psk "pwd2"
    address 192.168.0.14
    netmask 255.255.255.0
    gateway 192.168.0.1

Backup your original /etc/network/interfaces file and try this one instead.  This sets everything to static(unchanging).  You will have to restart your interfaces with ifdown/ifup or just restart the computer.

A:
If I understand well what I've read for the last 24 hours, I need to do routing stuff.

Not unless you want to set up your system as a router.
The default gateway is the IP Linux will send traffic if the destination doesn't fall in the range of any network interface's subnet masks.  Typically this will be traffic destined for the "Internet."
If you don't care about this system having Internet access, you don't need one, but you probably do so it can get updates, etc.
DHCP typically hands out a default gateway as well as an IP address.  So if wlan0 is getting an IP from DHCP it's probably getting a default gateway as well.  (Or it should be, may want to check your DHCP server if it's not handing one out.)  So Internet-destined traffic will go through that interface.
If you don't want to use DHCP or hand out a default gateway via DHCP you can specify it manually.  It should be the IP address of a router that can forward to/from the Internet.
Things will go smoothest if you only have one default gateway, so make sure your other interfaces are set to static IPs and that only one interface is getting something via DHCP.

A: I've answered this question myself after hours of testing ...
It's explain here

redpajama_set_name: RedPajamaStackExchange


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Home Sport Wolverhampton vs Tottenham Prediction: EFL Match | 22.09.2021
Wolverhampton vs Tottenham Prediction: EFL Match | 22.09.2021
ByGJNUW	 September 21, 2021 September 21, 2021 Write a Comment on Wolverhampton vs Tottenham Prediction: EFL Match | 22.09.2021
Nuno Espirito Santo returns to his former club for the second time this season in the EFL Cup on Wednesday, as Tottenham Hotspur face a tricky test against Wolverhampton Wanderers.
EFL Cup Preview
The new Premier League season had started very well for Nuno Espirito Santo with Tottenham Hotspur, but that hard work has come undone over the past couple of weeks, as Spurs are yet to win in three competitive fixtures since the international break. Tottenham have conceded three goals in each of their last two Premier League outings, with those heavy defeats coming against Crystal Palace and Chelsea. They were outclassed against the Blues last weekend, as they never looked like getting back into the game. The form of Harry Kane would be a slight concern for the Spurs boss, as the England captain is yet to score in the league this season, and cut an increasingly frustrated figure in Sunday's defeat. Many experts have already claimed that he could be suffering from a summer hangover, as there was no secret that the Spurs striker wanted to move to Manchester City during the transfer window.
Bruno Lage's tenure at Wolves has been promising over the early weeks of the season, but the performances haven't matched the results that they have achieved. They were excellent in their first three games, but slipped to three straight 1-0 defeats as they just didn't have the attacking quality to score the goals needed. After winning their first game of the new season against Watford, Wolves were beaten for a fourth time this term at the weekend, as Brentford won 2-0 at Molineux. That was the club's poorest performance of the season to date, and they will certainly need to improve if they are to reach the fourth round.
Wolverhampton Wanderers vs Tottenham Hotspur Head to Head
Tottenham have won each of their last two games against Wolves. They have also claimed victories on four of their previous five visits to Molineux. The last win that Wolves picked up against Spurs came in March 2020.
Wolverhampton Wanderers vs Tottenham Hotspur Prediction
Both Spurs and Wolves will make changes for this fixture on Wednesday evening. However, we would fancy the chances of Wolves getting the win, as there is a big drop off in quality in the Spurs side when the star players aren't on the pitch.
Make sure to bet on Wolverhampton Wanderers vs Tottenham Hotspur with 22Bet!
F1 news: George Russell lifts lid on working with Robert Kubica
No. 2 Class of 2022 recruit Dereck Lively commits to Duke
FC Bengaluru United beat Mohammedan Sporting 2-0 in hard-fought game
Taekwondo kicks its way into Paralympics
September 2, 2021 September 2, 2021 Sport
No Shortage of Questions for Ducks in Season Opener


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Sotheby's Reportedly Taps Goldman Sachs, Morgan Stanley to Advise on Potential IPO
'A Total Failure of Invention': Donald Judd on the State of Emerging Art—in an Unpublished Interview from 1985
By The Editors of ARTnews
More Stories by The
October 25, 2019 10:12am
Installation view of the Whitney's "1985 Biennial Exhibition," with, left to right: John Duff's Irregular Column, 1984, and Donald Judd's Untitled, 1984, and Untitled, 1984.
GEOFFREY CLEMENTS/COURTESY THE WHITNEY MUSEUM OF AMERICAN ART
The following is excerpted from the forthcoming book Donald Judd Interviews (David Zwirner Books/Judd Foundation), an anthology of talks and discussions—edited by Flavin Judd and Caitlin Murray—with the storied Minimalist artist spanning four decades of his career. —The Editors of ARTnews
Donald Judd frequently criticized large museum exhibitions in his writing and interviews. In his 1989 essay "Ausstellungsleitungsstreit," for example, he wrote that very large exhibitions "never provide a true sense of what is being done in contemporary art. Most large collections of contemporary art are also not relevant… The best work of the time is never seen together. The organizers promote work they favor; they regard art as a 'scene,' anything that occurs. In New York City examples of this are the annuals of the Whitney Museum of forty years ago, as well as now."
Judd had two works included in the 1985 Biennial Exhibition at the Whitney Museum of American Art in New York. To promote the biennial, the Whitney created a half-hour-long television documentary, American Art '85: A View from the Whitney, which aired as part of a weekly series through July and August 1985 titled You Gotta Have Art on Channel 13 (now WNET), a public television station that serves the New York metropolitan area. American Art '85 was written, produced, and narrated by Russell Connor, a painter and former head of public education at the Whitney. Only a brief statement by Judd was included in the documentary.
Russell Connor: You started off part one of the article ["A Long Discussion Not About Master-Pieces But Why There Are So Few of Them: Part I," from 1983, republished in Donald Judd Writings] by saying, "The quality of new art has been declining for 15 years… There have been almost no first-rate artists in this time."
Donald Judd: To start from another angle on that: I think that you have a bad situation now because—this is a little more, perhaps, fundamental than that as an idea—the art in the United States originally was made in a very private way, and not necessarily to sell. And it was not very large, or, if large, it was paintings. At the present time, the art has gotten beyond the making of portable paintings or objects and beyond the cash-and-carry situation, which seems to be the only one that will work. It's necessary now to do art—or artists want to do art—that is more involved with architecture, is larger, and, in my case, with three-dimensional work, is expensive to make. And to try to do any of this is next to impossible to do, because there's no institution that will cooperate, and there's virtually no interest in having it done. So primarily what you have is a simple cash-and-carry situation, and it hasn't gotten beyond that. It's kind of like the first folks in the Amazon or something; it's a rather rudimentary civilization. It's completely going to pot, because there's no allowance for the ambition of the artist to do something beyond these small saleable things. Now you have an even worse situation, where the art is even—with all the trouble that it takes even to get it made, it now is threatened with destruction, as in Richard Serra's case. [Serra's large public sculpture Tilted Arc, installed in Manhattan's Foley Federal Plaza in 1981, was the source of much controversy before it was removed as a result in 1989.]
Donald Judd at Galerie Lelong in 1987.
MICHEL NGUYEN/©GALERIE LELONG PARIS
Connor: What relation does this have to the problems of business as a sponsor and art being reduced to a commodity?
Judd: Art's not a commodity, and everybody should fight that idea. Business as a sponsor could be all right, but they don't really know very much about art, and they don't want anything beyond these portable objects and paintings, because it's too hard for them to deal with, and too complex. Every time you get beyond this point, there's a great deal of red tape and interference by people who don't know anything about it, until finally nothing happens.
Connor: But as lamentable as business might be—as patronly and preferable to government bureaucrats or the nouveau riche—
Judd: Well, the nouveau riche are also the business people; they go hand in hand. I don't think the government should have anything to do with art, as I said in the article. I think it's an exceedingly dangerous institution. I was always against the idea of the National Endowment grants and so forth. Now they're proving themselves, as again—with the case of Richard Serra and, I think, Bob Murray and other people—to be a total pain in the neck. What little was achieved is going to be destroyed. As I said in the article, the government can buy something if they want it, just like anyone else—buy what they like. If they want statues of somebody, they can buy statues of somebody. It's harmless and you can't do anything about it, so—
Connor: How does that situation as you describe it explain what we see on the walls of the biennial?
Judd: As I said in the beginning of the article, ultimately, it's the responsibility of the artists to make good art, and there's no other way around that—that's the fundamental situation. I think the government involvement in the past 15 years, and more and more in museums, makes a greater institutional situation, and I think that institutional situation is destructive, and I think for the younger people they're probably more vulnerable to that. Everybody gets in the habit of filling out the forms for grants and competing. I was objecting the other day about competing for commissions; I don't think artists are supposed to have to compete against one another, it's not that kind of activity. So you're sucked in—in order to work, you're sucked into this bureaucratic situation. I think that kind of spreads out throughout the whole situation, and, as I said, especially with younger people. When I began, there was hardly any art situation at all, so it's hard to be corrupted by something that doesn't exist.
Connor: Could you touch on that?
Judd: The commerce gets more tied into that; I think the commercial dealers and the institutions sort of come together much more than they used to. But these social reasons don't explain all these things—never. They're a factor, but they're not the ultimate explanation. You also have to have people—and this goes on to the whole article, I mean—you have to have people who will say that things are good or bad. You don't have decent criticism, you don't have support for the art that's better, and it becomes a very lax situation.
Connor: I want to get into that criticism: "For a century there have usually been two versions of each art, one real, but poor and underground, and one fake, although rich and conspicuous. The latter ingests the former as needed" [from the same article cited above]. Can you expand on that in relation to today's situation?
Judd: The art that's in the history books is ordinarily the art that has been done pretty much by the artists on their own without any great financial support—and if you go around the cities and look at what actually got done, it's art or architecture that isn't very good that received the bulk of the money and is still there. This is happening now, too, as it's always happened. You see big expensive statues—I saw some elaborate thing in Bordeaux by someone I had never heard of, done around 1850 or 1860. It probably cost half the taxes of Bordeaux for a year to put the thing together. It's not by Rodin—who was later—or anybody who, you know, you would think is important now. All the architecture that so much money is going into now is not serious architecture.
Connor: A hot topic going around the Whitney these days.
Judd: It's going to be a bad building. I'll say that in public. [In 1985, the Whitney Museum developed plans for a 10-story addition by architect Michael Graves; poorly received, the proposal was dropped in 1989.]
Connor: [Laughs]
Judd: I jumped on Michael Graves in the article.
Connor: Yes, I noticed. Art and democracy—the idea that art should be democratic—you say, "Politics alone should be democratic. Art is intrinsically a matter of quality."
Judd: Yeah.
Connor: What about quality?
Donald Judd Interviews on a table at the Judd Foundation.
ALEX CASTO/COURTESY DAVID ZWIRNER
Judd: Quality is not undemocratic. Quality is simply quality. It's not a form of elitism or anything; it's something well done. You don't say that a good astronomer—since I was just at an observatory7—is undemocratic; he's doing a good job. Art is a cheap target for the government because it doesn't cost much; it's really cheap as a way to wave democracy, and if they were really serious about it, they would be democratic in areas where it really counts. But they can claim, as they do, to distribute the awards to artists all the way across the United States, no matter what the quality is, just so someplace will get one. These things are against the integrity of art, and any kind of fooling around with the politics of art and the politics in art is very bad for it. Quality in art has nothing to do with democracy. I think it's just a cheap shot at art, and ultimately, it's a cover-up for real politics by citizens, which the United States government does not really want to happen. The issue of democracy and art is sort of a smoke screen to keep the folks from really being serious about the government intervening.
Connor: In the biennial—as around in the galleries—there's a lot of work which borrows conspicuously from the art of the past, as is going on in architecture too. You say, "In art and architecture it's impossible to use forms from the past. They become symbols, and not profound ones either"—
Judd: There's no way that you can really understand the art that was done in the past. It's too different. You can't even understand another person's work in a way whereby you could do it and add to it—living at the present. It's a total illusion that you could understand anything about the art of the past and make something that looks like it in the present and have it be good art, because the gap in information and way of living and everything is too great. I think this gap is so profound; evidently, other people don't think so, but—
Connor: What about in quotations, where bits and pieces are used, where they're obviously not trying to re-create—
Judd: It's ridiculous. It's a total failure of invention in the present and them doing something new. The quotations are also so incredibly trite most of the time; it's kid's stuff.
russell-connor
LVMH Luxury Ventures Invests in Aimé Leon Dore


text:
Author Interview, Longread, Podcast
Author Interview with Ally Wilkes
Feb 7, 2022 Feb 7, 2022 cmrosens
Ally Wilkes: Photo Credit Sophie Davidson
Ally Wilkes (she/they) grew up in a succession of isolated—possibly haunted—country houses and boarding schools. After studying law at Oxford, she went on to spend eleven years as a criminal barrister.
Ally now lives in Greenwich, London, with an anatomical human skeleton and far too many books about Polar exploration.
Twitter: @UnheimlichManvr
Website: allywilkes.com
CMR: Well hello, and welcome to the next episode of Eldritch Girl, and I've got Ally Wilkes with me, author of All The White Spaces which is coming out soon. Ally, it's lovely to have you, would you like to introduce yourself?
AW: Hi Mel, it's so lovely to be on the podcast, and a brief introduction to me, I am a former criminal barrister turned horror writer. I'm coming to you from Greenwich London, which is where I live, I am an absolute nerd about polar and exploration horror, that's my passion, and also in terms of sidelines I'm the book reviews editor for Horrified Magazine, the British horror magazine, and I've also had a few short stories here and there in various magazines and anthologies.
CMR: That's fantastic, and you're going to read an extract for us that was exclusively published with Horrified to begin with, so in the transcript that's going to be linked to the Horrified Magazine extract instead of having it reproduced in the blog and I'm really excited because I started I started the ARC [Advanced Reader Copy] and I'm getting through it. It's a chonky boi, I really like it.
AW: It's my very large son, I'm afraid.
CMR: It's really, really good so I'm very glad that you're able to to read the extract for us. Whenever you're ready, please do, and if you want to contextualize it and introduce it that's also fine.
AW: Sure, so the extract is from the novel's prologue. I know prologues come in and out of fashion, but I like them, so my novel does have a prologue. And the scene is Portsmouth in England in December 1918 the First World War has just finished. And our protagonist Jonathan Morgan has just received in us that his two older brothers have died from their battlefield injuries and wanting a moment alone with his thoughts he had upstairs to the boys' bedroom.
Extract: ALL THE WHITE SPACES
click to Read at Horrified Magazine
A vivid ghost story exploring identity, gender and selfhood, set against the backdrop of the golden age of polar exploration, All the White Spaces is out in January 2022 (UK) and March 2022 (US) from Titan Books.
Content Warnings here: https://www.allywilkes.com/general-8
CMR: I really love that opening. I love that prologue so much. I really loved the imagery as well that kind of really struck me when I read it first was the jewelled ice of the flows and the jagged blue ball of Antarctica, that was just gorgeous in this really stunning visual and I think we'll get on to the kind of the emotional intensity of it as well, but I was just thinking what drew you to this particular era and why the Antarctic, rather than the Arctic, in this case? Because you are interested in the Arctic as well.
AW: I'm into all things polar and historical exploration, yeah. In this case, the era and the Antarctic went hand in hand I've always had a sort of lifelong fascination with the heroic age of Antarctica and the stories of, you know, Scott Shackleton and all those chaps.
And it's sort of it came from a very, very early childhood interest in the continent, you know the stage at which you're sort of lying on your stomach in your bedroom paging through atlases and what's that, what's there, and I found this place at the bottom of the globe that was called Wilkes Land, and that very much appealed to me with a child's zeal for seeing my own name in print. And I was lucky enough to have a father who encouraged my reading very, very early on, and I sort of grew up loving the classic adventure stories, you know the sort of, Boys' Own sort of heroes stories of their era, very much of that era, of course.
And then, as I grew older and older I started to appreciate, for example, the classic photography of the era like Frank Hurley's photographs of the Endurance expedition have gone to a number of really good exhibitions based on that and also the photography and the iconography of those abandoned Antarctic huts, which are, of course, perfectly preserved and perfectly eerie.
So when I was thinking of what to write, I knew that it had to be around the heroic age of Antarctica to really pique my interest, but of course my novel is sort of almost post heroic age, because the heroic age is normally taken really to have ended with either the First World War, or with Shackleton's death in 1922 on the Quest expedition, and so what I wanted to present was a sort of imagined tail-end to the heroic age, seen through the prism of the First World War, and there was this wonderful sort of like, little evocative nugget that sort of really sent me down this rabbit hole.
And it is the introduction by Fergus Fleming to my very dog-eared copy of Shackleton's South and it's just this one line, I think it says, "the concept of heroism died in the trenches."
And it's just the juxtaposition of this age of heroes, with, of course, the horrors of World War One and the sort of machinery of conflict that developed out of that. So I just wanted to smash the two of them together and create a sort of last hurrah for the heroic age or or maybe I don't know a love letter or an Elegy for it either.
CMR: I love that. I think that's very powerful, the melding of the horrors of the war is done in a very subtle way like it's very explicit but … We don't go to war, you don't start us in the trenches you don't you start us in a drawing room. And it's very much the emotional effect and the impact of loss and that deep psychological scarring and those sorts of traumas and compounded bereavement and national grief as well and that sort of but very much focused on one particular character, one particular family, and then you get to meet Harry in person who's the best friend of the brothers who comes back and I don't want to spoil it too much, because it's not out yet, but people will love him I hope.
AW: My tragic boy Harry.
CMR: Yes, and he's so he's, obviously, the one that has been through the war has lost all of his friends has lost so much of himself as well, I think that's fair to say, you know, and he's going on this expedition to Antarctica with Jonathan.
I was interested in what drew you to use a sort of grief, bereavement, as the catalyst for you know the propelling action in the story, and I wondered if you wanted to unpack that kind of without spoilers, but like, the impact of that sort of collective trauma of the War on the men on the expedition, and how that helped you to develop their characters potentially or how that helped you to develop the psychology of what's going on, and as we kind of get further into the horror of things on the ice.
AW: Well, grief and bereavement as a catalyst really sort of came organically out of the fact that I wanted to do a post First World War Antarctic setting. And exactly the same sort of people that would have been at the Front would be the people on the expedition, so they would have obviously be an instant overlap. And I thought it was very interesting that everyone on that expedition would have been profoundly touched by the War in one way or another, whether they went or not, because you have a few people on the expedition: one who was a conscientious objector, one who was turned down for military service and volunteered elsewhere, and they've all been touched very profoundly by the War and it's sort of it's made its mark in their psyches. So it was very… it was natural for me to use it as an inciting incident for Jonathan that the thing that kicks it all off because it's clear that when the story starts, Jonathan is sort of his… he's very much stuck in a rut. He's very much trapped by his circumstance, partly because of the gender he was assigned at birth, because Jonathan is a trans man, he was assigned female at birth. Partly because of societal expectations related to that gender, partly because of expectations related to that class. He's clearly from upper class background, his family are very obsessed with propriety and so on, so he's… he starts the story very much almost a fly in amber, as it were, and something has to come through and crush him out of it and incite him to make all the choices he does, and some of them are, you know quite wacky choices, like let's run away to Antarctica! Yes, that will be brilliant! Spoiler alert, it is not brilliant.
So something had to happen and it had to be from, to my mind, the death of his brothers, no other thing would suit. It couldn't be people who are further from here, more or less bound up in his life because it needed to have that sort of sucker punch really at the early stage of the book.
And also because Jonathan's entire deal at the start at the story is about him idolizing his brothers and hero-worshiping them, he's built them up into this almost this construct in his mind of what masculinity and heroism might mean. And as the story unfolds, he sort of comes to unpick that and understand, maybe, their nuances in a bit more depth and by doing so, understand what he thinks being a man is all about, the sort of man he wants to be, so he couldn't very well do that while they were still in the picture… so I'm afraid, Rufus and Francis, you're dead to begin with, let's move on.
CMR: Yes, because you've got that kind of exploration of self and that reconstructive power then, haven't you, the demolition of things that have gone before. And I think that line is really important, like at the start, and I picked it up at the time I read it for the first time, and then you read it out loud and it it kind of hit me again, which was "a man is entitled to leave his past behind", or something that? And that's very much like, here's the main theme!
AW: Oh wow, you know, I'm very glad you you picked up on that. I have a bit of a foible when I approach either a prologue or a first chapter and I like to put as much of the book as I can in by hook or by crook, and I hope it doesn't come across as overloaded as as a result, but I do try and sneak in the themes, sneak in some of the major incidents, sneak in all the characters you're going to need to know about really early on.
And that line from Liam Clark, who is Randall the superheroes second in command and often overlooked is really sort of key to the thesis of the book a man is entitled if he wishes, if he wishes, he doesn't have to leave the past behind. And Jonathan has to make that decision to build himself in his own image, not in the image of his brothers and not in the image of the past.
CMR: Yes, and if he wishes, is very much about your own agency in that as well, and like being able to have that agency and yeah I was like oh! Excellent. Yeah and I'm thinking about the white space of the title, and the white space of Antarctica is that kind of metaphor that ability, that place of exploration, that enables you to do that, because you can be anybody on a completely blank sheet of continent where it is actually just you in the ice and there isn't any … well, or is there… it's you and particularly vicious penguins or terrifying horrors.
AW: I mean the "all the white spaces" thing was sort of a bit of serendipity on my part. So, the book, when I was originally working on it, was called A Great White Darkness and I liked that as a title. It felt very dramatic, but it didn't feel quite right emotionally for the book. It didn't feel like it spoke to what the book might be about, and it's also very close to the title of a fantastic YA novel called The White Darkness, which is in Antarctica.
So I didn't really want to use that, but my novel writing group helped me sort of pick that title from one Randall's very early rants to Jonathan. And it just sounded just so perfectly right for its time period, all the white spaces, and, at the time I was actually writing a diary format, so the idea was that Jonathan was sort of constructing his identity and story in the margins of this traditional heroic tale, and that corresponds to the white spaces of Antarctica.
And even though I ditched the diary format, I hope it still works, because the gulf between what said, officially, so to speak about someone and who they really are is a major preoccupation for me in the novel.
CMR: Yes, I think I think it does work. I really enjoyed going on that journey and I'm wondering… So why did you choose Jonathan's character, what kind of made him jump out at you as, this is my main character, and how much research did you need to do and what kind of research did you do to try and bring him to life?
AW: Well, the fact that Jonathan was a trans character, a trans man fell into place really early on, for me. And because I wanted to tell a story about a sort of very masculine environment, the trenches and Antarctica, and give it a little bit of a little bit of an elbow a maybe a little bit of a critique, and so I knew I needed an outsider voice.
But someone who yearned to be on the inside and felt it was really their rightful place so that, for me, sort of excluded the traditional girl dressed up as a boy adventure narrative which I really loved growing up, but I felt I wanted to do something a little bit different and once I had that in mind, I felt Jonathan's identity as a trans man brought out so much about his character and his struggles and also the way he relates to the other men on the expedition.
So to me it was really key that he was the character, I chose for my window into this world because he could critique it and he could speak to it was not being you know boots on fully immersed into it just yet and in terms of the research, I mean it was quite difficult in a way, because around that time it's 1920s and 'trans' wouldn't be a word in general currency, so to speak, and Jonathan certainly with his upbringing wouldn't really be able to describe himself as such.
I started off before I wrote the book looking at other queer identities around that time period, including gay men and books about trans men or those sorts of narratives around the turn of the century, and how those people articulated their feelings about their identities and who they were, and what I found actually was that they were quite matter of fact about who they were and their desires and their identities and their wants, and people around them could also even in the stranger settings sometimes be quite accepting and quite matter of fact, as well, they wouldn't have the modern terminology to display.
Perhaps a very rounded understanding, but sometimes people will surprise you, in terms of what they will accept tolerate and generally just get on with, and so I wanted to bring that sort of down to earth matter-of-fact-ness to Jonathan's story and I worked at a very early stage before submitting to agents, with three separate sensitivity readers for trans men and trans masculine identities, to try and get that sort of hopefully authentic and real-seeming portrayal whilst very much bearing in mind that it's a book about a trans man, rather than a book about being trans per se – that's not really Jonathan's journey.
CMR: Yeah absolutely and I think that's like an important distinction, but I think it yeah I I enjoy Jonathan's voice a lot and I can see how – I know that you've said you started off in sort of diary story format, I can kind of see how it would have developed from that sort, I can see how it lends itself to to that, but I really love the narrative voice and the flow of the narrative.
And I think it really works yeah and I can't wait for other people to read it, so I can say more.
AW: I think starting it as a diary did really helped me because I wrote a lot of it as a diary like the entire first draft, diary only, 80,000 words. And it really helped me sort of inhabit jonathan's voice and make all those sort of quite niggling decisions about whether he would use this word or the other word, whether he has a sort of floated fancy language or whether he's resolutely down to earth and God love him I love Jonathan but it's very funny when he walks out of, say, a terrifying location, he comes out into the polar night and it's often you as a writer want to really sort of paint the picture, but inside I can hear Jonathan going … "It was dark, and cold."
CMR: It's like that almost anticlimactic like – [trills, increasing pitch] splat.
AW: Exactly. What he would say, and the frames of reference, he would have, I think, and that that is much easier to do I think if you start off writing it as a diary and then transpose it, as I have into a sort of, first person more traditional narrative.
CMR: Yes, yeah yeah. I'm thinking about other kinds of research that you obviously have done that you've been immersed in since you were a child, because the Antarctic, as it yeah [on the map] behind you… Is, I mean, some seriously weird stuff has happened in the Antarctic anyway and there's lots of really interesting stories of biological things and just very bizarre kind of narratives, and lights and illusions and perceptions and that kind of stuff, and I was wondering if, you know, how much of that did you develop and put into the story, and what did you leave out that you kind of wanted to put in which I imagine is like everything.
AW: In terms of what I put in, All the White Spaces at its core, I think, is largely inspired by the narratives of Shackleton. In particular, his insurance expedition it's around the same time period insurance was at the start of the First World War, it involves a disaster in the Weddell Sea, and there's a young stowaway in search for adventure, as there was on Shackleton ship; Perce Blackborow, the Welsh galley assistant, and so I really sort of took that as a starting point, with the research and tried to be very focused on the heroic age and that time in Antarctica and that region of Antarctica and not sort of go off on a flight to fancy and all down a wiki hole to do with anything else.
I took Shackleton as a starting point, obviously, but I'm writing a world in which he didn't exist because I think that if you're writing a historical novel where there's one preeminent person around at a certain time in a certain place, you're going to have to grapple with… either you put them in the novel and deal with that, as you will, or if you… if you want to have a second explorer who's a little bit like that, they might have to meet or have some sort of history, and I didn't want that, so I tossed all of that out to create Australis Randall and to give myself a little bit more leeway and then really sort of focused in on fleshing out everything that he might have gone through in his life. But there's a lot of stuff about Antarctica that I very much enjoyed and had to largely leave out.
Really interesting accounts of killer whales hunting the men from the expeditions on the ice floes, ganging up on them and trying to kill them and their dogs and their ponies, and so the descriptions given are just terrifying, absolute — on Scott's expedition talks about their yellow pig-like eyes, and it's it's all very, very frightening and I came to the conclusion I couldn't use any of that, but you do see references to killer whales here and there in the novel because I just couldn't stop myself.
And, and then my other great exploration loves are scurvy, and which I regretfully concluded I couldn't shoehorn into the novel it's already a very chunky boy indeed, and survival cannibalism which obviously looms very large over Arctic exploration.
Not so much Antarctic so again, I had to put that to one side and be very deliberate that we weren't going to have, as it were, a dwindling stores plotline or scurvy sores plotline.
CMR: Why, why is it that there's more survival cannibalism in Arctic rather than Antarctic what's what's that about?
AW: I don't know it might be due to time periods and equipment. And in Antarctica exploration, it tends to be at its pioneer age slightly later. Because when you think of survival cannibalism in the Arctic, you're really sort of hitting a peak around … with the Franklin expedition, with Greeley and stuff like that, so I don't know whether it's something to do with the time period or whether there's just something in the water up there.
It seems to be a very bad place for survival cannibalism, but we don't really have that sort of the same degree of stories in the Antarctic. I'm not even going to comment on the Mawson controversy, because I'm not qualified, but it's an interesting one.
CMR: Oh, yeah. Yeah, people can Google that one. Come to your own conclusions.
AW: In terms of what else I would have loved to have done a nod to in the book, there's a lot of very cosmic shit happening in Antarctica you've got things like the Blood Falls, which is just so heavy metal, which is like a waterfall that runs red like blood. You've got things like the Wilkes Land gravity anomaly, which is a place where satellites get pulled towards the earth because there's a massive deposit of something like meteorite and they think under the snow and ice and so you've got all this sort of strange UFO conspiracy theory stuff going on with Antarctica and that's that's all fascinating and I would have liked to have included more nods to it in the book.
But, again, I was trying very deliberately to evoke the feel of a certain place and time that certain heroic era, I didn't think I could fit it all in, so look out for 1940s/50s cosmic Nazi Antarctica book.
CMR: I was gonna say yeah. I am actually looking forward to that now. Like tiny bit of survival cannibalism tiny, tiny bit??
AW: A morsel!
CMR: Yeah that's fantastic, I'm really excited!
And when is it [All The White Spaces] coming out do you like to do the big … it's so very soon, this month [January].
AW: Yes, that's right all the white spaces is out in the UK on the 25th so a week today as we're recording this and in the US I'm afraid US readers have to wait a little bit longer it's the 29th of March so that's when it will be on sale.
CMR: So 25th of January UK and then March for US. I think this episode will probably go out in February. So, right in the middle of the two, so actually by the time this podcast airs. But I still won't be able to spoil it for US readers because they have to wait a whole other month.
AW: Yes.
CMR: Is there anything else that you've got coming up, or any author events that you'd like to mention or anything with Horrified Magazine that you want to bring up while you're here?
AW: In terms of Horrified Magazine, we are still going strong, that was launched is you probably remember during some pretty wild times for us with covert and various other things, but still going strong. I'm still book reviews editor over there, we specialize in British horror, we really want to champion British horror, particularly indie horror, and sort of shine a spotlight on it, because one thing about the horror scene is it can come across as really quite US-centric so trying to trying to diversify that as much as we're able to and I'm also in the starting line-up of Cloister Fox, which is a brand new British weird and speculative fiction zine, the first edition is going to be out in April.
It's going to be bi-annually after that at time of recording. Our Indiegogo campaign is still going to help us get off the ground.
But it's going to have some seriously weird fiction from speculative and slipstream writers which is going to be in the first issue, so I'm working on that at the moment.
And finally, as you can probably imagine, there is a book to in the works, and it's no surprise it's more historical horror set in cold places. This time the Arctic and this one really takes that scurvy and survival cannibalism just runs with it. It's a book all about scurvy and survival cannibalism.
CMR: YAY!
AW: I know, right?
CMR: VERY excited.
AW: Yeah the second I realized I couldn't fit it in All the White Spaces, I was like, hang on buckle up, we're going in.
CMR: Good. Good choices. Except by, I'm assuming, most of the characters in the book.
AW: Terrible choices. Terrible choices. None of most of my characters could make a good choice if it hit them in the face.
CMR: Excellent. Excellent. Well it's been absolutely lovely to talk to you. I think that's all we've got time for, but I yeah I really enjoyed listening to so much Antarctic goodness. Thank you so much for that.
AW: Thank you so much for having me on it's been an absolute pleasure.
Tagged All the white spaces, ally wilkes, antarctica, arctic, cloister fox, horrified magazine, polar horror, survival cannibalism, wilkes land
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