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#i had to watch a lot of footage of myself during lockdown last year
enchanted-keys · 1 month
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You've probably answered this lots before, but: do you have a fairly clear hierarchy of favourites among the Royal Ballet principals? And your favourite role or two for each? :-) Also: of the recent retirees, who would you most like to see guesting?
Also a) thank you so much for obtaining the info that it'll be Nela and Ball for that "Winter's Tale" stream! Partner and I have got our tickets booked to see it at the Cineworld in Aberdeen. <3 It's the ballet that got me properly back into ballet, when I watched it during lockdown, and just: yay. :-)
And b) your blog has just been so lovely and helpful in growing my ballet knowledge! And your gifs are superb, and your Matthew Ball love is validating. :D
Also also: do you have any favourites among the Scottish Ballet dancers? I was lucky enough to see "Cinders" on tour, and I was so impressed with both Bruno Micchiardi (as Cinders) and Jessica Fyfe (as Princess Louise), but I am no expert.
I think someone asked me for a ranking of all the principals some time ago, but I can't even find the post anymore; I don't mind one bit answering this again! <3
If I have to talk strictly about my faves, it goes like this:
Nunez (eheh!): if have to narrow down her most iconic roles I have to give you at least three (please bear with me, I'm doing my best), which are O/O, Kitri and Aurora.
Takada: Titania and O/O. I'm just so very sorry that she's been more injured than not lately. I miss her.
Hayward: Juliet and any Ashton role I can think of (rhapsody, enigma variations, those bits of Titania we got, etc.). I also think she makes one of the best Claras out there.
Kaneko: O/O (saw her live in the BS pdd and the White Adagio with Vadim and it was life changing, bye). Also her Gypsy girl in the two pigeons is iconic. Special mention for her Aurora.
Lamb: Manon. Signature role. Was born to play it. I also really love her Mary Vetsera and her Aurora.
I'm a bit uncertain if I should include Anna Rose or not...sometimes I really love her, but overall I'd like her to be more consistent. But I'll say she was born to play Juliet.
Muntagirov: he's more versatile than people give him credit for, and really has the whole package, but I'd say his best roles are Siegfried and De Grieux.
Ball: he's such an outstanding actor that it's hard to choose, but I'm going with Romeo and Albrecht.
Bracewell: another wonderful Romeo right here, and I was blown away by his Hamlet in the Ashton insights.
Mcrae: Oberon and Rudolph for sure.
Sambè: sorry to repeat myself but we have another great Romeo right here. From what I've seen he makes also a great Colas.
As for retirees, the one that I really wish was still performing is Roberta Marquez, though maybe she isn't exactly a recent one. Out of the most recent ones I only miss Federico Bonelli because he always brought something special to his performances, although I have to say that the struggles and limitations that come with age were very visible in the last couple of years (his Siegfried variation in the SL cinema relay with Takada comes to mind).
As for the winter's tale I'm really happy to see someone who appreciates it as much as I do! I think it's a truly lovely ballet, one of the few modern classics that really stuck with me. You're very welcome for the info and I hope you'll have a great time at the theatre...unfortunately I found out that it won't be streamed in my country, so I'm going to miss out on it 😤
Thanks for all your lovely compliments they're more appreciated than I can say! 😭🩵🙏
Scottish Ballet is one of those companies that I wish had more footage available, because bits I do get to see are really impressive. I'm kind of familiar with Constance Devernay, Bethany kingsley-garner and Andrew Peasgood because I've seen them in the recordings of The Fairy's Kiss and The Snow Queen, and I seriously enjoyed those performances!
I wish there was a full recording of Cinders because both the trailer and the rehearsal look amazing! Jessica Fyfe is a really delicate and expressive dancer from the clips I've seen of her, and both her and Micchiardi impressed me in the rehearsal poste on YT, cause the intentions and mannerisms in their dancing were so clear: I immediately caught up on the reversal of Cinders gender and that she was the princess even though I hadn't read about the novelty introduced by this production beforehand, but everything was immediately clear thanks to their attention to detail.
The little I've seen from this company makes me wish for more!
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versary · 3 years
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this is a clip from the video i took of my training today - something that has REALLY helped my ~perception~ of myself has been seeing myself the way other people see me. it's hard to hate my body when i see it in motion doing what it's supposed to do. it's good to see myself looking strong and athletic because i don't view myself that way - i don't "see" myself looking like this at all, so when i watch this i'm surprised at what i actually look like in real life. it can be hard to watch yourself on video but it's a good thing to desensitise yourself to as well.
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berlinini · 3 years
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Hello Clem,
Top ten AFHF documentary moments, go.
Thank you for this question, Sea! I've watched the whole thing on Saturday, and finally got the time to watch it again today (on a TV screen!). I loved reading people's thoughts on the show and the documentary, but I did avoid other people's responses to your question so I wouldn't be influenced hehe!
I see your question is about the documentary but I'm gonna go with thoughts on the whole AFH streaming event.
Let's start with some ~visuals~
1. THIS!!!
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Louis Tomlinson being the most beautiful, adorable, cute, unreal human being. Louis being a ball of sunshine, happiness, serotonin. For me this gif it represents Louis and the whole festival <3.
for... other reasons... this is a close second and this one is third
The little things
2. Louis tearing up during OTB (ok it's unclear if that's just the light reflecting in his eyes, but...)
3. The note change in Copyx3. I loved hearing Copy live, I thought it was great.
4. Louis kicking down the wall! Just because... look at this idiot <3 Your Honor, I'm in love with him.
5. His :> smile
6. The 7 cover!!! I had never heard Louis sing this song and I LOVED it I am now obsessed. It's so good! The atmosphere live is incredible, the fact that he followed it with Fearless gave such a rock momentum. Also, when 7 starts, Louis walks from the B stage to the main stage; the contrast between his figure and the red lightning behind him...ART! Of course, I LOVED the Beautiful War cover as well.
The BIG things
I know you said "Top 10 moments" but the rest of what I loved encompasses several elements so it's getting quite long under the cut sorry not sorry you guys know me by now right
7. The editing
I think Charlie did an amazing job!!! From the beginning, with that iconic fan; the fact that the footage of the concert is almost half Louis and half the crowd, the focus on poc fans; what is shown about the 2020 Livestream (the target being put on, the stage technicians, Charlie); the focus on Change during the festival rehearsal; the aerial shots of the crowd (so impressive!); the torches during Two of Us; the flags during OTB... The audio is also incredible, how the songs sound so clear and as pointed out, how they mixed the sound down when fans sang History (*blows a kiss to the sound mixing person*)
8. What Louis said
I loved the documentary for what Louis revealed: his thoughts on the shows in Barcelona and Madrid, seeing his heartbreaking reaction to COVID, what he said about creativity during the lockdown, etc. He was being honest and vulnerable, as aways.
There were direct quotes from Louis that I cherish, for he's expressing things that we know to be true (and more complex), but in a diplomatic manner:
"You know coming from a situation like One Direction it was never gonna be a walk in the park becoming a solo artist. I’ve had shit to deal with."
"Too many times in my career have I had to pick myself up and go ‘right let’s go again’. But I the last two years I’ve just felt like I’m finally gaining some momentum, and right now in my head I feel the best I’ve ever felt"
But the good stuff as well:
“Every single time I get up on a stage, you guys make me feel fucking invincible!”
And of course:
“Just the togetherness. That’s what makes me feel like I can take on the world. Because with that lot behind me, who’s gonna fucking stop us?”
I also loved his emphasis on bringing live music back, him saying "as a fan of music myself", saying how important it was for him to have a free gig, and for the festival to be the first post-covid live experience for most people. I think it showed his love of music, his vision, his values.
9. What Louis didn't say but communicated anyways
Like I said yesterday, I think Louis' choice of including Matt Vines and the things his said about his manager are very telling - if you look beyond the words, and in the editorial choices, there's an underlying message. About how his teams is not working for sure, but also, very subtly, how he's the driving force behind the whole thing.
Same thing for his family: there is an emphasis on his grandparents and it shows such a good side of him, it's so sweet. The fact that the rest didn't make it - that's telling. Same for including footage of Charlie, Oli and Luke, I think it shows that they are a constant presence, a quiet support in Louis' life. He doesn't have to put them on the spot for us to understand that they are important for him. The same goes for having so much footage with Helene, it's obvious how much she means to him. He says that quite clearly of course, but showing her being with him every step of the way, including just before he walks on stage, goes to show how she is one of the most important person around him.
10. What Louis showed the most: his vulnerability
It's obvious Louis worked so hard creating the festival from the ground up, yet we didn't see much that (the planing, the logistics, the details, etc). He chose to keep the magic for us and focus on his enthusiasm to put on the gig and his hard vocal and mental work.
We know that Louis is proud to be honest and vulnerable in his lyrics - he "wears his heart on his sleeve". One of my favourite thing about the AFH documentary and the bts footage is that Louis took this further - it's him being 100% honest about his vision, his values, his feelings in his own words, in his own demeanor - from stress cleaning to talking on the phone like a teenager to kicking down the wall from adrenaline. He's showing himself without artifice. And one of the thing that comes across and which is so truly rare in this day and age is his vulnerability. You have Louis, who comes from the biggest boyband, who outsold his tour, who had the biggest livestream in 2020, who has an incredible fanbase, showing his doubts, his fear, his anxiety. Saying he needs to work harder, that he's frustrated with his rehearsal performance, saying he's not ready, that he would rather run away. Who does that? Not a lot of celebrities... It is so real and authentic. It's so refreshing. And it's him.
Just after the festival performance, I wrote about the confidence that Louis had on stage and said he had obviously been working on it; I had no idea that one week later we would get so much footage of Louis struggling with his confidence two days before the event. He chose to show this part of him. The fact that he feels so comfortable sharing this means so much - to us as fans, but also about him as a person.
And then you see him walk on stage, getting more relaxed, happy, smiling, saying "Crystal Palace, sing!" and then singing "Cause we made it"... I'm tearing up!!!
I am so proud of him, of his work ethics and vision, his talent, his perseverance, his optimism, his love for his fans. I was already proud before AFHF, but with this Louis really showed there is no one else like him and he deserves the world.
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bbrandy2002 · 5 years
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Two Men and a Baby Pt. 5
Not your typical Royal Romance story...crazier
The TRR Gang
Warning: Some sexual content and language.
@carabeth @katedrakeohd @emceesynonymroll
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....bum bum bah....You are watching Channel 5 news CBC at 9:00, bringing you all the lastest news updates from Cordonia and Western Europe. Tonight's top story begins in Ramsford where our very own Penelope Bakas is on the scene....Penelope, describe what you're seeing....
Bertrand and Savannah had enjoyed a lovely, candlelit dinner at the top of the exclusive Ruby Tower.  Bertrand had purchased the finest wine,  had the wait staff bring out flowers while the pianist played a lovely rendition of 'The Way You Look Tonight' dedicated to her. Savannah was beaming. They slow danced and laughed over funny memories. Bertrand recited poetry to her and looked at her all evening as if she were the brightest star in the sky. The evening was truly perfect and she couldn't imagine anything in the world ruining this high she was feeling. "This is the best birthday I've ever had my little Nerdy Bertie", she would say several times.
Bertrand took Savannah out onto the balcony to admire the view of his beautiful duchy. As he stood behind her with his arms wrapped around her waist, she, wearing his brown suit jacket for warmth, they both heard sirens whirling by below them. They peaked over the side and seen several cops and fire trucks speeding through town. "Hmm, I wonder what happened?" Savannah asked.
"Im not sure" Bertrand replied, "but, i have one last surprise for you, my pet".
"Oh, do tell." Savannah said with a breathy, seductive tone, while pulling him by his sweater vest closer.
"I know how you've always wanted a carriage ride and I just so happen to have one waiting for you in front of the tower, my little tartlet."
"Oh Bertie, all of my dreams are coming true" she said with a quick kiss to his cheek.
"This way, my dear". Bertrand grabs Savannah's hand, takes the elevator to the first floor and steps off into the lobby.
Out front was a beautiful carriage, fully enclosed and two white horses at the front. Bertrand held the door open and helped Savannah inside.  He told the driver they were ready and off they went.
"Bertie, this is so magical, but, I have one request I would like to make" she said while biting his ear lobe.
"Uh...uh...what is it, my dear?, he asked.
She reached down and palmed his groin, "I'd really like to play with little Bertie".
"Savannah Jane Walker! We are in public!" Bertrand shouted in a whisper.
"So, remember when the king and queen got caught in the corn maze during the Halloween Field Party. That could be us, lets live a little", she pouted.
"Yes and as I recall the King required 10 stitches to his derrier", Bertrand shudders, "corn stalks are no joke".
Savannah moves to the floor in front of Bertrand and slowly starts to unzip his pants. He grabs her hand but she gives him her pleading eyes and he can't resist.
Meanwhile....
Drake stands in front of his friends, who are still laughing uncontrollably. Drake walks over to Olivia and grabs the breastfeeder from her hands.
"You're not claiming this for Lythikos, thats the only way Bartie can drink.....You guys are the most immature people I've ever met", Drake huffs. Olivia continues to cackle at him.
"Uh Drake, whats the deal with Bartie? Why's he covered in yellow goo?" Riley asked while crinkling her nose.
"Thats not goo, it's shit!" he yells back.
Olivia quickly grabbed between her legs, laughing even harder, "ah....ah, I'm going to piss myself.....this just keeps getting better."
"Why is it in his hair?, Liam asks while holding his nose.
"Liam, I swear to God." Drake says while gritting his teeth and clinching his fist.
"Drake, why don't you and Liam get him cleaned up and Olivia and I will check on Maxwell." Riley states. Liam's head snaps in her direction pleading with her to take back his name from that statement. "Love, I think Drake can handle this himself."
Drake looks at Liam, "please Liam, I really need a friend right now". Liam seeing the desperation in his eyes, agrees to help. He turns around to kiss his wife, but, finds that she and Olivia were already running toward the hospital entrance.
Back in the carriage....
Savannah was in the middle of pleasuring Bertrand when her phone buzzed, then Bertands, then the carriage driver. Savannah didnt want to stop, but, she thought it might be a text from Drake about Bartie.
"Beaumonts Unleash Wild Boar on Ramsford"
Bertrand tries to push Savannah's head back down, but, she resists. "Bertrand, what is this about", she asks while holding the phone up to him.
Bertrand grabs the phone and looks puzzled. "I haven't the slightest idea. Look, theres a video".
Savannah sits back in the seat next to Bertrand as he plays the video.
......Penelope, describe what you're seeing....
..."uh, yeah, Penelope here...is this thing on"
......Yes, Penelope, you are live right now.
..."umm, hi Merlin, hi Morgana, look, Mommys on TV, (waves at camera). Anyway, Im here with the Countess of Fydelia, Madeleine, who is also the Royal Communications Director. Earlier tonight, while stopping by the Beaumont Estate, she was viciously attacked by a wild boar. Madeleine, do you have anything you would like to say?
Madeleine, who is sitting on a stretcher, by an ambulance, has a neck brace on and a shiny black eye. "Yes, I have a lot to say..... Maxwell Beaumont, where ever you are, whatever you are doing, just know that I am going to rip your nuts off and shove them up your mother fuc...." (Beeeeeeeeeeep).
Announcer 1: my apologies for that.
Announcer 2: we do have footage taken earlier by a driver near the Beaumont Estate, where he caught footage of an unidentified driver and Lord Beaumont riding in the back of a truck, with a sword, going very fast.
Announcer 1: Let's take a look.
Footage: (Maxwell singing and swinging the sword)
"I will conquer the seven seas.
Take your gold, as my bounty.
All you ladies, your ass I be smaken,
Right before I release the kraken! Arrr"
Announcer 1: (Stunned silence)
Announce 2: "that...was disturbing"
Announcing 1: Anyway, crews are at the scene where the Beaumont Estate is on lockdown after the boar made its way inside and began it's destruction. Swat and Animal rescue is waiting outside to plan their entry to retrieve the animal.
Announcer 2: Looks like the Beaumont Bash is taking place a little earlier this year, hahaha.
Savannah gasps in horror, "My baby!".
Bertrand looks like someone just described a wine as being, pretty good.
"We have to go, now", Savannah says frantically.
Bertrand is very angry. He huffs and sits up in his seat. He yanks his zipper up and, "AAAAAAAAAHHHHHHHHH!!!!!!"
Will little Bertie ever work again? What will Drake and Liam use as a diaper? Find out in Part 6.
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golittlebiggirl · 3 years
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The grass is always whiter on the other side...
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There’s a lot of eye rolling in this house when mummy churns out one of her old ‘Boomer’ phrases and, outraged, cries: “What? Have you never heard that expression?”
I love language you see; I love idioms and proverbs and I love giving my son new…oh alright then, old… ways of expressing himself.
I also like to customise them, although this did backfire once. My son came back from school and told me he ‘got told off’ because he argued with his teacher that Practice Makes Progress. It happened because I’d noticed that I had unwittingly passed on to him my somewhat faulty perfectionist trait – and so I’d decided to try to phase out in him the need to strive for perfection while beating himself up for anything ‘less than’. So, I started repeating to him that practice might not always make perfect, but it makes progress. ‘Practice Makes Progress’ became a thing, and worked just fine until his Year 3 class (loosely) studied proverbs. Poor boy. When his teacher told him what he’d written was wrong, he argued that she was wrong! (I like to think that she has now seen the error in her ways and will help spread this improved proverb far and wide).
I’ve customised another one this winter, although this one is a bit more niche: The grass is always whiter on the other side.
Here in beautiful, coastal South Pembrokeshire, the very westernest edge of West Wales, snow – let alone settled snow – is rarer than Action Man’s tears.
Four times in the past month I have blinked in disbelief because I’ve seen snow on the weather forecast. Twice it even heralded the imminent arrival of “heavy snow”. Three times I have got seriously over-excited. And three times I have been utterly crushed when I’ve woken up to heavy rain. I’m not the only one. A friend told me the snow looked like such a cert last week that they’d already lined up their sledges the day before. Sledging doesn’t work so well in a torrent.
Now you probably don’t need me to tell you that disappointment in these virus-spoiled times is amplified beyond all reason, and can morph into dejection and hopelessness if you’re not watching.
The third, crushing, no-snow-blow resulted in me declaring an afternoon off work and home-school as I hurriedly organised a No Snow Festival. This consisted of camping out in a tent in the lounge and basically doing any activity I could think of to prove (to myself, mostly) that it was possible to have fun without snow. We put on ‘festival’ clothes, munched brownies while watching old Glastonbury footage on iPlayer, forced our dog to perform in the ‘Dog Agility Arena’, enjoyed a Dance Workshop with Oti Mabuse, held ‘No-Snow’ themed colouring competitions and a culinary masterclass in which we let our son ‘teach’ us how to make guacamole… there was more.
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Meanwhile, all over Facebook my friends across England, Scotland and mid Wales could be seen frolicking in the beautiful fluffy white stuff. The first time that happened I was happy for them. I loved seeing their (smug) snowmen and (joy-filled) sledging videos. But then it happened again, and again, and again… and all of a sudden, they’d had more snow in 3 weeks than we’d had in 17 years! To my shame, my responses to their good times became increasingly bitter (always with some smiley emoji to disguise the pure venom).
I know I have been a total bore about it and – snow-blessed friends, I am sorry.
But the thing is there is something worse than FOMO, and this time it was my son who customised the phrase. He said: “Mum this is not FOMO, this is AMO. Not just Fear Of Missing Out, but Actually Missing Out.” Damn straight, kid! It sucks!
On the fourth time snow was forecast I determined not to allow myself to get excited. (I’m a slow learner). This was also because my (increasingly wise) boy had said to me: “Do you sometimes wish there wasn’t a weather forecast?” I stopped looking at it. I couldn’t cope with any more disappointment. Here goes a proverb, from actual Proverbs in the Bible: “Hope deferred makes the heart sick.” No need to customise that one.
Naturally, of course – and feeling like a reward for my new-found wisdom – that’s the one time it actually snowed. A teeny, tiny little speckledy smattering. Up against the walls and in corners it settled. And there was GREAT REJOICING! We pulled on whatever clothes were closest and rushed out to play! I mean, just look at this epic snowman!
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After about ten minutes of excitement and freezing-fingered fun, when it became clear we weren’t getting any more, the little man said to me: “I can’t work out whether to be happy or disappointed.” Seems it’s possible to feel both, because I did.
But then, we’re by no means the only ones who’ve been experiencing AMO during this EWL (Evil Winter Lockdown).
We may have no proper snow but we sure do have proper beaches. It may take us over an hour to walk there, but our two local beaches are pretty much the most beautiful in the country.
During the first lockdown I experienced an awful lot of that most useless, energy-wasting of emotions: guilt. Guilt over the fact that we had not only a garden, but also a field, for daily exercise. Guilt that we could walk to the woods, which lead to a National Nature Reserve, which leads to two of the loveliest beaches in the Pembrokeshire Coast National Park. Guilt knowing that not only were we Covid-free and didn’t work in the NHS but that we enjoyed such privilege – being able to access such beauty and playgrounds – while others were going through the toughest of tough times and with none of that on tap.
My snow-happy, land-locked friends have often expressed their own envy at our ‘living on holiday’ because we live by the sea. I also imagine that if you live in fire-ravaged California or Australia, where the sun always shines, you might take the occasional wistful look at the green, green grass of wet West Wales.
The idiom goes “The grass is always greener on the other side.” It’s thought to originate centuries ago, possibly stemming from the ancient Roman poetry of Ovid who wrote: “The harvest is always more fruitful in another man’s fields.”
But in truth, the grass is greener, or whiter, or sandier, or wetter depending on where you are standing.
Comparison really is the thief of joy. I am yet to be able to pass on any wisdom as to how to overcome the punishing tendency to compare yourself or your circumstances with others.
I guess the challenge is to tend to your own grass as best you can and extract the pleasure from its upkeep without needing to check on how your neighbours’ grass is looking.
I’m not great at that, if I’m honest. Ah well, Practice Makes Progress. 😊
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tigerlillyscorner · 7 years
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Taylor, Taylor, Taylor
I never really post my feelings and opinions on things since my tumblr page is for me to post my photography on, but I really needed to get this off my chest as it something that has bothered me for a while, especially in these last two days. And that is to do with Taylor Swift. Now if you’re looking for a post slandering Taylor with me making statements such as “"white devil”, “"she’s always playing the victim” or “trump supporter”, well I’m sorry to disappoint you (actually I’m not sorry because those statements are OFFENSIVE, DISGUSTING and INACCURATE. As many of you know, Taylor released her first single “"Look What You Made Me Do” of her upcoming sixth album “Reputation” which has broken records within it’s 24 hour debut and is likely to break more as the weeks go by. 
However since this is her first single since early 2016 in which Taylor went through a heap of media controversy, an unfamiliar territory for her in her career (with the exception of the 2013 social media mocking of her dating life upon her break with Harry but that didn’t really cause that much of a media frenzy unless you are a swiftie like myself and was active on social media during that time period). Due to the controversy surrounding Kanye West’s “Famous” involving THAT lyric and an episode of KUWTK showing recorded footage of a conversation between Kanye and Taylor, Taylor has been heavily slandered in the mainstream and social media (hense her silence on Twitter, a platform that did the majority of the slandering by trending the hashtag Taylor Swift is Over Party). 
Whilst being a fan of Kanye’s for many years, do I enjoy “Famous”? The answer is no, I don’t. And before you think “Oh it’s because she’s a swiftie, she’s saying that and she’s probably also white, tearing down the black man”. Let me first acknowledge that I am young Black woman and yes Taylor does have POC fans (ooh shocker!😱🙄) and to be very honest, “Famous” is not a good song. I am comparing this to the entire TLOP album and his entire catalog  which was great and had incredible, standout tracks like “No More Parties in LA, Father, Strech My Hands and Ultralight Beam” and not to forget classic tracks such as “Love Lockdown”,”Jesus Walks”, “All Falls Down” and many more. “Famous” pales in comparison to those tracks and I think should have not been on the album. 
The lyric is mysognistic, which is the truth. I also don’t think as a fan of the Kardashians that Kim should have released that footage, that was a private matter between Kanye and Taylor and the recording was a breach of privacy (I would have expected more from Kim as someone who has had their privacy breached before to know better). I enjoy “Look What You Made Me Do” as it is a departure from Taylor’s previous release which I have loved and cherished but do I think it’s her best single? No, not necessarily but I am sure that Reputation will be a great album as she has not disappointed me before album wise. I would also like to debunk a few rumours that are circulating social and mainstream media.
1. The Music Video for Look What You Made Me Do is NOT Taylor’s attempt to recreate Beyoncé’s Lemonade visual album (one of my favourite albums of last year, just to let you know) 
2. LWYMMD is not a diss track to Kimye but rather a response to the media backlash portraying her as the enemy and her playing that character as done with “"Black Space”. mainstream media should really be focused on Trump making a MOCKERY of democracy, Britain in Tory/Brexit hell, and Hurricane Harvey. 
I find it so funny, hypocritical and shocking that many people throw out their beliefs about unity, equality and feminism when it comes to Taylor and I ask why? Why is it that this person you must drag down becaue you don’t like them? Hell, there’s a lot famous people I don’t like and you know what I do? I DON’T PAY ATTENTION TO THEM! If you really don’t care or give a f**k about Taylor then newsflash, don’t talk about them! Don’t pay attention to them, don’t play their music or watch their films or tv shows or read their books or whatever! Whilst you claim that Taylor needs to “grow up” because she’s 27, I would like to point out that Katy Perry, who is 32, is constantly mocking Taylor (which I found ironic considering Katy’s lyric in Swish Swish “funny how my name keeps coming out of your mouth”. Well Katy, I must be reading and watching the wrong things because Taylor has never brought you up since this “feud” began). 
This is getting long winded and I should probably stop here but I hope if anyone reads including Taylor herself takes into consideration my comments because I have kept my mouth shut long enough. @taylorswift you do you dude!
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shapshapproject · 3 years
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Transcending borders and connecting global imaginaries
by Lindi Mngxitama
Playing at the Antigel Festival for SHAP SHAP has always been a dream of mine, especially after watching videos of FAKA’s performances there over the years. It was probably due to the nature of COVID-19 making electronic music more accessible globally, and me choosing to focus on promoting myself globally — because there wasn't an option of shows and stuff like that during lockdown — that made the opportunity to be able to play a festival like this possible. Overall, it was an awesome experience, and although it was virtual it still felt like I was on a global stage amongst some really great artists.
Says producer and Roses are Red record label founder Rose Bonica speaking about SHAP SHAP’s annual programme at Antigel Festival, but more specifically, speaking about the 6th edition of WHAT’S UP?. Creatively connecting people and using physical and digital stages to take action against global inequalities and discrimination, this year’s Antigel Festival found itself evolving in form and having to adapt in its possibilities of engagement due to the pandemic all of the world has been — and is still currently living through — in all of our varying and intersecting realities across the globe. “Over the last years ANTiGEL Festival has grown to become one of the largest cultural events in Geneva. By bringing artistic experience to parts of the city that are detached from this kind of engagement, the festival aims to be a reminder of the importance of making spaces for arts and culture”, remaining committed to this mission even within the setting of our current pandemic dystopian reality. This year’s ANTIGEL X SHAP SHAP WHAT’S UP? programme was curated in collaboration with Johannesburg's own Cuss Group, DJ, artist and self-named proud eurolatina Anita Kirppis (Geneva-San Salvador), Maïté Chénière AKA DJ Mighty (Geneva) and BATEKOO (Rio de Janeiro).
A non-profit organisation founded in 2015, SHAP SHAP is invested in taking action against global inequalities, racial and gender discriminations through artistic cultural projects. The festival’s curatorial and creative methodology is one rooted in collaboration — with both artists and scholars, to contribute to: “1) strengthening the artistic, social, political and economic status of emerging and off-the-grid artists from the Global South and from minorities who need support to emerge locally and internationally 2) facilitating international mobility 3) raising awareness on inequalities and discriminations 4) fostering dialogues”. The program at Grand Central STREAM Antigel 2021 unfolded over a course of 23 days from February 5th - 27. Self-named as eurolatina in a move towards the search for a better understanding of her identity because as Anita expresses:
I left my country very young (El Salvador) to come to Europe. A that time I was still searching to understand my identity as I was defined as a Salvadorian immigrant in Europe but when I was coming back to see my family every year I felt [like a] ‘foreigner’ in my own country. In a constant back and forth in every part of my life, even in my art studies I was lost. Nowadays, half of my life it has been built in Europe with codes, cultural and political references that I’ve mixed up with my Salvadorian background. I think that I’m finally embracing this richness and the complexity of this multiple identity and I’m more aware to reflect this on my dj sets. Kirppis’ Central America What’s Up, kicked off the festivities and in our conversation reflecting on the experience she shares that: Being part of this project, it was like I found allies who do things with careness and understanding about the issues that me or any other artist coming from the Global South could encounter during their career. Having this structure [that] backups and defends your positions, your ideas and your projects, is like a deep breath of clean and fresh air coming from the pacific ocean.
The artists who made up Kirppis’ segment included the collective Ghetto Witchez and musician El irreal Veintiuno. Speaking to first time participant El irreal Veintiuno — whose musical practice is rooted in capturing the sounds of his country — about his experience, especially within the festival’s 2021 virtual form, he shares:
It has definitely been a new experience and what we are living [through] with this pandemic, was not an impediment [on] the experience of connecting with people from all over the world. Through a screen [it became] possible, you know it is curious how between countries there are giant walls, and with the help of technology you can put an end to those walls. It is simply magical, although to be honest, I like to think about the fact of being there physically with people dancing, enjoying and feeling each song you are playing. I hope at some point in life it is possible.
For Ghetto Witchez’ REBURRA, the festival helped her reconnect with her creative side which had been suffering from a pandemic induced lull as she expresses:
Personally it was a positively challenging experience, it helped me wake up my creative side and shake off lots of heavy feelings I had bottled up during most of 2020. In El Salvador the quarantine restrictions were specially hard during the first months of the pandemic. So, most of us where just locked in our houses scared for our lives and listening to the president’s long misinformed press conferences. It was hard, my heart and mind where not that well recovered from the quarantine experience and there where moments I just wanted to go back in time. So I decided to make our participation in SHAP SHAP’s programme at Antigel festival an excuse to revisit this Salvadoran fantasy land I’ve created in mind and heart — [to] revisit all those feel good and pretty things that connect me with my country. All the footage we added to the set visuals and the intros are part of a well know Salvadoran cultural phenomenon or landmark from my generation’s childhood, that have a special place in my mind and heart. This way, we made of our participation a way of healing my reality at the time and I really appreciated that. It was a bright spot during dark days.
Week two which was curated by Mzansi’s own Cuss Group, under the programme segment South Africa, What’s Up started off on February 12th. Not their first #me at the rodeo — 2021 marks Cuss Group’s 5th year participating in the festival, however, this #me bringing along new home grown talent and first #me festival participants to fill their segment. Rose Bonica — “your favourite producers’ favourite producer” and X14. As mentioned before part of SHAP SHAP’s intention and focus is “strengthening the artistic, social, political and economic status of emerging and off-the-grid artists from the Global South and from minorities who need support to emerge locally and internationally and facilitating international mobility”. This in-turn creates space and opportunity for dialogue and cultural/artistic exchange that is able to imagine beyond the limitations of the nation state and its borders. Speaking about the value of this work and intention Rose shares:
I mean, it's extremely valuable. I live in a country where the arts, especially underground electronic music, is barely funded so these kinds of opportunities are truly valuable. And being able to perform on a global and diverse stage is such a great opportunity for any artists with the added financial stability that the festival offers, I honestly couldn't think of anything better. The experience also pushed her where her own creative methodology and confidence are concerned, revealed as she expresses that she found it really difficult: to translate my live performances into a virtual space and the whole process of filming and editing the performances together often feels draining. My self-confidence generally takes quite a big dip and before the stream starts I feel like it's just all going to be a big flop. My experience with SHAP SHAP was really reassuring. And for the first time since I started doing any type of virtual streams I went into it feeling a little more confident, and feeling like I was a part of something.
X14 — also a first time participant — expresses having no expectations as he went into the festival, however, feeling robbed of his first international trip due to COVID-19 travel restrictions, sharing some more he states “my journey as X14 has allowed me to get proximate to artists whose work I really admire, one of [them] being Naledi Chai. I told her about it and she immediately hit me with the vision for what you saw... she helped me communicate something raw and beautiful”.
Friday February 19 ushered in week three curated in collaboration with Afro Futurist DJ, founding member of the House of Butch Xtra and artist Maïté Chénière. The first time I engaged with Chénière’s work was through their first solo exhibition, Octavial Scape, which mapped different modes of refusal and resistance in the forms of music, popular culture, academia and storytelling against the backdrop of the Atlantic — a central site of subjugation in the Transatlantic slave trade and node among a global community. Like Cuss Group, this was not Maïté’s first time participating in the festival either, having have been part of it before as both collaborating curator and participant (DJ). Roles which require one to show up in/from a particular way. I ask them about how the experience of those two roles matched up, and which may have been more challenging to which they respond:
There is always this duality in my practice, artist/DJ and curator. It’s been a journey to find balance between those two and it's a constant work in progress. In the context of An-gel, I guess the most challenging for me was to curate. I proposed a line up within SHAP SHAP's program, within Grand Central's program, within An-gel's program. It's a lot of circles to navigate and sometimes you risk losing touch with the core intent. I find it hard to imagine that working within such a collaborative and far reaching way — especially within the framework of challenges presented by COVID-19 — wouldn’t affect/effect ones own relationship with their artistic practice. Asking Maïté about this they express that: When I arrived in Geneva I noticed a gaping hole in the night scene. What brought me to Dj-ing is that I was tired of looking for myself in those white spaces. Then I began hosting the Archipelagogo Club events dedicated to celebrating club culture and its originators; queer people of colour. These are trans-disciplinary events fostering artistic creation and community at a local level but also with international artists. Through the SHAP SHAP residency I got to meet artists from South Africa: Moonchild Sanelly, GYRE, Angel Ho, Griffit Vigo, Desire, DJ Candi, CUSS group. And we produced music in Johannesburg together with Bone Black and Dokta Spizee (The Good Dokta). This opened all kinds of places in me and brought the realisation in my flesh of the necessity to shift from the western gaze as an active practice.
The final week — week four curated in collaboration with BATEKOO. Speaking to Mauricio Bahia Sacramento aka FreshPrincedabahia — ceo/founder and creative director at BATEKOO — I learn that their own approach to their sonic craft is rooted in taking “cultural trips in the musicalities produced in the peripheries of Brazil and the world”, a mode of research which as he expresses “has always been present in my life as a dj and as a creator, I needed to do this analysis when creating BATEKOO, for example”. For BATEKOO, the festival’s 2021 virtual form also spoke to “the moment of transition” he thinks we are currently in as he shares, “I think we are going through a moment of transformation, and we will always take positive balances out of it. I believe that in the future we will use more internet tools to spread information, entertainment and learning”. Cultural happenings like this are imperative as “it is very important that today the cultural class and large companies look for ways to reframe the present and help each other in a 360 way”. If anything SHAP SHAP program at Grand Central Antigel was a creative manifestation of the fact — to quote Anita Kirppis — that “the boundaries are [being] pushed, [and] the forces are changing”.
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brajeshupadhyay · 4 years
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This time when the phone call came, it was good news for David Willey. A year after the heartbreak of hearing he was being left out his home World Cup, last week the Yorkshire bowler was told he was in England’s 24-man squad for the upcoming one-day games with Ireland. And that recall has come as a huge relief for the 30-year-old, who feared his international days may be over after he was also ignored for the winter’s white-ball tours to New Zealand and South Africa. David Willey was last week called up by England for first time since he was dropped last year A year after the heartbreak of missing a home World Cup he is back in the international fold ‘I had sort of accepted that maybe that was the end,’ a candid Willey tells Sportsmail from the garden of his home near Leeds. ‘The winter probably made me think that maybe they were done with me. So to get the call was a relief that they haven’t completely written me off. It’s a great opportunity for me. I’ve got nothing to lose.’ Not only is Willey back in the fold, he feels he is back to his best having had an ‘epiphany’ during lockdown when he watched footage of himself from five years ago and noticed his action had altered. But most importantly, Willey is also back in love with the game. Opening up about his mental struggles for the first time, he admits that years of non-stop touring and T20 franchise leagues had left him ‘frazzled’.  And he thinks that contributed to the poor form which led to Jofra Archer replacing him nine days before the start of last summer’s World Cup, having been in England’s provisional squad and a key member of their side for the previous four years. Willey was forced to watch on as Eoin Morgan’s men claimed glory over New Zealand at Lord’s ‘For a period of time leading up to the World Cup, I wasn’t confident in myself and where my game was at,’ the left-armer says in his first exclusive interview since that high-profile omission.  ‘I’d probably fallen out of love with the game a little bit. I found it difficult getting the motivation to go out there. ‘I’d had a lot of winters back-to-back and I was just frazzled. When you are on the treadmill, it’s a slow decline and you burn out slowly. You probably don’t realise that it’s happening. I certainly got to a point where I thought, “I can’t carry on playing cricket like this”. ‘I’d been on every tour with England and not played very much. To keep turning up, to bowl in a net and run drinks out, I started to question what I was doing it for. As a result, I lost my passion for playing the game. ‘For 18 months with England, I felt that I was looking over my shoulder. I felt like every opportunity I had, if I didn’t take a five-for, I was out of the team and that weighed heavily on me. Jofra Archer was called up at the expense of Willey on the eve of the home tournament Willey and Archer look on after the one-day series against Pakistan before the World Cup ‘I always played because I loved playing cricket so to start having those thoughts and those little demons creeping in, it took away actually what I played the game for.’ If that was how Willey felt even before the World Cup – which England went on to win without him one year ago – it is no wonder things spiralled after last summer’s spectacle. For the rest of 2019, he says he was ‘pretending’ to want to play, whether with Yorkshire or the Delhi Bulls in November’s Abu Dhabi T10 League. At his lowest, he even considered walking away from the game, something he has not spoken about outside of his family until now. ‘I sort of anticipated that it was probably going to be me that missed out on the World Cup but that was the final nail in the coffin for me,’ he says.  ‘You grow up as a kid wanting to play in a World Cup at home, so to get a phone call at the 11th hour saying, “Sorry mate, you’re not in”, it was upsetting. I was gutted. ‘It was difficult to carry on for the rest of the season. I had to pretend that I wanted to be there. I just tried to turn up, put on a brave face, do my best and come away. But it was a battle. The emotional side of it was exhausting. It was pretend. I was pretending to be doing it properly. ‘I am at my best when I am competing and in the battle. If that is not there, I am probably half the player. There were a couple of periods last summer where I pretty much went out to pick a fight just to try and ignite something to get me going. ‘Then I went to that T10 league, which was a stupid thing for me to do. I just didn’t want to be there. The first game I was out there, I thought, “I can’t wait for this to finish, I don’t care whether we win or lose, I just want to get off this field and get back to my hotel room”. ‘It doesn’t look great if you are showing you don’t want to be there, so I probably covered it up quite well. But I knew that if I was going to be playing cricket with an attitude like that, I needed to really evaluate whether I still wanted to play cricket. ‘I spoke to my wife about not playing any more. If there was something there, on the table, that I was passionate about and really enjoyed doing, I might have walked away. But at that moment when we had those conversations, there wasn’t anything so I just carried on.’ Willey admits he had become frazzled by the relentless cricket calendar over the years The player sitting in front of Sportsmail today is not the same as the one he is describing from last year.  Having had eight months off, albeit in enforced circumstances nobody would have wished for, Willey is in a much happier place. He has remembered just why he got into the sport in the first place, following in the footsteps of his father Peter, who was also an England international. ‘I feel this extended break has been the best thing for me,’ says Willey, who occupied himself in lockdown by renovating the house he shares with his wife Carolynne and young children Jacob and Maeve. ‘It has been great to refresh my mind and work on my game. I have got the fire back in my belly and I am enjoying it probably more than I ever have. I am hungry for it all again. When we got back to doing it, I’ve realised how much I do love playing cricket.’ That born-again attitude has partly come about because, after reviewing his bowling action, he has gone back to what helped him break into the England side in 2015. ‘During lockdown there was a little bit of an epiphany,’ says Yorkshire’s T20 captain. ‘I was sitting in bed looking at clips from 2015 and realised my release point had moved about a foot, which is probably why I have not been swinging it for the past two years. ‘When I was at my best, my release point was over my left hip, but it had almost come past my midline. So I’ve been working hard on that and I now feel like I am bowling as well as I have done for the past two years. Willey has gone back and watched videos of his bowling action during the lockdown period ‘The white ball is swinging again and I know where it’s going, because I had a period where I was just running up and hoping for the best. It had got that bad. ‘The fact that there has been something really evident and it has actually been a very quick fix, that has made me excited.’ Willey has also been revitalised by the launch of his own virtual coaching platform – davidwilleycoaching.com – where he is offering one-to-one sessions with cricketers over video. ‘The idea came about after spending so much time looking at videos of myself and trying to work out what is happening with my game,’ he says. ‘I want to make myself accessible to people that want to have some coaching from a professional cricketer. ‘I am really excited by it. Hopefully I can help people improve and go on to achieve their goals. Coaching is something I’d like to do in the future so hopefully this can also be a stepping stone to something more permanent come the end of my career.’ The 30-year-old will be back in England colours for the one-day games against Ireland The end of Willey’s career, though, is still some way off – both with Yorkshire and, he hopes, England. On the international front, after the three one-dayers with Ireland – who Willey made his debut against – there is a T20 series against Pakistan and a possible white-ball visit of Australia.  And Willey is also eyeing the two upcoming T20 World Cups in Australia and then India, before, dare he say it, the next 50-over World Cup in 2023. ‘I feel like my best cricket is still to come,’ he adds. ‘There are plenty of miles left in me and I’ve still got ambitions. I’d love to win a County Championship and be involved in the upcoming World Cups for England. ‘If the England thing doesn’t work out, so be it. The worst that will ever happen to me in my cricket career has happened. If I get dropped now for a series against Pakistan, I’ve missed out on a World Cup on home soil, so it doesn’t get any worse than that. ‘But it would be brilliant to go back out there in 2023 and hopefully repeat what they’ve done and me be a part of it this time. That would be a great story.’ The post David Willey is revitalised and back in the England fold appeared first on Shri Times.
http://sansaartimes.blogspot.com/2020/07/david-willey-is-revitalised-and-back-in.html
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brajeshupadhyay · 4 years
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David Willey is revitalised and back in the England fold
This time when the phone call came, it was good news for David Willey.
A year after the heartbreak of hearing he was being left out his home World Cup, last week the Yorkshire bowler was told he was in England’s 24-man squad for the upcoming one-day games with Ireland.
And that recall has come as a huge relief for the 30-year-old, who feared his international days may be over after he was also ignored for the winter’s white-ball tours to New Zealand and South Africa.
David Willey was last week called up by England for first time since he was dropped last year
A year after the heartbreak of missing a home World Cup he is back in the international fold
‘I had sort of accepted that maybe that was the end,’ a candid Willey tells Sportsmail from the garden of his home near Leeds.
‘The winter probably made me think that maybe they were done with me. So to get the call was a relief that they haven’t completely written me off. It’s a great opportunity for me. I’ve got nothing to lose.’
Not only is Willey back in the fold, he feels he is back to his best having had an ‘epiphany’ during lockdown when he watched footage of himself from five years ago and noticed his action had altered. But most importantly, Willey is also back in love with the game.
Opening up about his mental struggles for the first time, he admits that years of non-stop touring and T20 franchise leagues had left him ‘frazzled’. 
And he thinks that contributed to the poor form which led to Jofra Archer replacing him nine days before the start of last summer’s World Cup, having been in England’s provisional squad and a key member of their side for the previous four years.
Willey was forced to watch on as Eoin Morgan’s men claimed glory over New Zealand at Lord’s
‘For a period of time leading up to the World Cup, I wasn’t confident in myself and where my game was at,’ the left-armer says in his first exclusive interview since that high-profile omission. 
‘I’d probably fallen out of love with the game a little bit. I found it difficult getting the motivation to go out there.
‘I’d had a lot of winters back-to-back and I was just frazzled. When you are on the treadmill, it’s a slow decline and you burn out slowly. You probably don’t realise that it’s happening. I certainly got to a point where I thought, “I can’t carry on playing cricket like this”.
‘I’d been on every tour with England and not played very much. To keep turning up, to bowl in a net and run drinks out, I started to question what I was doing it for. As a result, I lost my passion for playing the game.
‘For 18 months with England, I felt that I was looking over my shoulder. I felt like every opportunity I had, if I didn’t take a five-for, I was out of the team and that weighed heavily on me.
Jofra Archer was called up at the expense of Willey on the eve of the home tournament
Willey and Archer look on after the one-day series against Pakistan before the World Cup
‘I always played because I loved playing cricket so to start having those thoughts and those little demons creeping in, it took away actually what I played the game for.’
If that was how Willey felt even before the World Cup – which England went on to win without him one year ago – it is no wonder things spiralled after last summer’s spectacle.
For the rest of 2019, he says he was ‘pretending’ to want to play, whether with Yorkshire or the Delhi Bulls in November’s Abu Dhabi T10 League. At his lowest, he even considered walking away from the game, something he has not spoken about outside of his family until now.
‘I sort of anticipated that it was probably going to be me that missed out on the World Cup but that was the final nail in the coffin for me,’ he says. 
‘You grow up as a kid wanting to play in a World Cup at home, so to get a phone call at the 11th hour saying, “Sorry mate, you’re not in”, it was upsetting. I was gutted.
‘It was difficult to carry on for the rest of the season. I had to pretend that I wanted to be there. I just tried to turn up, put on a brave face, do my best and come away. But it was a battle. The emotional side of it was exhausting. It was pretend. I was pretending to be doing it properly.
‘I am at my best when I am competing and in the battle. If that is not there, I am probably half the player. There were a couple of periods last summer where I pretty much went out to pick a fight just to try and ignite something to get me going.
‘Then I went to that T10 league, which was a stupid thing for me to do. I just didn’t want to be there. The first game I was out there, I thought, “I can’t wait for this to finish, I don’t care whether we win or lose, I just want to get off this field and get back to my hotel room”.
‘It doesn’t look great if you are showing you don’t want to be there, so I probably covered it up quite well. But I knew that if I was going to be playing cricket with an attitude like that, I needed to really evaluate whether I still wanted to play cricket.
‘I spoke to my wife about not playing any more. If there was something there, on the table, that I was passionate about and really enjoyed doing, I might have walked away. But at that moment when we had those conversations, there wasn’t anything so I just carried on.’
Willey admits he had become frazzled by the relentless cricket calendar over the years
The player sitting in front of Sportsmail today is not the same as the one he is describing from last year. 
Having had eight months off, albeit in enforced circumstances nobody would have wished for, Willey is in a much happier place. He has remembered just why he got into the sport in the first place, following in the footsteps of his father Peter, who was also an England international.
‘I feel this extended break has been the best thing for me,’ says Willey, who occupied himself in lockdown by renovating the house he shares with his wife Carolynne and young children Jacob and Maeve.
‘It has been great to refresh my mind and work on my game. I have got the fire back in my belly and I am enjoying it probably more than I ever have. I am hungry for it all again. When we got back to doing it, I’ve realised how much I do love playing cricket.’
That born-again attitude has partly come about because, after reviewing his bowling action, he has gone back to what helped him break into the England side in 2015.
‘During lockdown there was a little bit of an epiphany,’ says Yorkshire’s T20 captain. ‘I was sitting in bed looking at clips from 2015 and realised my release point had moved about a foot, which is probably why I have not been swinging it for the past two years.
‘When I was at my best, my release point was over my left hip, but it had almost come past my midline. So I’ve been working hard on that and I now feel like I am bowling as well as I have done for the past two years.
Willey has gone back and watched videos of his bowling action during the lockdown period
‘The white ball is swinging again and I know where it’s going, because I had a period where I was just running up and hoping for the best. It had got that bad.
‘The fact that there has been something really evident and it has actually been a very quick fix, that has made me excited.’
Willey has also been revitalised by the launch of his own virtual coaching platform – davidwilleycoaching.com – where he is offering one-to-one sessions with cricketers over video.
‘The idea came about after spending so much time looking at videos of myself and trying to work out what is happening with my game,’ he says. ‘I want to make myself accessible to people that want to have some coaching from a professional cricketer.
‘I am really excited by it. Hopefully I can help people improve and go on to achieve their goals. Coaching is something I’d like to do in the future so hopefully this can also be a stepping stone to something more permanent come the end of my career.’
The 30-year-old will be back in England colours for the one-day games against Ireland
The end of Willey’s career, though, is still some way off – both with Yorkshire and, he hopes, England. On the international front, after the three one-dayers with Ireland – who Willey made his debut against – there is a T20 series against Pakistan and a possible white-ball visit of Australia. 
And Willey is also eyeing the two upcoming T20 World Cups in Australia and then India, before, dare he say it, the next 50-over World Cup in 2023.
‘I feel like my best cricket is still to come,’ he adds. ‘There are plenty of miles left in me and I’ve still got ambitions. I’d love to win a County Championship and be involved in the upcoming World Cups for England.
‘If the England thing doesn’t work out, so be it. The worst that will ever happen to me in my cricket career has happened. If I get dropped now for a series against Pakistan, I’ve missed out on a World Cup on home soil, so it doesn’t get any worse than that.
‘But it would be brilliant to go back out there in 2023 and hopefully repeat what they’ve done and me be a part of it this time. That would be a great story.’
The post David Willey is revitalised and back in the England fold appeared first on Shri Times.
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