#Jess folley

[velvetlouves]

virginia hampson from RLY icons for twitter and Instagram 🤍

[theatrenews]

Echo: Theatre-News.com Jess Folley confirmed as Ali Rose in Burlesque The Musical - #burlesquethemuscialuk @burlesquestage #BurlesqueTheMusical http://dlvr.it/T1pc8x

[entertainmehub]

Theatre-News.com Jess Folley confirmed as Ali Rose in Burlesque The Musical - #burlesquethemuscialuk @burlesquestage #BurlesqueTheMusical http://dlvr.it/T1lfy4

[isabelpsaroslunnen]

So I entertained myself with a new set of these: Pathfinder 2e + the heroines of the new story I'm developing.

(The actors used are, respectively, Caitlyn Folley, Surena Marie, and Adria Arjona. The sun in clouds photo is from Unsplash, by Jesse Zhou.)

[dailynicknews]

via NickALive!

[itsonlyrocknrolliluvit]

..Simon Cowell.. does it again!.. 😲.. ....’Real Like You’... are an English-Irish girl group composed of Luena Martínez, Halle Williams, Seorsia Jack, Virginia Hampson, Kellimarie Willis and Jess Folley. In 2019, they won The X Factor: The Band, and were subsequently signed to Syco Music!.. Look out ..👀..for their debut album in 2020!... 😁👍🏻👏🏻.. @reallikeyouofficial @sycomusic @jessfolleyofficial @luenaofficial @hallewilliamss @seorsia_jack @syco @lorimajewski @siriusxmvolume @billboard @rollingstone @topshelfmusicmag @nmemagazine @popmatters @officialalyxx @carleighjade @spin @spotify @applemusic @itunes @tidal @livenation @aegworldwide @buildseriesnyc @mtv @mtv_live @vh1 @muchofficial @theaquarianweekly @teenvogue @disneymusic #RealLikeYou #SycoMusic https://youtu.be/w11wv7zQRBc https://www.instagram.com/p/B7AAmLGn9LF/?igshid=97oqrxtvod8m

[mateushonrado]

ITV talent show finalist table – XX of XX

Status Post #8580

The X Factor: Celebrity (October-November 2019)

Winner – Megan McKenna

Runner-up – Max and Harvey

3rd place – Jenny Ryan

4th place – V5

5th place – Try Star

6th place – Vinnie Jones

7th place – Kevin McHale

8th place – No Love Lost

9th place – Martin Bashir

10th place – Jonny Labey

11th place – Victoria Ekanoye

12th place – Olivia Olson

13th place – Ricki Lake

The X Factor: The Band (December 2019)

Winners (formed to become Real Like You) – Jess Folley, Virginia Hampson, Seorsia Leagh Jack, Luena Martinez, Halle Williams and Kellimarie Willis

Runners-up (formed to become Unwritten Rule) – Harrison Cole, Boaz Dopemu, Caius Duncombe, Fred Roberts, Jed Thomas and Reece Wiltshire-Fessey

[tvbusinessnews]

Jess Folley’s star quality shines with ‘Survivor’ | X Factor: The Band | Arena Auditions – Latest Television News

If you love to experience the best performances of X Factor UK, you’ll enjoy watching this video: Jess Folley’s star quality shines with ‘Survivor’ | X Factor: The Band | Arena Auditions.

via The X Factor UK on YouTube

[lerah-mae-blog]

Residency: TEXTure Weekend, Day 2 (2016)

with John Berkavitch, Si Rawlinson, Shruti Chauhan and Paula Varjack

TEXTure Day 2/2: Saturday, October 30th

The second day started with the group pitching ideas for the Sunday sharing event. Mine involved a vague image of a performance involving shadow play, folley narrative and music shifts. There were a lot of good ideas, from promenade-theatre inspired performances, to interpretive dances with a story, and even leaving control entirely to the audience as members perform on stage.

Sine wave: dynamic shift

A writing exercise: “write something that has a huge dynamic shift, exploring the theme of artistic collaboration. Two things coming together to create something bigger. There must be no flat lines.” (Cue drawings of sine wave graphs to indicate the shift between emotional highs and emotional lows.)

We had twenty minutes to write. Now, I’m the type of writer who takes a while to finish something, even if it’s just a few lines of poetry. I date and time what I write (it’s interesting to see how many poems come out at ungodly hours like 4am or 9am – I’m a night owl.) This time though, with only twenty minutes and after wracking my brain for words that remotely related to ‘two things coming together to create something bigger’, well… it’s something.

I would have posted it here at some point anyway, might as well do that now. After deciphering my hasty scribbles and unintelligible crossings-out:

A lonely observer, a will-o’-the-wisp, a wanderer, a stranger, in pursuit of her whims. She plays with the lights on water, a watcher of dreams, and she hums happily her many hymns. A dreamer, she runs after the sunrise, a game with morning dew; a wanderer, her eyes light up, the Curiosity of old and new. She spins tales into webs, the mythweaver, she writes. And at night, a sleepwalker, her demons she fights.

But despite the Fear and Doubt that whispers in her bones, she knows that the world began beyond – she had always known. The rain will fall, the sun will rise, she knows she will miss home. But she still keeps on walking, keeps writing, she knows nothing is set in stone. With no sky above her head, neither clouds nor blue; the road before her is long, but it will lead home – it’s true.

I love personifying concepts. Rhymes are fun. And I panicked. Something along the lines of Curiosity and Fear ‘coming together to create something bigger’ – two sides of the same coin, kind of…thing. I read Hermann Hesse’s short story collection Strange News from Another Star and Other Tales recently too, so I think that may have seeped into this one. Oh and ‘mythweaver’ is from this:

Once the twenty minutes had passed, we all regrouped. Berkavitch gave feedback after a little warning that his words might be a little bit on the side of harsh.

Harsh or not, they were very useful, gave ideas on different ways a poem or a story can be read and performed. How the little nuances, the slight changes in stress or inflections on certain words, for example, affect the overall narrative or how speeding up and slowing down transforms the tone from hysterical to hesitant. The relationship between audience and performer – is it performative or personal? What do you want the audience to take away from it? Is this the best way to convey information? And anyway, “any choice you make is a good choice, provided you have a reason for it.”

Automatic drawing, flash theatre and a tableau with Paula Varjack

After a short break, we come back to the room. There’s a projector here now, and a black and white photo. A group of people – 1920s era maybe? All dresses and suits and masks. In a semi-circle, we met Paula (performance and video artist).

Automatic-drawing was next. Turning to the person next to us, and with a blank piece of paper, we had to draw each other. Without looking at where the pen lands. Preferably without the pen ever leaving the paper. Needless to say some very interesting and abstract portraits were produced. They were beautiful.

“If you and your art were reviewed, what would be the one word that would hurt the most?” Some of the words were ‘comfortable’, ‘unambitious’, ‘simplistic’, ‘predictable’, ‘meaningless’ – mine was ‘empty’. And then we had to perform a little flash theatre to depict our word.

We then had to create a tableau – in the form of an album cover. While the music changed from hip hop, to upbeat and something with drums. I’m honestly not even sure what kind of music was played that day anymore. But that image will be imprinted in my memory. It was some strange version of a Renaissance painting with a dash of hip hop and spontaneity. (I hope someone took a photo. It truly was a masterpiece.)

Next we watched a music video, Tame Impala – Let it Happen. In three groups, we had to produce a performance in three different styles/perspectives. Abstract, audience participatory and sensory (in utter darkness).

Our group had to involve the audience. What we produced can be likened to the keys in a piano. There were three of us and after writing something short in relation to the music video, we were numbered one to three. This is where the audience comes in – when they shout a number, for example 1, then the person assigned the number 1 would then recite his or her lines. But if another number is shouted, for example 2, before number 1 finished their lines, 1 had to stop. By repeating a number consecutively, the person would be stuck at the beginning of their lines. Like a broken record. Giving the audience complete control had the speakers gasping their lines. It was both satisfying and hilarious to see an idea come to life – or, rather, see an idea take a life of its own.

Fear can be motivation, inspiration. "Get over the fear of an empty stage or an empty page - just go. Just write. Just do."

The last section involved each one of us developing an idea to perform or lead as part of the Sunday showing. Currently still working on my bit, wish me luck!

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The last two days has been fun, surreal, mad and I rode this high until the end of Monday. Had a presentation on Keats where all I saw was dualities and transience, discussed Turgenev’s novel Fathers and Sons for two hours – threw a metaphor in there somewhere – and started a new collaboration project with the Virgo illustrator (zodiac signs are interesting); a conversation between an artist and a writer. Needless to say the last two days had pulled me out of my writing slump.

My muse is back. Thank you.

- Lerah

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Thank you to the people who made the two days magical, do check them out. They’re awesome.

John Berkavitch http://www.berkavitch.com/

Si Rawlinson http://waywardthread.co.uk/

Shruti Chauhan http://www.shrutichauhan.com/

Paula Varjack http://www.paulavarjack.com/

Writing East Midlands http://www.writingeastmidlands.co.uk/

UK Young Artists http://www.ukyoungartists.co.uk/

* a special thank you to Jess (@jesstickell) for all the help (and the biscuits and coffee – especially the coffee.)

[velvetlouves]

jess folley from RLY icons for twitter & instagram 🤍

[theatrenews]

Theatre-News.com Jess Folley confirmed as Ali Rose in Burlesque The Musical - #burlesquethemuscialuk @burlesquestage #BurlesqueTheMusical http://dlvr.it/T1lfxb

[thecheetahgirls22]

Jess Folley's star quality shines with 'Survivor' | X Factor: The Band ...

[musiccrowns]

The Voice Kids 2017 winner Jess Folley has a sensational voice. The 15-year-old songstress joined us recently to deliver her rendition of Demi Lovato’s Stone Cold. Watch it here. M.C Sessions is an audio-visual spotlight on some of the most uniquely talented artists from the UK & beyond. Subscribe: http://bit.ly/MusicCrowns --- Follow us on socials: https://ift.tt/2rPnHAE https://ift.tt/1yznuwl https://www.twitter.com/musiccrowns https://ift.tt/2VoyeOU https://ift.tt/2Ey8YjC --- Jess Folley: https://ift.tt/2RN4fzA https://ift.tt/2KVFqAE --- Hoxton Square Bar and Kitchen: https://ift.tt/2RQpAbk https://ift.tt/2ALfxPY https://ift.tt/2vmjQfu

[markmeets]

Aaron Martyn feat Jess Folley – Separate Ways (Acoustic) Video Exclusive

http://dlvr.it/QchBHW

[mkkusi1990]

Defensive Tactics of Selected Heavyweight Boxers

Defensive Tactics of Selected Heavyweights

Jack Dempsey.

       Jack Dempsey was a defensively sound puncher. He stood 6’1 and weighed 190 at his heaviest. Therefore he knew that he would have to get in on the inside against heavyweights who were bigger than him. Dempsey also knew that he would have to use an effective method to close the distance against the faster, more scientific boxers. So Dempsey used the bob and weave technique to a great extent throughout his career. Dempsey would keep his chin tucked under his shoulder. That way his chin was protected, as any punch aimed at his chin would hit his shoulder, and his head movement would ensure that his chin would not take solid hits.  Gene Tunney remarked that in two fights and twenty rounds, he never had a chance to hit Dempsey on the chin in spite of intense preparation because Dempsey protected his chin behind his shield of a shoulder. When he hit Dempsey in the first round of the first fight, it landed on the temple, not the chin as Tunney intended.

        Dempsey would also bob and weave as he punched. This action made him a harder target to hit than if he stopped to punch. His bob and weave was a sophisticated pendulum movement designed to get under and around punches so that he could counter. In his book, he described how he would vary his bob and weave so as to be more unpredictable and counter off of opponent’s misses.

        He would also side-step, and step back. His movements in the ring were not an uncontrolled bull rush, but a ballet of pugilistic destruction. When the heavyweight champion Jess Willard jabbed at him in the championship fight of 1919, he side-stepped that shot and hit Willard with a right hand to the body. Dempsey coupled his bob and weave with his footwork to make a great combination of defense. Dempsey fought on his toes to facilitate faster footwork.

          Dempsey wrote a book called Championship Boxing, in which he further highlighted defensive techniques. He was scornful of leaning back as a defensive technique, but Jack Johnson and Muhammad Ali used this defensive technique in their repertoire.

Joe Louis

    Joe Louis also had good defense. Sportswriters of his time argued over the quality of his defense. Nat Fleischer said that he was outstanding and that his defense was on par with Jack Johnson. Other writers said that his defense was mediocre and that he was hittable against great fighters. The truth probably lies somewhere in between. Joe Louis’s defense evolved based on the fighter that he was facing. But one of the centerpieces of his defense was his stellar jab. He used it to both keep opponents off balance  and to intercept attacks.  He was taught defense by Jack Blackburn, who was one of the great black fighters of the early 20th century.  Blackburn taught Louis how to shoulder block punches, and how to block body punches using different techniques depending on the angles. He also showed Louis how to block jabs, hooks, uppercuts and right hands. Joe Louis, like Jack Dempsey, did not do much leaning back. Blackburn also told Louis not to fight on his toes and move away, but to fight more flat-footed so that he could generate more power.  

      For the James Braddock title fight, Blackburn also coached Louis on bobbing and weaving to get inside and counter off of a miss.  In the Max Schmeling fight, Louis used a combination of head movement and glove blocking to get inside and wreak havoc on Schmeling. In the Jersey Joe Walcott fights, he used slipping and ducking to remain in range while trading shots with Walcott. He also used some of the blocking, particularly the shoulder blocking, that was taught to him by Blackburn.

Muhammad Ali

Muhammad Ali had stellar defense at every phase of his career. In the early part of his career, before the exile, he himself said that his defense relied heavily on his legs. Ali would circle  away from his opponents and would do so stepping either to the right or to the left. When Ali chose to step straight backward he would simply walk backward, instead of moving the rear foot first and then the front foot. Ali would lean away from punches, and would lean either straight back or off to the side. This would cause his opponents to over-extend their punches and be vulnerable to his counters. To avoid body shots, Ali would use footwork to step around it as he did with Liston. Ali would combine his leaning away with his right hand in a technique he called the anchor punch. This punch knocked down Liston and Folley.

In the second phase of his career, after the exile, Ali relied on blocking and clinching more. Against Joe Frazier the second time, he would hold his right hand to his cheek to intercept Joe Frazier’s hook. Also, Ali would clinch by pulling down on Frazier’s head when Frazier came close so that Frazier could not punch at him. However, Ali never learned to block Norton’s jab because Norton would jab as Ali was jabbing and Ali held his right hand out to the side instead of in the proper parrying position. Against Foreman, Ali would catch the punches of Foreman on his arms and elbows so that Foreman could not get at his body with regularity. Also, Ali leaned away from Foreman’s punches at his head, and used the ropes to facilitate this tactics. Ali would tie up Foreman’s arms, and this weakened Foreman’s power. Ali was a defensive master who was on par with the defensive greats in any division.

George Foreman.

George Foreman was underrated defensively but he was generally sound. In his early career, he would hold his hands out and push his opponent’s shoulders backward. This tactic would take the power out of his opponent’s punches. If Foreman’s opponents tried to punch straight, then the punches would by caught by Foreman’s hands. If his opponents tried to use hooks, then they could be blocked by Foreman’s biceps and shoulders. Foreman would also wrestle with his opponents as they tried to move inside, and they would be a sitting target for his uppercuts.

              In Foreman’s comeback, he used the cross-armed guard extensively. This served to protect his relatively stationary head, as Foreman did not use much head movement. Also Foreman did not crouch down when using this guard, but instead stood straight. This guard was a barrier to punches, as the opponent would have to get through his crossed arms to get at Foreman.

Mike Tyson.

Mike Tyson was stellar defensively, but his defense suffered as he got older. He fought out of the peek a boo stance, with his hands held straight up to ward off blows. Tyson was adept at glove and forearm blocking but preferred to use head and upperbody movement. His upperbody movement was unique, in that he would move from side to side, instead of up and down. This meant that he could also slip uppercuts, which Joe Frazier was vulnerable to in his fight with Foreman. He would also use a shift where he would punch, slip to the other side while shifting his feet, and punch from this new stance. But as Tyson got older and lost desire, the head movement left him and he became more stationary and hittable.