#all drama is funny but no one does it like multi 21
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REVIEWING THE CHARTS: 03/04/2021 (Lil Nas X’s “MONTERO”, Mimi Webb, Russ Millions & Tion Wayne)
So, we have a #1 debut, and that’s pretty much the only story here in the UK Top 75 as we get a filler week before Demi Lovato, Olivia Rodrigo and Lil Tjay run in and cause havoc. As for now, “Wellerman” is replaced at the top by Lil Nas X’s controversial “MONTERO (Call Me by Your Name)”, spending its first week at #1 after making pretty sudden gains assisted by the video and alternate versions – the mid-week projection had this at #15. Elsewhere, we just see the fall-out from Bieber. Welcome back to REVIEWING THE CHARTS.
Rundown
It’s a quiet week – only seven new entries, and none from Rod Wave, 24kGoldn or AJR as I had predicted. That doesn’t mean there isn’t some stuff to talk about within the chart, or particularly off of the chart, as we have a fair few drop-outs switching their places with returning entries. In particular, we have Justin Bieber’s “As I Am” featuring Khalid being swapped out for “Anyone” at #25, as well as drop-outs for “Arcade” by Duncan Laurence – slightly premature, I’d think – and all of Lana Del Rey’s songs from last week. We also “Anxious” by AJ Tracey, “Heat” by Paul Woodford and Amber Mark and “Toxic” by Digga D exit the chart, but the only real notable loss was “34+35” by Ariana Grande ending its 21-week run on the chart. Returning to the Top 75 in its place – which I cover – we have “Mr. Brightside” by the Killers of course at #73, as well as “Midnight Sky” by Miley Cyrus at #72, “You’ve Done Enough” by Gorgon City and DRAMA at #70 (really hope this one becomes a hit) and “Don’t You Worry About Me” by Bad Boy Chiller Crew at #66. In terms of climbers and fallers, we do have some notable gains and losses. For songs travelling down the chart, we have “Patience” by KSI featuring YUNGBLUD and Polo G tanking a sharp drop in its third week to #18, “Streets” by Doja Cat shaking off the video gains at #22, “drivers license” by Olivia Rodrigo continuing to collapse at #27, another sharp drop for HVME’s remix of Travis Scott’s “Goosebumps” down to #34 probably due to ACR, which was probably the fate for “Get Out My Head” by Shane Codd at #46. The same probably can’t be said for Drake’s losses, as “What’s Next” is at #40, “Lemon Pepper Freestyle” featuring Rick Ross is at #41 and “Wants and Needs” featuring Lil Baby stalls at #55. We also see falls for “Money Talks” by Fredo and Dave at #50, “Bringing it Back” by Digga D and AJ Tracey at #51, “Sweet Melody” by Little Mix on its way out at #57, “Headshot” by Lil Tjay featuring Polo G and Fivio Foreign down to #61 off the debut (although it’ll rebound thanks to the album as soon as the next week rolls around), “Ready” by Fredo featuring Summer Walker at #62, “You’re Mines Still” by Yung Bleu featuring Drake at #63 and “Day in the Life” by Central Cee at #69. Where it gets interesting are our gains, such as outside the top 40 with “What Other People Say” by Demi Lovato and Sam Fischer which could very well get even higher next week thanks to the album. We also have “Track Star” by Mooski at #53 off of the debut and a couple of tracks entering the top 40 for the first time, those being “Heartbreak Anniversary” by Giveon at #39 and Majestic’s remix of “Rasputin” by Boney M. at #38. Elsewhere in the top 40, we have “Let’s Go Home Together” by Ella Henderson and Tom Grennan at #13 and two songs marking their first week in the top 10, those being “Little Bit of Love” by Tom Grennan at #10, a song continuing to sour on me, and “Your Love (9PM)” by ATB, Topic and A7S, an EDM song at #8 that I initially mocked for its soulless repackaging but has honestly got me pretty hooked since. I’m excited to see how this one does. For now, however, let’s get on with our new arrivals.
NEW ARRIVALS
#64 – “Cloud 9” – Beach Bunny
Produced by Joe Reinhart
Beach Bunny is a power pop band who last year released their album Honeymoon on Mom+Pop and it’s basically a modern r/indieheads staple in that it’s an accessible, airy pop-rock record fronted by a woman. It’s not anything unique, really, or different if you look further into it but that’s fine because there’s a lot of vaguely “indie” or music snob releases pushed out every year that miss the charts entirely. It’s a different story, however, when a year later, it gets viral on TikTok and streams its way onto the chart. In that case, we have “Cloud 9” by Beach Bunny, a pretty simple but sweet love song about a guy who just makes her feel a lot better about herself in times where she can’t pick herself up from the rut she’s in. Again, it’s a simple track but enhanced by the wonderful and unique vocal performance from front-woman Lili Trifilo and some pretty great production making sure no guitar lick is missed in this mix, especially in that chorus which is such an ethereal blend of the electric guitar dubs. I would argue that this actually should end at that second chorus even if it ends feeling abrupt as the transition to the final chorus feels a lot less cathartic than it does awkward, especially if the bridge is going to be a simplistic, quirky instrumental meander that doesn’t go far enough to be a guitar solo and hence feels kind of like a worthless addition. As is, this is a pretty great song still, just not the most fully realised once it loses that initial tight surf groove, though I’ll let it pass if we’re going to get rock this good on the charts again. I know this won’t really get more traction for Beach Bunny – or power pop for that matter – but more of this, please.
#52 – “You All Over Me” (Taylor’s Version) (From the Vault) (Remix) (feat. DaBaby) (Part 2) (Radio Edit) – Taylor Swift featuring Maren Morris
Produced by Taylor Swift and Aaron Dessner
Sadly, this does not feature DaBaby and is not the remix, radio edit or sequel to any previously released song. Jokes aside, I guess brackets are the next big comeback for pop music, which goes hand-in-hands with remixes and re-releases, hence why Taylor Swift is dusting off this leaked Fearless-era cut for a new recording with country singer Maren Morris, who you probably know from her contributions to Zedd’s “The Middle”. Now whilst Swift is a great songwriter, I do often find myself frustrated by how she treads common ground all too frequently without establishing much different with how a song is structured or how it emotionally connects. This is true not just lyrically but especially sonically as of recent, as despite being written in 2008, it has too much in common with the less interesting cuts off of folklore for me to really care that much. That’s especially if Taylor’s going to undercut the clean acoustic guitars with flourishes of harmonica and crow sound effects, showing some genuine intrigue here before refusing to let any of that develop past a couple stray melodies or notes further back in the mix. I’m trying really hard to be compelled by these re-recordings and re-releases of her back catalogue as I do consider myself a fan, but it’s tough to pay attention when any new compositions we get sound like folklore leftovers with Maren Morris only put to use as decoration, much like HAIM on “no body, no crime” – and we already got an album full of folklore leftovers. I’m not a fan of this, sorry – I can see the appeal, and I do think this has enough of a country tinge to it to make it at least somewhat interesting – but this goes in one ear and immediately out of the other.
#48 – “Tonight” – Ghost Killer Track featuring OBOY and D-Block Europe
Produced by Ghost Killer Track and Kenzy
Screw the formalities and screw the analysis because D-Block Europe are back to add another D-Block to their EU collection – and since they’re Londoners, their only – and that’s Paris, and contrary to the British nature, we’ve let French rap chart in the top 50 out of the fact that they collaborated with two of the most comical rappers in British history. They’ve also linked up with producer Ghost Killer Track, also from France, as this is ostensibly his song even if he intends not to prove himself with this dull piano-based beat and oddly-mastered bass and percussion, which are really just DBE staples. Unfortunately, past the initial comedy of that first line in the chorus, neither Young Adz or Dirtbike LB deliver any stupid lyrics or funny inflections, instead just resorting to being as boring as they can in their constant flexing as possible. I guess the French guy here, OBOY, commands a higher energy in his verse if only through his comical “no, no, no” ad-libs, but he’s the only French speaker in an otherwise basic British trap song that I just cannot see the appeal in when we’ve had song after song from these guys for three years now. This won’t be the last we see of cookie-cutter UK rap this week though so brace yourselves for that.
#47 – “Last Time” – Becky Hill
Produced by LOSTBOY
It’s almost as if the charts are trying to send me off to sleep as here we have Becky Hill, a singer hedging the line between a non-presence and mildly annoying, which is arguably more frustrating than downright infuriating as her slightly smokier voice does not sound bad, just lacking in texture in every way, especially if the multi-tracking is going to be this minimal on a royalty-free deep-house beat produced by Getty Images with a pretty worthless drop, a generic and simple melody of piano stabs for major chords, and a whole bunch of reverb on the vocal take... but it still ends up feeling dry as there’s nothing here to quench that thirst for a tighter, bass-heavy house banger or even a more ethereal, dreamy trance track, deciding to stick to a healthy medium of boring and utter garbage. Yes, that was a singular sentence. I’m not awake enough to form a cohesive sentence less than 40 words long, and this new Becky Hill track is just worsening that if anything. Speaking of...
#21 – “Body” – Russ Millions and Tion Wayne
Produced by Gotcha Bxtch
Who’s Russ Millions? He’s Russ. No, not that Russ. British Russ – or Russ Splash, stylised as Russ splash on Spotify and nowhere else. This confusingly-named fellow appeared on the charts a couple times and possibly most famously with “Keisha & Becky”, a song also featuring Tion Wayne that is referenced on this very track. Sigh, I usually like Tion Wayne but even he can’t be bothered to delivery his usual brand of suave charm or sinister menace, instead opting for a more growling but ultimately completely monotone cadence that doesn’t flatter him or Russ, who one of my friends described as sounding like one of the aliens from Toy Story. This is a pretty by-the-numbers drill beat too, and it’s pretty safe to say that neither Russ or Tion Wayne here are going to bother with wordplay, even when they start pretty smoothly trading bars and Tion Wayne goes for a more unique chopper flow in the second verse. This is just not of any note. Once again, speaking of...
#17 – “Good Without” – Mimi Webb
Produced by Freedo
I assumed Mimi Webb debuted this high because of a talent show she won or something because I’d never heard her name but instead, she just happened to have a major label deal before her unreleased song just happened to go viral on TikTok and just happened to be supported by one of the women who just happened to be the biggest creator on the platform. Yeah, and this song just happened to be garbage, suffering from every possible millennial pop trope and then some, from the mix dressed rather too overtly in reverb, the ugly guitar pluck, a generic indie-girl voice that you swear you’ve heard before in one of those dreadful piano covers of popular songs they use in adverts, as well as this ballad being undercut by badly-programmed trap percussion. I can tell this label is trying to create somewhat of an Olivia Rodrigo phenomenon from this and I for one am terrified of the Poundland knock-offs to come. Screw this.
#1 – “MONTERO (Call Me by Your Name)” – Lil Nas X
Produced by Roy Lenzo, Omar Fedi and Take a Daytrip
At least Lil Nas X will bring some passion into this chart week? Well, not really, as when I hear this I recall that Pitchfork review of his EP, a much-maligned critique that featured the ever-so pretentious questioning if Lil Nas X really enjoyed making and listening to music. It reminds me because I think I now fully get it – at least when Lil Nas X was making slap-dash pop rock with Travis Barker or meme-worthy country rap with Billy Ray Cyrus for less than two minutes apiece, there was something invigorating in the execution or at least in concept. That 7 EP is still not a bad debut at all, but this new single “MONTERO”, a long-anticipated record that went from constantly-teased demo to Super Bowl commercial to Satanic-panicked videos of Lil Nas giving Satan a lap-dance to own the conservatives, has the same remote dreariness to it as “HOLIDAY” did late last year. The acoustic, Latin-flavoured guitar loop reminds me of his much better track “Rodeo” from that aforementioned EP that used its energy for similarly lighthearted subject matter but with some genuine energy, a Cardi B feature and a lot less subtle moombahton creeping in. With that said, I can’t say Lil Nas X didn’t try, as his vocal performance, whilst largely insufferable and strained, gives some energy to an otherwise aggravatingly stunted beat, and makes it a lot more infectious than it has any right to be. Content-wise, the song is essentially about a full circle where Lil Nas X becomes increasingly desperate for a man who starts off lonely and in a bad place, and the irony is that Lil Nas gets more explicitly sexual and crazed due to a combination of the LA life-style surrounding him and the fact that he’s simply, for lack of a better term, “down bad”, despite the fact that this guy doesn’t seem particularly desirable. Lil Nas knows this, though, and acknowledges it in the pre-chorus where he outright says that this guy is living the cocaine-addled celebrity life, but not living it right without Mr. Bullriding and Boobies in his life. I’m happy about the video and the outrage it seems to cause not just within conservative spaces but also amongst the hip-hop community, particularly Joyner Lucas, and I’m pretty happy with how out and proud Lil Nas X is about his sexuality, even if it leads to lines like “Shoot a child in your mouth while I’m ridin’”. I’m just really not a fan of this song past its content, which could really be interesting but falls flat with this plucking production that wastes time in barely two minutes with humming interludes. It’s not bad at all, just not for me.
Conclusion
And that concludes our week, and wow, what a bad week this was for new arrivals. Admittedly, it’s a filler week so only “MONTERO (Call Me by Your Name)” will probably last – or at least we can hope as even if I don’t like the song, I still have to give out an Honourable Mention to someone, and it may as well be Lil Nas X trying to put the effort in. Best of the Week easily goes to Beach Bunny for “Cloud 9”, far and away the only good song here, with Worst of the Week also going out pretty easily to Mimi Webb’s “Good Without”, which is the type of soulless, unmemorable garbage that makes pop music look uninspired, and as a person who writes about the charts constantly, it’s a misconception I don’t want proven or revisited. Dishonourable Mention is a toss-up but I guess I’ll give it to Russ Millions and Tion Wayne for that sprinkle of drill disappointment that is “Body”, and that’ll be it for this week. I predict some impact from Demi Lovato, Lil Tjay and especially Olivia Rodrigo next week, but for now, here’s our top 10:
Thank you for reading – sorry for the grouchiness on this one – and I’ll see you next week!
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Best Formula 1 Books
When you’re looking for the best Formula 1 books to buy and read, one of the biggest problems you come across is that all the reviews are the same – copied and pasted from Amazon. Also, how do you know if the books you like are what the reviewer likes?
The Formula 1 books below have been read by me, not just copied and pasted from other listings. I like books that share stories, that get into the emotion of the subject and leave you feeling something. I’m not a facts and figures guys, so a book full of dates, cold facts, and specifications will have me putting the book back on the shelf half-read.
I like my books like I like my F1 – fast-paced and dramatic.
So if you’re like me, the below Formula 1 books will be for you…
The Best Formula 1 Books
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Life to the Limit: My Autobiography by Jenson Button
This is actually my favourite Formula 1 book, which is why it is at the top of the list. When you read it, you can’t help but have the voice of Jenson Button in your head, which makes his jokes funnier (and this is a very funny book). While there is a lot of humour, often self-deprecating, the tone definitely takes a turn and you can’t help but be moved when Jenson talks about losing his father.
Some of the chapters are super short too, as in a handful of pages, so if you’re someone who likes to read before bed and has to finish at the end of a chapter, this book will make sure you get to bed at a reasonable hour.
Read my full review on Life to the Limit: My Autobiography by Jenson Button
Jenson Button: Life to the Limit: My Autobiography
Amazon Kindle Edition
Button, Jenson (Author)
English (Publication Language)
361 Pages - 10/19/2017 (Publication Date) - Blink Publishing (Publisher)
$7.49
Buy on Amazon
Senna versus Prost
Before I read Jenson’s book, Senna versus Prost was my favourite.
Malcolm Folley has done a cracking job of creating a space for people to share their stories of Ayrton Senna and Alain Prost in a way that instantly transports the reader back to those great battles of the 80s and 90s.
What’s even better is Folley speaks with a lot of team personnel, people in the background who we’ve not really heard of, and lets us know what it was really like to be on the ground as the battles took place out on the track.
So much has been made of Ayrton Senna over the years, that Prost’s version of events was somewhat overlooked – until now. And although he could have used the book as an opportunity to lay the boots into his rival, Prost does a brilliant job of relaying events as he saw them.
Le Professeur off the track as well as on it.
Read my full review on Senna versus Prost
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Senna Versus Prost: The Story of the Most Deadly Rivalry in Formula One
Arrow Books
Folley, Malcolm (Author)
English (Publication Language)
410 Pages - 05/26/2010 (Publication Date) - Random House UK (Publisher)
$16.49
Buy on Amazon
Murray Walker: Unless I’m Very Much Mistaken
Murray Walker is the voice of Formula 1. He has one of those voices that make the hairs on the back of your neck stand up when you’re watching an old race and his enthusiasm for F1 jumps through the speakers.
Some artists use paints, some use pencils, Murray Walker used a microphone.
Walker is a quintessential storyteller, so once again this is a book that you will most likely read in his voice. He tells vivid stories about growing up, his time in the war, all the way through to the Murray Walker we know from our TV screens commentating on Formula 1.
Known for the odd gaff in the commentary box, Walker isn’t shy about having a laugh with it, and understands it helped endear him to fans over the years.
Unless I’m very much mistaken, this is a must-read book that you will thoroughly enjoy.
Unless I'm Very Much Mistaken: My Autobiography by Murray Walker (2003-06-01)
Walker, Murray (Author)
06/02/2003 (Publication Date) - Willow (Publisher)
$25.32
Buy on Amazon
Niki Lauda – The Biography
If a book about a man who had a horrific crash at the wheel of a Formula 1 racing car, was given the last rights, then was back on the grid a month later doesn’t move you, then nothing will.
Niki Lauda was a man of little fuss or sentiment, and Maurice Hamilton has written this book in much the same vein. Starting from Lauda’s early days growing up in a proper family who felt motor racing was beneath their station, to his racing years, to flying, and much more.
If there is to be one criticism of this book, it’s that it doesn’t go into a great deal of detail on his time with Mercedes. However, the vivid recollections of his racing days from people who witnessed it definitely make up for this.
Niki Lauda
Hardcover Book
English (Publication Language)
Simon & Schuster UK (Publisher)
$19.06
Buy on Amazon
The Unknown Kimi Räikkönen
The Unknown Kimi Räikkönen gives great insights into Kimi’s path to F1, his upbringing, and now the importance of time with his growing family.
If you’re looking for a book of anecdotes from Kimi’s time in the paddock, this book isn’t it.
But if you want to learn more about Kimi’s path to F1, his motivation for quitting the sport, and his motivation for coming back to it.
The photos he shares are excellent too.
Read my full review on The Unknown Kimi Räikkönen
The Unknown Kimi Raikkonen
Hotakainen, Kari (Author)
English (Publication Language)
336 Pages - 08/22/2019 (Publication Date) - Simon & Schuster UK (Publisher)
$13.25
Buy on Amazon
Aussie Grit: My Formula One Journey
This is one that most Australian’s will love, as the Aussie legend shares anecdotes or ‘yarns’ from his time in F1 racing against some of the best drivers on the planet.
Those who remember the ‘Multi 21’ saga and breakdown in the relationship with Sebastian Vettel will like this book, as Webber gives his version of the events that unfolded in front of our eyes on race days.
A highlight of this book is Webber walking us through his personal struggles, as it’s not something often associated with the stoic Australian. This book is brutally honest in parts, and will give you a deeper appreciation of the man, not just the driver.
Aussie Grit: My Formula One Journey
PAN
Webber, Mark (Author)
English (Publication Language)
320 Pages - 09/28/2016 (Publication Date) - Macmillan UK (Publisher)
$16.30
Buy on Amazon
The Mechanic: The Secret World of the F1 Pitlane
Marc ‘Elvis’ Priestley was one the number one mechanic at McLaren, who as well as this book has an incredible YouTube channel where he shares his insights and analysis of Formula 1 regularly.
Simply put, his book needs to be on the bookshelf of every Formula 1 fan, it’s that good.
I’ll admit I’d never really thought about the pit crew. We see them for a few seconds each race, maybe more if something dramatic happens to one of their drivers.
This book takes us well and truly behind the scenes, into the life of partying and fast-living away from the track.
Priestley also shares a lot of secrets about the rivalries he was part of during his time in F1, which may make him a little unpopular with a few people…
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The Mechanic: The Secret World of the F1 Pitlane
Priestley, Marc 'Elvis' (Author)
English (Publication Language)
256 Pages - 11/01/2018 (Publication Date) - Yellow Jersey (Publisher)
$8.49
Buy on Amazon
Chequered Conflict: The Inside Story on Two Explosive F1 World Championships
You could be forgiven for thinking this book by Maurice Hamilton is the work of a family member of Lewis Hamilton, but it’s not. Maurice Hamilton is the author of amazing F1 history books on the likes of James Hunt, Niki Lauda, Jackie Stewart, Frank Williams, and more.
Grand Prix racing in 2007 and 2008 was an explosive affair between Ferrari and McLaren, and this book captures all the drama perfectly.
2007 was the first time since 1986 that three drivers had a chance of winning the title going into the final race, and this book puts you back on the edge of your seat again as you re-live this piece of F1 history.
Chequered Conflict: The Inside Story on Two Explosive F1 World Championships
Amazon Kindle Edition
Hamilton, Maurice (Author)
English (Publication Language)
320 Pages - 09/04/2008 (Publication Date) - Simon & Schuster UK (Publisher)
$16.99
Buy on Amazon
The Mechanic’s Tale
This book by Steve Matchett is quite different to The Mechanic: The Secret World of the F1 Pitlane in that it is more about the author’s life, from trying desperately to break into the world of Formula 1. Although he’s not a racing driver, the struggles he faced are on par with some of the drivers mentioned in the books above.
Steve Matchett also shares a lot of his own eye-witness accounts of some of the greats such as Nigel Mansell, Ayrton Senna, and Michael Schumacher. Plus there is a lot on his time with Benetton which is great reading.
The Mechanic's Tale
Matchett, Steve (Author)
English (Publication Language)
240 Pages - 02/03/2000 (Publication Date) - Orion (Publisher)
$13.19
Buy on Amazon
Flat Out Flat Broke: The Original Stig
When you think of Formula 1, names like Lewis Hamilton, Ayrton Senna, Michael Schumacher, Damon Hill and Jackie Stewart come to mind straight away, but what about Perry McCarthy? No? Didn’t think so.
McCarthy spent the 1992 Formula 1 season ‘racing’ for the Andrea Moda Formula team, but unfortunately, never qualified for a Grand Prix.
That hasn’t stopped him from writing a hilarious autobiography that has already become a motorsport best seller.
While he didn’t have much luck in F1, or in a lot of other things, McCarthy bounced back to become the first ‘Stig’ on TopGear.
If you want to share a story with someone you care about that will inspire them to chase their dreams and never give up, then this is the one to give them. They don’t even need to be a Formula 1 fan to enjoy this one.
Sale
Flat Out, Flat Broke 3rd Edition: The Original Stig
McCarthy, Perry (Author)
English (Publication Language)
256 Pages - 05/01/2013 (Publication Date) - Haynes Publishing (Publisher)
$11.95
Buy on Amazon
Bestselling Formula 1 Books
Below you will find a list of bestselling Formula 1 books, many of which you would have seen listed above.
As I purchase and read more from the below list, I will add them to our Formula 1 Reviews section.
SaleBestseller No. 1
Formula One: The Champions: 70 years of legendary F1 drivers
Hardcover Book
Hamilton, Maurice (Author)
English (Publication Language)
240 Pages - 03/03/2020 (Publication Date) - White Lion Publishing (Publisher)
$28.49
Buy on Amazon
SaleBestseller No. 2
Formula One 2020
Jones, Bruce (Author)
English (Publication Language)
128 Pages - 05/12/2020 (Publication Date) - Welbeck (Publisher)
$17.99
Buy on Amazon
SaleBestseller No. 3
Formula One: The Pursuit of Speed: A Photographic Celebration of F1's Greatest Moments
Hardcover Book
Hamilton, Maurice (Author)
English (Publication Language)
272 Pages - 09/14/2017 (Publication Date) - Aurum Press (Publisher)
$27.49
Buy on Amazon
Bestseller No. 4
The Fastest Show on Earth: The Mammoth Book of Formula One
Chicane (Author)
English (Publication Language)
416 Pages - 06/11/2019 (Publication Date) - Robinson (Publisher)
$19.99
Buy on Amazon
SaleBestseller No. 5
F1 Mavericks: The Men and Machines that Revolutionized Formula 1 Racing
Hardcover Book
Biro, Pete (Author)
English (Publication Language)
240 Pages - 08/06/2019 (Publication Date) - Motorbooks (Publisher)
$33.04
Buy on Amazon
Bestseller No. 6
Formula 1: The Official History
Hardcover Book
The Hague, Maurice (Author)
English (Publication Language)
272 Pages - 10/20/2020 (Publication Date) - Welbeck Publishing (Publisher)
$33.96
Buy on Amazon
SaleBestseller No. 7
Speed Read F1: The Technology, Rules, History and Concepts Key to the Sport (Speed Read (1))
Codling, Stuart (Author)
English (Publication Language)
160 Pages - 10/10/2017 (Publication Date) - Motorbooks (Publisher)
$15.77
Buy on Amazon
SaleBestseller No. 8
Formula 1 2019: Technical Insights (Preview 2020)
Filisetti, Paolo (Author)
English (Publication Language)
192 Pages - 12/01/2020 (Publication Date) - Giorgio Nada Editore Srl (Publisher)
$68.26
Buy on Amazon
Bestseller No. 9
Formula One Circuits from Above: 28 Legendary Tracks in High-Definition Satellite Photography
Hardcover Book
Jones, Bruce (Author)
English (Publication Language)
224 Pages - 09/03/2019 (Publication Date) - Carlton Books (Publisher)
$76.91
Buy on Amazon
Bestseller No. 10
How To Build A Car
Hardcover Book
Newey, Adrian (Author)
English (Publication Language)
09/16/2020 (Publication Date) - Harper Collins (Publisher)
$29.43
Buy on Amazon
Bestseller No. 11
Formula One Circuits From Above: 28 Legendary Tracks in High-Definition Satellite Photography
Hardcover Book
Jones, Bruce (Author)
English (Publication Language)
224 Pages - 10/06/2020 (Publication Date) - Welbeck Publishing (Publisher)
$34.95
Buy on Amazon
SaleBestseller No. 12
Formula 1 Technical Analysis 2016-2018 (Formula 1 World Championship Yearbook)
Hardcover Book
Piola, Giorgio (Author)
English (Publication Language)
208 Pages - 09/03/2019 (Publication Date) - Giorgio Nada Editore Srl (Publisher)
$52.11
Buy on Amazon
Bestseller No. 13
The Mechanic's Tale
Matchett, Steve (Author)
English (Publication Language)
240 Pages - 02/03/2000 (Publication Date) - Orion (Publisher)
$13.19
Buy on Amazon
Bestseller No. 14
The Unknown Kimi Raikkonen
Hotakainen, Kari (Author)
English (Publication Language)
336 Pages - 08/22/2019 (Publication Date) - Simon & Schuster UK (Publisher)
$13.25
Buy on Amazon
SaleBestseller No. 15
Monaco: Inside F1's Greatest Race
Folley, Malcolm (Author)
English (Publication Language)
320 Pages - 08/01/2018 (Publication Date) - Random House UK (Publisher)
$9.47
Buy on Amazon
Bestseller No. 16
How Do Formula One Race Cars Work? (Lightning Bolt Books ® ― How Vehicles Work)
Silverman, Buffy (Author)
English (Publication Language)
32 Pages - 01/01/2016 (Publication Date) - LernerClassroom (Publisher)
$8.99
Buy on Amazon
SaleBestseller No. 17
Formula 1: Car by Car 1950-59: 1950-59 (Formula 1 CBC)
Hardcover Book
Higham, Peter (Author)
English (Publication Language)
304 Pages - 07/14/2020 (Publication Date) - Evro Publishing Limited (Publisher)
$52.96
Buy on Amazon
SaleBestseller No. 18
Senna Versus Prost: The Story of the Most Deadly Rivalry in Formula One
Arrow Books
Folley, Malcolm (Author)
English (Publication Language)
410 Pages - 05/26/2010 (Publication Date) - Random House UK (Publisher)
$16.49
Buy on Amazon
SaleBestseller No. 19
Formula 1: Car by Car 1970-79: Formula 1: Car by Car (Formula 1 CBC)
Hardcover Book
Higham, Peter (Author)
English (Publication Language)
304 Pages - 03/20/2018 (Publication Date) - Evro Publishing Limited (Publisher)
$58.24
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Bestseller No. 20
Self-Discipline: 4 Books in 1: To do List Formula, Stop Procrastinating, Stop Overthinking,Stoicism. How to Build your Self-Confidence, Improve your Time Management and your Emotional Intelligence
Amazon Kindle Edition
Trust, Stephen (Author)
English (Publication Language)
417 Pages - 07/20/2020 (Publication Date)
$9.99
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Fanfic meme (or my opinions about some fanfic tropes)
Thanks to @flo-nelja, I lost like one hour and half to do this post, you know my weakness for long ass meme. ❤️ on you, it was pretty entertaining.
So...let’s go
1. Slowburn or Love at First Sight: I’m never satisfied with the slow burn I read (or write, for what it's worth). Theorically I prefer slow burn, but it’s never slow enough, or BURN enough. I mean, for me, the slow burn involves some pining/longing, like they are accointances, then friends, then PINING/LONGING happens, then lovers. Probably the reason I love one sided love, because the feelings have time to grow, there is the pining/longing, with a pinch of angst ?
aNyWaY I love a Love at first sight too, I don’t like it in rom-com, because it’s often without any background, but in fanfic, when you know the characters, you have implicitely the background, so it feels like fate they will be together, because you went to read this fic for your OTP, so it feels right they fall in love at first sight, because you know they are good together (even if they don’t know it yet in the fanfiction). Again, it’s the reason I love soulmate au.
2. Fake Dating or Secretly Dating: It’s the last one I answered because it needs lof of thinking. Fake or secretly dating ? Hmmmm. I’m not often interested by the “dating” part, and more in the “feelings realization” and all the “confession part”. So Fake dating, I guess ? Like, they start dating and fall in love after ? And it can be funny, like quiproquo and clumsiness ?
3. Enemies to Lovers or Best Friends to Lovers: love shipping rivals and antagonistic relationships
4. “Oh no, there’s Only One Bed” or Long Distance Correspondence: I’m a pure victorian bitch
5. Hurt/Comfort or Amnesia
6. Fantasy AU or Modern AU
7. Mutual Pining or Domestic Bliss: Domestic is boring to me
8. Smut or Fluff: Not a big fan of fluff. I like some cheesy tropes (like Love at First Sight) but I’m tired really quick of fluff, so it needs to be a fic with other elements. And not tooth-rooting fluff.
9. Canon-Compliant/Missing Scenes or Fix-It
10. Alternate Universe or Future Fic: love the AUs. ALL THE FUCKING SUPER WEIRD AUs !!!
11. One Shot or Multi-chapter: It’s very rare a fic manages to stay good (like , interesting and/or coherent with the canon) during a long time, so if the fanfic is 34 chapters, for me, it’s a repellant, because it probably means the chapters are meaningless or the author loses themselves in their universe and forgot totally the canon. In my opinion, a good fanfic (I mean, ideally) has like 3 or 4 chapters, 1000 words at least for each one. So, I love one shot, it’s less risky to be disappointed.
12. Kid Fic or Road trip Fic: I deeply hate kid fic, omg, I hate it with my guts, for me it’s the incarnation of the patriarcal and heterocentric injonctions
13. Reincarnation or Character Death: Again, I hate character death (I mean, major character death - except if it’s canon ?)
14. Arranged Marriage or Accidental Marriage or NEITHER: Hmmmmm I didn’t read a lot of “accidental marriage”. I’m not really fan of “arranged marriage” neither.
In fact, I recently read a Reddie fanfic (1000 nights), it was in Las Vegas, Richie and Eddie were...plastered and Eddie pushed Richie in the chapel of a casino and they got married by a drag queen priest. Does it still count like an Accidental Marriage ? Because it was pretty funny.
15. High School Romance or Middle-Aged Romance: I feel so old when I read High School Romance fanfiction lol but even when I was 16 I didn’t like it. I like the characters in their own age, so SOMETIMES they are in high school but...hmmm it’s rare I read fanfiction taking place IN a school, it feels weird and more, it feels boring, because school is almost the same for everyone, I mean it’s a totes cliché genre. Also I don’t really like to imagine these fantasy characters becoming boring teenagers with boring occupations, sorry not sorry (but it’s the same with College AU, guys, I will kill someone if I see another art student pining for the annoying fratboy)
(I still read highschool BL mangas btw)
16. Time Travel or Isolated Together: Time travel give me headache. OH GOD I HAVE ONE RIGHT NOW !
17. Neighbours or Roommates
18. Sci Fi AU or Magic AU: aaaah a good supernatural au, like vampire au, werewolves au, demon/angel au, fairy tale au, hpverse au, incubus au or any other ideas. I love how it’s creative, I love how it can be super original, I love the potential in these idea, because magic AUs are very rich in themes, you can play on the medieval fantasy genre, the urban fantasy, the alternative timeline or the past (like victorian vampire AU 👌)
19. Body swap or Gender change: I don’t like Gender change anymore because first, gender is a spectrum, these fanfics are about binary genders, it’s a little bit cringy (but it’s not the real factor I don’t like it), second, (the real reason), it’s often male characters becoming female, and it often to make it “femslash”, so the femslash tags are FULL of gender bending stuffs about male characters, and not actual real femslash with the female characters, it...erases femslash and even if I’m not a reader of femslash, I think it’s sad, because it deserves its own space in the fandom, not everything has to be about the male characters (even the ones I love a lot).
You can say it’s more a choice driven by my opinions and not my preferences, but it’s kinda the same thing isn’t it ?
20. Angst or Crack: Dude, it’s not a hard choice because I don’t really like crack in fanfic. I like it in fanarts, but you take more times to read a fanfic, and I don’t like crack during a long time. Crack is more a thing you enjoy quickly, it’s something who make you smile for a second then you scroll (or share it if it’s really funny or inventive). But crack in fanfic, it’s like a too long joke.
I don’t talk about crack ships, because crack ships can be interesting. Sometimes, I don’t see WHY you ship it (like Gavin x RK900 in Detroit: become human, or Lestrade x Mycroft in Sherlock BBC), sometimes I TOTALLY see it, but it still fun to see the explanations to put them together, the meta, the fan theories...
In the other hand, about angst...I like the drama, I like the horror genre (if you know my blog, you know I’m currently in the IT fandom, you know, the eating-kids clown thing), I like tears and blood, but...when it’s too much, it’s too much. I don’t like...I don’t know explain it : sometimes, you feel like the author had to get out some dark things they feel, it’s therapeutic for them but you feel kinda uneasy to read it, because it’s so DARK, man, it’s not even about the canon, it’s all about the writer’s feelings, and really, it’s okay, myself, I happen to cope like that. But as a reader, I don’t like it.
So I like some angst, when i’m in the mood, but it needs to have positive things in it too. Or to be short.
21. Apocalyptic or Mundane: At first, I chose Mundane, but now I ask myself. I like the post apo genre, but I don’t like angst too much, like I said in the previous question.. But I still like it a little so...hmmmm it’s tricky. What is meaning mundane, by the way ? Mundane Lord of the Rings fanfiction, what is it ? What is MUNDANE in kids learning to fight with their quirks in a superheroes school ?
I will chose Apocalyptic because I love a good survival (and they have to cuddle to stay warm and save each other and cry by thinking the other is dead but in fact they are not and find a way to cure the zombie plague/find a safe place/kill the aliens XD)
Now, the tagging part (sorry if you were tagged by someone else, and of course feel free to ignore it if you are not interested : @calimera62, @wilwywaylan aaaaand....I don’t know fucking people on this hellsite anymore. Maybe @sleeping-potatoe ?
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NaNoWriMo Reader Challenge!
Hey all! With crazed, sleep-deprived authors gearing up to challenge themselves this November, I thought about what I could do as a reader to encourage people taking Nano on. SO.
Obviously this only really works for online published works and those you are editing/betaing, but still I thought it was worth a shot! Especially with works you can access for free, it's good to let writers know they're doing all right!
I know a lot of people struggle with what to say in comments, so this might help improve what you want to say to authors and get you in the habit of commenting.
You don't have to read new works to do this challenge and can go through your bookmarks if you like, but I definitely encourage reaching out to newer stories. Bonus if you do these with primarily new stories/WIPs!
My challenge is a bit Inktober-esque:
NaNo 30 Days of Comments
1. Find a work you've read more than once. Tell the author you keep coming back (and why, if you'd like)
2. Pick a quote from a work that hits you specifically and proceed to say why it works for you
3. Was it hilarious? Heart-wrenching? Adorable af? Let them know how it made you feel!
4. What was the character dynamic? Did they get your OTP or Brotp or whatever that may be just right? Was there drama and tension?
5. Dialogue day! How were the conversations in the fic? Snappy? Snarky? Fluffy?
6. If the author is clearly asking with constructive criticism, help them out with a grammar spelling or common word misuse error. If they aren't asking or don't have issues you see, let them know you appreciate them bringing their story to you!
7. Words are beautiful. Favorite description / word choice in the work - why does it work?
8-14: Now that we're in the swing of things, find a multi chapter work and comment on every chapter, using ideas from last week's prompts.
15. Halfway there - find a recently updated / unfinished work and let them know how much you enjoy the progress they're making!
16. Super challenging day - find a work you don't absolutely love, (don't outright trigger yourself or squick, just something... meh) and let them know one or two things that work well. IF they're taking criticism, POLITELY let them know one reason that it isn't your favorite if it isn't just a I-don't-like-this-pairing/trope/thing-that-is-clearly-tagged scenario.
17. I read most of my fic on AO3. Where do you normally read? Pick another platform and comment on something there using one of prompts 1-5. If you can't find a new fic elsewhere, try and see if an author you like posts elsewhere and give them extra love!
18: Sometimes an AU fits just perfectly. How do these characters match up in their new setting? (If it's a Hogwarts AU, for example, how about that sorting?) If you're reading original work, what's working as far as universe/setting?
19. Fic and art day - sometimes writing and art go hand in hand. Find artwork inspired by writing or vice versa, and let them know how their contribution works with the original!
20. Side Characters: Sometimes it's the heroes and lovers and action. Sometimes it's the best friend or the dog or the weird-sort-of-dad friend. How is their supporting cast awesome/funny/sweet/interesting?
21. Beginnings and endings! Find how one story opens and how one closes - it can be the same one, but the most the merrier - and tell the author about your reaction!
22-28 Multichapter works again. Do more of them than last time if you can manage! Look at previous prompts if you're stumped for ideas of what to say each chapter.
29. Do a play-by-play - as you read, react to different moments in the story. (best way I've found is to do it on a sticky note on screen while I read) Clean it up a bit so it's clear what each reaction is about, then send the whole reaction as a comment.
30. If you're a writer, find a story with similar tags/tropes/ideas to your own writing, and let them know how they're doing good! If you just read, go to a small fandom/rarepair/less-well-known tag and comment with your favorite prompt so far or a combination of prompts you liked!
Happy reading and writing all!
#nanowrimo#fanfic#fanfiction#writing propmt#writers#reader#motivation#challenge#reader challenge#writing challenge#comments#preparing for nanowrimo#you can do this#30 day challenge
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Countdown Profile: Week 4
Alexis Jemal (’21)
Alexis Jemal, JD, LCSW, PhD, clinical faculty member at Hunter’s Silberman School of Social Work, and member of the MA in Applied Theatre class of 2021, talks with Michael Wilson (’11) about her hunger for justice, finding applied theatre, and how she’s just getting started.
Okay, we’re recording
The first thing I want to put out there is that I don’t have all the answers or know how all these pieces fit together. I consider this journey to be a work in progress. That’s how I’ve always led my life and have ended up where I am today. It may sound, I don’t know how it will sound at the end, whether it seems it all fits together…
I’m a many-interested person myself, from anthropology to theatre, and now photography. There’s a connective logic I feel intuitively, but it might not look like it from the outside. I do believe that we attract passionate, interdisciplinary people to the program.
Exactly.
I welcome that complexity.
It is complexity! Which I have found not always welcome or understood. Even in my doctorate program, for example, they’re trying to fit you in a box. They’re trying to say who you are as a researcher. Do you do this, do you do that?
At first, I started out in law, because I wanted to help people. The main message in my personal statement for law school was: “stealing bread is wrong, whether it’s done by the king or the man living beneath the bridge.” I had read this passage in a sociology textbook. That made me think about inequity, and how, well, the king will never be prosecuted for stealing bread…
I went to law school because I wanted to be an advocate for the man, woman, child, person who lives under the bridge. I loved law school. But then I had a bunch of internships at places, like in the chambers of a Federal District Judge, at the New York Civil Liberties Union, at MFY Legal Services in New York that provides legal services to indigent people, and the Public Defender’s Office in my home county in New Jersey. And I kept seeing injustice after injustice after injustice. A person who is getting evicted from their house, yes, you could help them not be evicted, legally, but that wouldn’t help with their mental health issues, or their substance abuse issues. It wouldn’t help with the trauma they’ve experienced in their family history, or the macro sociopolitical issues that are harming them.
So I figured, social work is where I really want to go. I ended up first working at this place at Rutgers called the Center for Behavior Health Services and Criminal Justice Research. That’s when I learned I was interested in research, because we were testing psychosocial interventions within the women’s prison in New Jersey. I was really seeing the intersection [between] the intrapersonal, interpersonal, the mezzo, the macro…everything was interacting. I thought, this is what I want to do. I want to be on the frontlines but I also want to be a researcher. I was one of two students that were admitted to the first PhD MSW program that Rutgers started—one foot in front of the other, the stars just kind of aligned… In my doctorate program, I was not planning to go into a professorship. I wanted to do more the non-profit route. But I began to consider how going into social work education could be advocacy in a way that I get to help shape future social workers. I could be that change that I want to see in social work.
Thank you for sharing that. I’m inspired by that.
It all intersects. To me, social workers have no excuse. We are the only field, as far as I know, to have an ethical mandate to address oppression. When any social injustice occurs, we should be the first responders. Instead, we’re trying to be psychologists, or something.
Technically, at Silberman School of Social Work, I am clinical faculty. I get to, in my class, bring the message of how clinical work and social justice need to be integrated and practiced. Like: “I get it, you guys want to go out and you want do therapy, but you will be interacting with multiple systems, and there’s no way around it. So how are you going to practice with an anti-oppressive lens?”
So that’s the teaching. I’m also a researcher, right? My interventions are always grounded in critical theory, liberation health models, restorative justice-type practices. They’re always about developing critical consciousness.
For my dissertation, I wanted to create a scale of Paolo Freire’s critical consciousness. As a doctoral student I was developing an intervention called Community Wise, that’s grounded in critical consciousness theory. Community Wise is a group intervention, it’s fifteen two-hour weekly sessions, for people who were recently released from incarceration. It’s supposed to reduce HIV STI risk, criminal reoffending, psychological distress, and substance use. And it’s grounded in critical consciousness theory, meaning that we have these critical dialogues, and we have capacity building projects, where the participants work on some type of project together.
The theory is called transformative potential: a scale of critical consciousness. The heart of the theory is that…when people [social workers] design interventions, like substance abuse interventions, they’re trying to get these people to use substances less, but really, what we’re arguing, is substance abuse is a symptom. It is not the issue. The issue is oppression. If we can find ways to get at the root of the issue, then substance use will decrease.
And there’s the Freirian piece: you’re there to challenge people to develop critical consciousness, that’s about reading the world.
Exactly. We’ve all been socialized to blame the individual. The participants have been socialized that way, as well. “When I come out of prison I should be able to get a job, I should be able to do this…I have all these skills, I have all these certificates.” And it’s like, “dangit, you don’t need another certificate. What you need is for people to stop discriminating against you and give you a job!”
One of the questions I ask people sometimes is, “could you have done everything right and still things have gone wrong?” And the answer is, well, “yes.” And that tells you it can’t be 100% about you.
I am concerned with the health of marginalized people. I want my work to be a healing agent. And it always has to be multi-systemic.
So, that’s what brings me to applied theatre.
How?
I saw psychodrama at a social work conference. And I was immediately impacted by it. Everything started to collide in my head. From, role theory…we’re all on the stage, different roles that we play…to, just that art itself, whether it’s dance, whether it’s painting, just has a way of breaking down boundaries. How I see applied theatre fitting in [my work] is that it integrates healing from trauma that’s associated with oppression AND raising consciousness and getting people to act against inequity.
And I have always been a creative writer…I’ve always felt I didn’t know how to integrate my academic and creatives sides…but applied theatre is the perfect way to integrate both aspects of myself. It seemed to all merge here.
I have several ideas. I wrote a story when I was thirteen or fourteen about hair. I know that for, especially black women, there’s so much trauma at the roots. Every time I read this story I can’t help but to cry. It’s a tear jerker. I think about how this [the exploration of hair] could be used with theatre as a healing agent for the people who participate in the drama, devising [an original piece of theatre around hair], but also it can impact people who are watching it.
Telling your story is healing, but also empowering. And unifying. It could build empathy, you could know people in a way that you didn’t know them before.
Thank you. Thanks for bringing me up to what seems to be a frontier for you now.
Yes. It seems to bring together all of my interests, from education to consciousness raising to community organizing to healing, to health. To creativity.
Now switching gears, what does it take to keep going as an interdisciplinary person in a world of siloed work?
Yeah, that’s…I believe that my work will be more effective [because it’s interdisciplinary], I guess. But I do battle. You know, it’s not like just going into carpentry, where I can just work with the person’s mind, and forget their health, because you know…people can’t be sliced. People can’t be separated like that. We’re complex and we’re a mess and that’s humanity.
What gets you up each day to keep doing it?
People are fascinating to me. I could sit and people stare, and guess, what happened there? When I’m driving and see a home, and I can kind of see in laughs—like I’m peeping—I wonder, does that family eat dinner together? Is there violence? My mind wanders. And, I’ve always been a person about justice. I’ve always been a champion for people who didn’t have power, since I’ve been young. To stand up for people, to stand up for justice. I don’t like people to be in pain or to suffer. My name, that’s connected to Alexander, defender of mankind. And that’s how I’ve felt. I’ve always been about justice and equity.
Okay. Well, as I’m listening, I’m so struck by your accomplishment and knowledge. I really admire what you’re up to.
Thank you. People think I’m humble or something, but I don’t feel like I’ve done much, yet. People are always in awe of the DEGREES. It’s like, yeah, but the degrees mean nothing if you don’t do anything with them. So I’m hoping that I do make a difference…so far I feel like I’m laying groundwork. I’m in the preparation stage.
Rapid fire round. A fiction author or book that’s lighting up your imagination?
That is hard to say, because, I’m so ashamed to admit this, but I don’t read as widely as I’d like. Because, I’m usually reading journal articles and papers.
Alright, fine. But did you read Octavia Butler at all?
So that’s the funny thing. I just took this writing course at Medgar Evers in October. It was every Monday night. And I write kind of sci-fi stuff.
Aah [of course, just like Butler].
That’s my genre. I started looking up African-American sci-fi writers, and of course she pops up. So I have several of her books on my kindle but I have not read one yet. But I do know who she is.
There’s someone else who was perpetually fascinated. And so personal…so interested in each person’s wounds and psychology, and also so curious about social change. She used dystopias that are not so far away as a metaphor for interrogating the present. She used the arts as a reflecting surface for society.
I’ve been warned that I sound a lot like her…the teacher was like, “I don’t know if you should read her, because it may…” So I’m like, “do I or don’t I?”
Well you’ve given me a writing challenge, because I have a full article here on your work on critical consciousness and a full article on your reflections on the value of theatre.
And so I’ll tell you this last part so it wraps it up. I have this research project I’m starting to get into now���with women, they’re going to do auto-ethnography. Researching their own lives and experiences with different types of oppression. And the last part that I’m hoping they do—I’m going to present it to them, but it’s up to them—is to do something with applied theater. Somehow incorporating what they’ve learned from their autoethnographies into some type of applied theatre format. So that’s kind of where it’s going. That’s it.
For now. Thank you so much.
Thank you for listening.
#mainappliedtheatre#cunymainappliedtheatre#criticalconsciousness#blackgirlmagic#JD LCSW PHD#huntercollege#silbermanschoolofsocialwork
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Get to Know the Author
I was tagged by @desperatlytryingtowriteabook so this is about my fanfic (or lack thereof)
1. Is there a story you’re holding off on writing for some reason?
I have 10+ fics either mostly done or heavily outlined and I just don’t want to post them. I’m not super active in any fandom anymore so I know none of the fics are very good and I just don’t care enough to put them out there. They’re all fluff or humor or smut.
2. What work of yours, if any, are you embarrassed about existing?
Eh, I’m not embarrassed about any fic I’ve written because they all meant something to me at the time, even the weird one with alien sex.
3. What order do you write in? Front of book to back? Chronological? Favourite scenes first? Something else?
Mostly chronological, I guess. When I get an idea, I just start writing as fast as I can if the outline is developing in my head. I want to get down all the ideas I have, whether or not only a fourth of them make the final cut. That helps with the chronology and then all the little dialogue snippets I come up with as I go along. Once that’s done, it’s easier to go back to the beginning and fill it all in.
4. Favourite character you’ve written?
I love writing Riario from Da Vinci’s Demons and Gustav from Tokio Hotel.
5. Character you were most surprised to end up writing?
Gustav, definitely. And Grimmjow from Bleach.
6. Something you would go back and change in your writing that it’s too late/complicated to change now?
Sometimes I get a hankering to go back and edit stuff to make it tighter but I’m too lazy. The only fic I’ve ever done that to is Thick as Thieves because it got weirdly popular for about a minute and every time I looked over it I found things I wanted to fix, particularly over-explaining and over-describing things. So I gave it a trim and hope that it reads a little better now.
7. When asked, are you embarrassed or enthusiastic to tell people that you write?
The only people who know I write fanfic are online friends and I’ve had generally positive reactions from them. There was only one fandom I can think of that really looked down its nose at fanfic but I told them right off I was writing so they could judge me all they wanted.
8. Favourite genre to write?
Comedy, fluff and action. I break out in hives when I read or think about angst. And I always argue that there is a big difference between drama and angst. Drama is necessary in anything that isn’t a total fluff or slapstick comedy ficlet, but drama is good. I just can’t handle angst where everything bad happens and then more bad happens and then there is an unhappy ending.
9. What, if anything, do you do for inspiration?
I’ve been reading a lot thanks to Amazon Kindle’s freebie program thing and oh boy, does it make me appreciate good fanfic even more! Also it really helps to re-watch or re-read the source material for the fandom I want to write in. That usually brings up some more ideas for fix-it fic or adding on a scene here and there. Or suddenly realizing all the UST there was between two characters that I didn’t see a decade ago.
10. Write in silence or with background music? Alone or with others?
I have to have background noise, preferably the TV set to sports or sitcom reruns, something I won’t be paying attention to. I live alone so there’s that, but if I’m somewhere with a long wait, I’ve been known to write smut at the hairdressers and fluff fic at the garage waiting for my oil change.
11. What aspect of your writing do you think has most improved since you started writing?
I think my fanfic has actually gotten worse since I started posting on AO3. I feel like I hit a plateau during Teen Wolf days and then actually went downhill with characterizations and writing style. I lost the showing part of the stories and started getting lazy and relying on the telling.
12. Your weaknesses as an author?
Plots, omg, what are Plots???? I just don’t have the energy, time or creativity to come up with and execute any multi-chapter, intricately plotted fanfics. I admire and kiss the feet of fanfic authors who do. I’m madly jealous of you guys! Also lately the telling rather than showing thing, as I said.
13. Your strengths as an author?
I don’t have any. I guess I’m reasonably good at clean copy—spelling, grammar, punctuation.
14. Do you make playlists for your work?
Nah, I don’t listen to music while I write. But I do have a list of songs that reminded me of the DVD bandfic whose title I honestly can’t remember at the moment...it’s the longest title I ever made but it cracked me up at the time. Every time I hear one of those songs, I immediately think of those guys. I never shared it because it’s a weird mix of 80s and 90s hair bands, some 2010s pop and a few contemporary Christian songs whose singer was my voice model for Riario.
15. Why did you start writing?
I’ve been writing pretty much as long as I can remember, but the first time I shared it was in seventh grade when my two best friends and I started writing a book in a spiralbound notebook we passed back and forth. Now we would call it a self-insert fanfic, but we didn’t know anything except we were having a great time. Then they both left our school and I fell out of touch with them for the most part. I kept writing because I could make the world I wanted on the page so I could re-read it.
16. Are there characters that haunt you?
Canon characters that haunt me are Riario because he has layers hidden under his layers wrapped around his layers and canon did him so wrong. I still feel a lot of sympathy for Derek from Teen Wolf and want him to have a happy ending. Now I’m starting to feel a lot more feelings about Bleach characters.
17. If you could give your fledgling author self any advice, what would it be?
Write what you love. Read all the things, everything, every genre. Which is weird because I’ve done both of those things and … I haven’t turned out all that great. So I guess it would be to practice more, write all the time and don’t let yourself get lazy and complain you have no energy to write, you lazy fuck.
18. Were there any works you read that affected you so much that it influenced your writing style? What were they?
I think Elizabeth Peters influenced my writing style in the past 18 years since I discovered her. Although I don’t write fanfic in the first-person, she is a master of the unreliable narrator as well as creating characters who are lively and complicated and burst off the page (which I don’t do). But her use of language and her style is wonderful, and I see glimpses of that sometimes but not often enough. Her humor is the one thing I strive for too. Also Terry Pratchett for his use of humor and satire and his brilliant way of turning everyday, common things on their head. I once wrote a fairy tale kind of fic for a prompt fest and the prompter compared it to Discworld, and I walked around with my chest puffed out for days.
19. When it comes to more complicated narratives, how do you keep track of outlines, characters, development, timeline, etc?
Ha, I don’t write complicated things. But my outline process serves me pretty well when I do attempt longer fic.
20. Do you write in long sit-down sessions or in little spurts?
I prefer long sit-down sessions. Once I get in the groove, things seem to roll better. If I have to keep getting up or getting distracted, it sucks.
21. What do you think when you read over your older work?
“Hahaha, I can’t believe you answered a kinkmeme prompt where the two main characters were lions in a zoo and they humped.”
22. Are there subjects that make you uncomfortable to write?
Angst. I won’t write rape or sexual violence. No non-con. No major character death. I know there are other things but I don’t run into them because I only stick to the stuff I like.
23. Any obscure life experiences that you feel have helped your writing?
All the time. I’ve pulled from my professional life more than once. I wrote one fic based on a very bizarre week that happened to me and everyone thought it was very wacky and hilarious. It wasn’t at the time and I did change the ending to give it a happy resolution, but I can look back now and merely grimace. I guess it was pretty funny.
24. Have you ever become an expert on something you previously knew nothing about, in order to better a scene or a story?
No, I’m the opposite. If I write an AU fic, I try to set it in a world or scene that I’m already familiar with because I’m lazy. I did do some Renaissance research when I was writing for Da Vinci’s Demons.
25. Copy/paste a few sentences or a short paragraph that you’re particularly proud of.
From Treasure in Clay Vessels which is one of my favorite things, overall, that I’ve ever written:
Even though he'd seen the smaller sample, Girolamo was amazed all over again at the sight. It was awe-inspiring—a mechanical bird flying without wires. But even more astounding was the talent and sheer audacity of a man imagining that he could make mere metal fly as well as the Creator made birds take to wing.
It was blasphemy. It was surely sin.
It was incredible.
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Eat the Dramaturgy: Jonny and the Baptists on tour
JONNY & THE BAPTISTS: EAT THE POOR
50-date UK tour for the hit musical comedy about inequality, friendship & revolution
5 MARCH – 27 MAY 2017
Three quarters of MPs are millionaires. A third of the country lives below the poverty line. Whatever your politics, Jonny & the Baptists think it's worth talking about.
A riotous and heartfelt musical comedy for our times, JONNY & THE BAPTISTS' Edinburgh Fringe hit EAT THE POOR will tour the UK in March-April-May 2017. With over 50 dates, their biggest ever schedule reflects growing national audiences from acclaimed shows and appearances on Radio 4’s The Now Show and BBC Live at Television Centre.
Created through extensive research travelling across the country in early 2016, the show combines contemporary satire and inventive musical silliness with an epic personal story. Setting out to explore the gap between rich and poor, Jonny & the Baptists’ lives turn upside down when Jonny betrays Paddy for financial gain. As Jonny enjoys the high life with Andrew Lloyd Webber and Jerry Hall, Paddy falls into homelessness and despair.
An toe-tapping comedy about inequality, homelessness and revolution in modern Britain, EAT THE POOR sees the multi-award-nominees continue to grow in scope and ambition - and even dabble in a small amount of actual economics. Continuing the company’s commitment to reach broad, diverse audiences, their biggest ever tour schedule takes in leading theatres, arts centres, rural venues, comedy clubs and festivals across the country. (Full dates below.)
Nominated for five major awards (they’ve never won any), Jonny & the Baptists – real names Jonny Donahoe & Paddy Gervers – have rapidly become one of the UK's hottest live musical comedy acts. Winning rave national reviews for 2016 climate change comedy The End Is Nigh, they have also enjoyed regular broadcast work, major festival appearances, and once topped the iTunes Comedy Chart with single ‘Farage’. Alongside, Jonny has been nominated for a New York Drama Desk Award for his hit one-man show Every Brilliant Thing on international tour, now an HBO special (broadcast over Christmas 2016).
Answers by Jonny & the Baptists - Jonny Donahoe & Paddy Gervers (writer-performers) and Will Young (director) from rehearsals...
Thank you for taking the time to chat - it's much appreciated. I am a bit worried about asking questions on comedy, since I have no sense of humour and reduce everything to questions of structure...
Bearing that in mind - I've never been sure how you approach 'musical comedy'. There's two of you, so is this more like a gig, or one of those big productions they have in London?
Ha. Sometimes a bit of both. Our early shows were very much 'gigs': funny songs with a setlist, and often a theme but performed straight to the audience. We still love doing shows with a band from time to time (not least because it allows us to feel briefly like rock stars). Recently though we've made tentative steps towards something more like 'theatre'. Not like a west end musical - we can't afford the production values for one thing - but exploring ideas more through story and drama. We don't necessarily prefer one or the other, but they're different ways to get into the ideas we want to explore. The new show, Eat The Poor, is based around research into inequality but as we go, a personal story from our lives takes over and carries the ideas forward.
The inspiration for the show is pretty clear, but I am wonder how effective you find the stage as a medium for exploring ideas: do you find that the process of writing songs brings out your thoughts on a topic, for example, or do you have a clear idea of what you'll be saying from the start?
Generally we start with a very broad idea. It's usually whatever we're talking about in the pub, or something we want to know more about. The last show was about climate change, this one is about inequality and came from all the news stories in 2016 about homelessness and food banks, and the role of economic inequality in the EU referendum. It has to be something we want to know more about, because then we go on a period of research.
For Eat The Poor we spent several months travelling round the country working with homeless charities, local councillors and researchers, and talking to people from big cities to rural villages about how they experience poverty and inequality. From that you start to have an idea of what you want to say, so we go into a room with a massive pinboard and post every idea onto it with a different colour for themes, narrative elements, song ideas, jokes - everything we're thinking about.
From that you start to pare back, and see which ideas go together, and hopefully start to see the show coming together.
What about audiences - do they tend to agree with the political stance, or is there much argument around the show?
In 2014 we toured a show called Stop Ukip during the European Elections (and it's pretty clear we sorted that right out - you're welcome guys). At one show someone sat down, put up a Ukip poster by his seat and sat quietly throughout. Afterwards we had a chat with him. It was very polite. He explained that he thought we had a right to say what we wanted, and he had a right to present his own views however he wanted.
There's something valuable in those moments, when you can communicate openly with people who are far apart politically - but of course that's not the norm. Most people who come are probably broadly on the same political spectrum as us, but hopefully the shows also push ideas further and get people to think more, or in a different way, about their own role in the systems around them.
Is there a danger that political performance can end up as 'preaching to the choir', and becomes a nice place for people to nod their heads and agree with you, then do nothing about the problems? Is there any way around this?
We've been accused of 'preaching to the choir' on separate occasions by the Guardian and the Telegraph - which is quite sweet really, if you think about it. Our friend Grace Petrie, who's a wonderful protest-folk singer, has a brilliant response to the 'preaching to the choir' criticism: 'oh yeah, who are these other artists doing shows just for audiences who hate their work?'
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Of course, people who come to the shows usually like us and what we stand for. Most audiences for The End Is Nigh came agreeing that climate change is a massive problem: but do our everyday actions reflect that? In Eat The Poor we try to turn the problem back on ourselves as well, and by implication our audience.
We know a lot of well-meaning Corbynite socialists who are very good people, but bought flats in London supported by money from their parents, and send their own kids to private school. (We've had pretty privileged lives ourselves - you can tell that because we're answering a Q&A about dramaturgy!)
If you agree with us that inequality is a major social problem, you also have to ask where your own life sits in that structure.
Basically - you can still challenge people who agree with you, just as you can challenge yourself and your own behaviour.
Flying off in another direction: what musical influences are at play in your work?
That's a hard one, there's so many. Bob Dylan, Billy Bragg, Bjork, Jacques Brel, Usher, Rihanna, Nick Cave, The Divine Comedy, Grace Petrie, Marin Harley, the list goes on. Often the influences come from the song we're trying to write: is this more a protest song, a classic rock song, a blues number? The comedy and the theatre should mostly lead the song, so the music needs the right tone to make it funny or dramatic. Then sometimes there's just a tune you've had on the brain for years and eventually the right idea comes along.
Is your approach to making performance political in itself - does the format express any political ideas, for example, or the use of music as a medium for satire?
There's a long tradition of both political and protest songs in folk traditions; and of satire as a medium for attacking the establishment - so in that sense, yes. At heart also, we're entertainers. Music and comedy help our shows be fun, funny, warm and accessible while still tackling important issues. We always want to write inclusively, to have a show anyone can enjoy no matter their background or political interest.
That's what stops it being a lecture or feeling elitist. Getting an audience to sing along to a catchy chorus is a great way to break down barriers and build a sense of community in just three minutes. We want anyone to be able to come and have a brilliant time: partly because that's a good way to get the ideas out as broadly as possible, but mostly because it's more fun that way.
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FULL TOUR SCHEDULE:
5 MAR - BRISTOL - Tobacco Factory Theatres | tobaccofactorytheatres.com
7-11 MAR - EXETER - Bike Shed Theatre | bikeshedtheatre.co.uk
12 MAR - RICHMOND - Orange Tree Theatre | orangetreetheatre.co.uk
16-18 MAR - SALISBURY - Salisbury Playhouse | salisburyplayhouse.com
21 MAR - NORWICH - Norwich Playhouse | norwichplayhouse.co.uk
22 MAR - GUILDFORD - Star Inn | guildfordfringe.com
23 MAR - COLCHESTER - Lakeside Theatre | lakesidetheatre.org.uk
24 MAR - HARLOW - Harlow Playhouse | harlowplayhouse.co.uk
25 MAR - CARDIFF - Chapter Arts Centre | chapter.org
28-29 MAR - NEWCASTLE - Northern Stage | northernstage.co.uk
30 MAR - OXFORD - Old Fire Station | oldfirestation.org.uk
31 MAR - FARNHAM - Farnham Maltings | farnhammaltings.com
1 APR - BEDFORD - Quarry Theatre | quarrytheatre.org.uk
5 APR - SUNDERLAND - Pop Recs, Sunderland | sunderlandstages.co.uk
6 APR - READING - South Street Arts | readingarts.com
7 APR - HAVANT - The Spring Arts Centre | thespring.co.uk
8 APR - MIILTON KEYNES - The Stables | stables.org
11 APR - GLASGOW - Platform | platform-online.co.uk
12 APR - LANCASTER - The Dukes | dukes-lancaster.org
21 APR - CAMBRIDGE - Cambridge Junction | junction.co.uk
22 APR - CALSTOCK - Calstock Village Hall | calstockhall.com
28 APR - CARDIGAN - Small World Theatre | smallworld.org.uk
29-30 APR - MACHYNLLETH - Comedy Festival | machcomedyfest.co.uk
2-6 MAY - PLYMOUTH - The Drum, Theatre Royal | theatreroyal.co.uk
8-10 MAY - LONDON - Soho Theatre | sohotheatre.com
11 MAY - BIRMINGHAM - mac | macbirmingham.co.uk
12 MAY - CORSHAM - Pound Arts | poundarts.org.uk
13 MAY - FRITWELL - Fritwell Village Hall | fritwellvillagehall.co.uk
15 MAY - HOVE - The Old Market | theoldmarket.com
19 MAY - FAREHAM - Ashcroft Arts Centre | hampshireculturaltrust.org.uk
20 MAY - EASTLEIGH - The Point | thepointeastleigh.co.uk
21 MAY - IPSWICH - New Wolsey Theatre | wolseytheatre.co.uk
23 MAY - EDINBURGH - The Stand | thestand.co.uk
24 MAY - GLASGOW - The Stand | thestand.co.uk
25 MAY - MONIAIVE - Craigdarroch Arms | craigdarrocharmshotel.co.uk
26 MAY - BARNSLEY - The Civic | barnsleycivic.co.uk
27 MAY - SALFORD - The Lowry | thelowry.com
Eat The Poor was created with support from: Arts Council England, Pentabus Theatre, Bike Shed Theatre Exeter, Arts at the Old Fire Station Oxford, Old Red Lion Theatre London & Farnham Maltings.
from the vileblog http://ift.tt/2jkdeq9
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Its 10:08 am
Welcome to “8 Questions with…..”
It was the last week of January and someone mentioned that it was almost time for “Women In Horror Month” which happens in February. Feel a bit inspired I quickly tossed out a “interviews wanted” in my faithful casting group and got a very nice group of talented actresses who have worked in horror films who agreed to answer some questions.
Its time to meet our next guest,the very spirited young actress Chelsea Jurkiewicz who is based in Salt Lake City,Utah. Chelsea has been performing for almost half of her life and she is just getting started. I got a chance to watch her work in the short film “Angie Bleeds” and I can assure you,she has some serious skills for someone so young.
It takes a mature actor to handle sensitive issues in a film,most younger actors tend to go big but I was very impressed with mature Chelsea handled herself.
Now she is having a bit of fun by starring in a new indie horror film,which is my cue to shut up and get out of the way of Chelsea answering her 8 Questions…..
Please introduce yourself and tell us about your latest project.
Hi! I’m Chelsea Jurkiewicz. I’m 21 years old, and I was born and raised in Salt Lake City, Utah. One of my latest projects is a horror movie called Abigail Haunting, where I play the lead role of Katie. We filmed it in Las Vegas. I got to work with an amazing team of multi-Emmy award winning filmmakers. It’s coming out this Summer, and I can’t wait for everyone to see it!
What was growing up in your house like? Is your family naturally artistic?
My family is artistic, but not in the entertainment industry. My mom and grandparents are all great painters. That’s cool, but I was never really interested in that sort of thing. I kind of broke the chain of visual artists when I started acting, singing, and dancing.
While being only 21 years old,you have been acting for 10 years,how did you get your start?
Acting is something I’ve always loved doing, even before I knew what it was. As a kid, I was always acting out stories and making up movie titles. When I was 11, I heard about auditions for a live musical. I ended up getting cast in that, and really fell in love with every aspect of performing. I continued doing theatre for a few years.
When I was 15, I decided to try film acting. I guess that was always my dream, but I didn’t feel like I was ready to jump into it until then. It was hard to get an agent and all that at first, so I started by doing a lot of background extra work. That worked out really well, because it got me used to being on a film set.
Within a year or two, I was able to land an agent and start getting lead roles in short films and small speaking parts in features. In 2018, I got my first leading role in a feature film, playing Renee in The 13th Cross. (That’s coming out soon, folks.)
The next year, I landed the role of Victoria Crumb in the movie, The Crumbs, out in California (that’s also coming out soon, folks), and Katie Fredrick in Abigail Haunting (that’s also also coming out soon, folks). Since then, I’ve acted in a few amazing shorts and things. One of my upcoming shorts that really stands out to me is a fantasy drama called Lumeria. For the past several months I’ve been taking a break from acting, which I think has been really good for me. It kind of feels like taking a gap year from college to find yourself. (Not that I would know what that feels like. I’m not very school-y. Hence my use of the term “school-y”.)
But anyway, it’s been a wild journey, and I’m excited to get back on set fairly soon. Wow, that answer was way longer than you bargained for. And I’m glad of it. I’m not ashamed of being a long-winded person, guys.
What three things about horror films appeal to you the most?
I love being dramatic. And name one time you can be more dramatic than when you’re starring in a horror movie. Also, I think fear is the most intense emotion, and I like to see what I can do with it. My third reason is that I have fun knowing that I can keep the audience on their seat when I’m performing. I feel like I’ve got them in the palm of my hand. When I began my acting career as a child, I just wanted to act – I didn’t like all the power and attention that came with it. But that power and attention has grown on me as my confidence has grown. I love the power I have over the audience when I’m doing horror. Boo. Just kidding. I guess I’m a little hammy. Which makes sense, because ham is pretty much the only meat that I think is yummy.
What three films have scared you the most and what scared you about them?
I think I’m kind of desensitized to horror films because I’m around the genre so much. I see it from a behind-the-scenes perspective, you know? But I think one of the greatest horror films ever made is The Conjuring. It’s so well-shot and well-acted, and shows that you don’t need a ton of blood and profanity to scare people. Fun fact: I actually auditioned for The Conjuring 2, and had never seen the first one. I watched it before I auditioned for pre-text, and was like, “Oh my gosh!” Totally amazed. Still amazed. Anyway, we aren’t here to promote that movie. (but it had Ocean Master in it! -Editor)
Another one of my favorite horror movies is Crimson Peak, because I love period pieces. And that cast is super dang good. I also love The Witch. One of my big wishes is to work with A24. I can’t give you an answer for what scared me about them. I’m just not easily freaked out by the obviously scary stuff. I’m literally more afraid of broken dolls or something. There’s a drawer in the house I grew up in that me and my mom call the “Scary Drawer” that has broken dolls from my childhood in it. I don’t throw them away because randomly I have an urge to scare myself. Is that weird? I don’t care.
Do you have a different approach in your preperations depending on the script?
What has been the three best pieces of advice given to you acting wise?
Yes, I do prepare differently based on each particular production. That being said, though, I don’t have any conscious strategy to prepare for a role. If there’s any research I need to do, I do it. I write notes in the script sometimes. I rehearse. Sometimes I feel like I don’t have to try. It just comes. Trying too hard can corrupt that. I sound like a granola, but it’s true. That’s why I don’t take acting classes. I’m not sure if I believe in strategy.
As for the second part of your question, here are 3 great pieces of advice given to me (in no particular order). One is from a great friend of mine who told me that it’s not about the dialog, but what happens underneath. I am definitely a dialog person, so I don’t even 100% agree with that, but I still consider it one of the best pieces of advice because it reminds me to pay attention to my facial expressions. Facial expressions can get you cast. Seriously. Another piece of advice is from my mom. It wasn’t meant to be advice for acting, but I use it in my career as much as I do in my personal life. And it is simply to be confident in yourself and don’t care what others think of you. My third piece of advice was from a very established director that I was doing a callback for once. Because of my extensive horror background, I kind of got to the point where I thought every scene needed the intensity that a scary scene does. This movie I had been called back for wasn’t a horror film, but I did the scene with so much intensity and drama. It was literally so dramatic. The director told me to do the scene again, and he had one note for me. “Less.” That one word made me realize that I can save my energy for the scenes that need it. I didn’t book that role, but I auditioned for The 13th Cross like 2 days later, used that advice, and landed my first lead in a feature.
Which do you perfer,film or live theater and why?
I think I’ll always appreciate both…I did start in theatre after all…but I’m going to have to say film. I’m a very subtle actor, and film is the medium that lets me use that talent. Also, I’ve gotten to play much more dramatic and juicy roles in movies than I ever did in plays. And probably most important of all, I just feel like film peeps are more my species of peep.
Which three people inspire you the most and why?
That’s a tough one – so many people inspire me! If we’re talking celebrity-wise, I’d say Kate Winslet. She’s kind of the reason I got into film acting. I always wanted to be like her. You should read my 15-year-old self’s journal entries. I talk about Kate Winslet so much, it’s not even funny. Another one is Emily Blunt because she is so freaking versatile. That’s how I want to be. Oh and Toni Collette. I’m not even going to give you a reason for that other than she’s just super cool and talented and dramatic as heck. If we’re talking someone I personally know, I’d say my friend Dennis. He is just beyond amazing and interesting. And as mysterious as a treasure chest. He has so much love for literally everybody.
What do you like to do for fun when you’re not working?
Ice-skating, making jewelry, walking/hiking, anything involving a tape recorder, photography, and most of all, any type of adventure with my friends or family.
What are three things people would be surprised to know about you?
I love this question! Can I tell you more than 3? Well, I’m gonna.
-1. I’m also a singer and dancer.
-2. I am related to Scottish royalty.
-3. I have a severe mental disorder called Psychasthenia.
-4. I have been onstage with David Copperfield.
-5. I am ambidextrous.
-6. I have never been swimming, and I used to think that was a deep dark secret.
-7. I am related to Elizabeth Montgomery.
-8. My favorite food is cheese.
Okay, I’ll stop boring you. Not that it’s boring, hee hee.
The cheetah and I are flying over to watch your latest film but we are a day early and now you are playing tour guide,what are we doing?
Hmmm…well you really SHOULD visit Salt Lake sometime, it’s a beautiful city. One of my favorite attractions in Utah is an amusement park called Lagoon. I can’t ride all the rides because I get motion sick really easily, but I still love that place. Besides fun rides, they have little shops, and an arcade, and an old-fashioned museum thingy-jingy. Another one of my favorite places near my hometown is the Grand America Hotel. It’s kind of like a mall in there, and it’s the fanciest place I’ve ever seen. I also might take you to a cute little place called Gardner Village.
I like to thank Chelsea for doing such an fun and interesting interview. Of course the cheetah and I looking at each and going “A24????” knowing full well a certain film buff we know will be getting a HUGE kick out of that…..yeah,Danny,we are talking about you!
The thing is,I believe Chelsea will indeed work on a A24 film in the near future,she has the drive and the skills to make it happen for herself.
Hopefully soon we’ll be reviewing “Angie Bleeds” here on the blog and you’ll see why we are excited to see where Chelsea goes next. For now,you can click on any of her social media platforms below and follow Chelsea’s rising star…..
Facebook: https://www.facebook.com/chelseajurkiewiczactress/
Instagram: https://www.instagram.com/chelseaamberjurkiewicz/
Twitter: https://twitter.com/ChelseaJActress
IMDb: https://www.imdb.com/name/nm6922643/
YouTube: https://www.youtube.com/channel/UCRKkRcWhcZOuqv36lV_oPcA
Abigail Haunting page & trailer
Thank you for supporting my interview series and if you like to catch up with who we have chatted with….click here. Feel free to leave a comment as well…..
8 Questions with………actress Chelsea Jurkiewicz Its 10:08 am Welcome to “8 Questions with…..” It was the last week of January and someone mentioned that it was almost time for “Women In Horror Month” which happens in February.
#8 Questions With#A24 Films#acting#indie horror#interview#maturity#Salt Lake City#scream queen#Utah#WIHM#Women In Horror
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Declarations
AKA The Rules of the Kingdom
This blog features an anthropomorphic character. Beastiality may be implied. Any potential NSFW material will be tagged as such or be blocked from ‘safe search’.
This is a multi-shipping, multi-verse and OC friendly blog. No threads with various players or characters intermingle unless with consent from all parties involved.
There shall be no smutting between one character and another, should be mun OR muse be under the age of 18 years. There are no exceptions. This mun is 21+ years of age and it is illegal to converse in a sexy way with anyone under the age of 18.
Please use the @tag system within the body of the post if you wish to catch my eye with something. The standard tags are not followed. This avoids the “broken tag” syndrome.
Do not send me a message saying something like ‘hey, wanna RP?’ it will likely get deleted. If you want to RP respond to an open starter, send a meme or just tag the blog in something. It’s just that easy.
What you need to know before RPing with this mun:
I consider myself selective. This means that I am not going to blindly follow anyone. I am going to check out your page and read your rules and about sections. I quickly scan all your posts. If interested I follow. If I do not follow you right away, be aware that this might change. I may follow in the future. Note that I do not follow personal and fandom blogs anymore.
I am perfectly happy to RP with other original characters. Please, have a detailed background and headcanon for your OC. OCs that are strictly created for the purpose of writing smut or for pure violence are probably not going to be of interest. Sorry, but I prefer a bit more variety.
If I cannot read your character page because of an odd layout, micro font or design that makes it impossible to read, we cannot possibly RP.
Posts that make it difficult to read via heavy formatting will also make me less likely to RP with you. I really don’t want to have to decipher a puzzle in order to figure out what you are saying. The mun has dyslexia. Formatting does not help me to read everything smoothly.
OOC posts are fine. I do not care. If, however, you constantly make posts that anger or upset me, I will unfollow. Many of these include “social injustice” posts. I am here for fun. I do not want to see post after post of people being hurt, maimed, tortured or killed. No thanks. RP blogs are for RPing. Personal blogs are for those kinds of posts.
Note that if I follow you, I want to RP with you. Period. I would think that if you have followed me in kind, you would want to as well. I am coming across far too many people who complain that no one wants to RP with them. That is not true. I want to RP. But this is a two-way street. I will not fight to RP with you. I may not be the person you want, but I can be there. All you need to do is ask. If you constantly complain that no one wants to do the thing, when I have have offered my services for the thing, I will unfollow you. I tire of drama.
I have very few triggers. One of my hangups, however, is smoking. I have problems with smoking. I have gone into detail as to why this is an issue with me. Suffice to say, I do insist that you tag your posts when you have images of individuals smoking. If you do not, I will ask you do do so. If you refuse, continue to post similar imagery and/or purposely go out of your way to make me angry (which by the way, has happened) I will not only unfollow you, I will block you. Period. You are not funny. This is a serious mental health issue with me.
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You Forgot the Dramaturgy: Francesca Joy @ Edfringe 2017
IMAGINE IF presents
YOU FORGOT THE MINCE
AT THE PLEASANCE COURTYARD, EDINBURGH FESTIVAL FRINGE
FROM 7 – 28 AUGUST 2017
Following a hugely successful 2016 tour to theatres and prisons in the North of England, You Forgot the Mince, presented by Imagine If and written by Francesca Joy, will run at The Pleasance Courtyard during the Edinburgh Festival Fringe from 7 – 28 August 2017 (excl. 21 August). This will be followed by a London run in September and an Autumn tour of prisons and theatres (details to be announced).
Inspired by real life events and set in Leeds, this gritty piece of new writing tells the story of a modern day abusive relationship: ‘Rosa lives with her grandma Lily. She’s just finished college and she can’t wait to leave Yorkshire and all the people in it … until she meets Niko. They fall head over heels in love, and the future’s looking bright. But their love for each other is tested to the limit; Rosa leaves for London, Niko ends up in prison and Lily won’t stop baking cakes. Everyone’s world is falling apart, but no-one’s talking about it. How are they going to get their lives back on course?’
INTERVIEW WITH FRANCESCA JOY, WRITER/ACTRESS FOR ‘YOU FORGOT THE MINCE’ AND ARTISTIC DIRECTOR/FOUNDER OF ‘IMAGINE IF’ THEATRE COMPANY
What was the inspiration for this performance?
Growing up in the working-class communities of Castleford, West Yorkshire, which, like so much of our country, suffered so much from the post-Industrial Revolution decline, I was exposed to the difficulties people in my community experienced with abuse and interacting with the UK criminal and care systems. My aim has always been to represent the voices of people traditionally overlooked in the arts - I founded my company (Imagine If) to work with offenders, ex-offenders, those with mental health issues, addicts and recovering addicts, young adults in the care system and those from disadvantaged backgrounds so that their voices may be heard, so that our audiences can know that the struggle is real but also that there are choices to be made that can improve the lives of the thousands of people in this country who feel side-lined or ignored.
Is performance still a good space for the public discussion of ideas?
I think it’s one of the most powerful, it allows people from all walks of life to experience a different perspective or to know that their own feelings are not unique – that there are ways to get support, that they are not alone. It also provides a safe environment to challenge ingrained beliefs and help people to identify their own behaviour patterns which hopefully empowers the individual to make a difference in their own life and that of others.
How did you become interested in making performance?
I developed these characters whilst working at the West Yorkshire Playhouse as a way of articulating the anger I felt seeing people from less advantaged backgrounds being discriminated against and denied opportunity. The Arts is enriched and emboldened by diversification – conflict is at the heart of drama and without facilitating a broad range of voices it will always fail to have an impact – both socially and economically. Coming up against so many walls, I wanted to kick the door down and open up opportunities for those who might have felt that the arts was an unreachable goal or somehow didn’t represent the world they identified with.
Is there any particular approach to the making of the show?
When I was writing the play I spoke to hundreds of people who live in the communities the characters come from as well as interviewing people involved in working with people who identify as abused or abusers. Imagine If regularly holds drama workshops and facilitates drama-based projects in prisons across Yorkshire so the experiences of offenders and the prison staff was a huge influence. In addition, I moved into some of the communities mentioned in the play to gain real-life experience of what the people we talk about in the play experience on a day-to-day basis.
Gradually, through working with Mark Catley (Casualty) who came on board as dramaturg, I distilled and concentrated the play into an intense snapshot of these characters lives and the destructive power of their relationships.
Following that stage, we developed the play in two separate research and development stages in 2014/2015 before embarking on a national tour in 2016 where we engaged with audiences who provided valuable insight into the power of the play on their own lives. Now in 2017, we present the evolution of the whole process – the play is constantly developing and morphing as we understand more about the conditions and experiences of people in similar real-life situations and the collaboration with the actors has increased the density of the fabric of the play which allows it to speak to everyone.
Does the show fit with your usual productions?
Our mission is to create theatre that is inspiring, entertaining and unashamedly honest for our audiences. Authenticity is ingrained in our work – You Forgot The Mince is an excellent example of the theatre we create. It is based on the world around us comprising real stories from real people and has a social conscience at its heart.
What do you hope that the audience will experience?
We saw in 2016 that it is a play that causes great reflection in the audience – of their own lives and how their relationships are formed, maintained and cared for. The line between an abusive relationship and one we would consider to be perfectly normal is so fine – when does our need for love or control of our own lives develop into something which is harmful to our loved ones? The media tend to portray quite a binary version of domestic abuse – man hits woman (or vice versa) – but the play sets out to challenge that assumption and identify other behaviours which constitute abuse and illustrate that there are far more factors at play in a relationship that has become abusive. We seek not to excuse the behaviour of our characters, but to explore it and help the audience understand that they can chose to take a different path. One of the charities I spoke to during my research, Behind Closed Doors, identifies emotional, financial and sexual abuses, among many others, in the people they help – we hope that the play will offer the audience an insight into how they can avoid entering the cycle of abuse in the first place or identify the need to change their actions if they are already in one.
What strategies did you consider towards shaping this audience experience?
Authenticity is the key to all our productions, but especially for You Forgot The Mince. In reflecting real people’s lives and treating their stories with sympathy and care we can allow the audience to fall in love with the characters before opening up the drama of their lives in order to hold a mirror up to the audience. Reality is key, despite its gritty subject matter the play is actually hugely funny and tender and it is a fully theatrical experience, White & Givan (Milk, Traverse Theatre) have provided the Movement Direction and there is a fully composed score by Ed Clarke (Frankenstein, NT) which brings out emotions, themes and thoughts that text alone would not be able to deal with. It was important to me as a writer and a Producer to have a multi-disciplinary production in order to speak to as many people as possible.
Francesca Joy conceived, researched and wrote You Forgot The Mince supported by dramaturg Mark Catley (BBC). Francesca, who is also Founding Artistic Director of Imagine If, grew up in care from the age of 15, and she has experienced various forms of abuse throughout her life. As a trained actor, writer and producer, Francesca uses her first-hand experience to inform the art which Imagine If creates and she is passionate about working with those underrepresented in the arts. She says: “You Forgot the Mince is a story about what we do to protect those around us and how we fuck them up in the process. It is about real people and the journeys they choose to go on in life. How we love and how we hurt. The characters came to me long before the story did. I was inspired by my own relationships with those close to me, those around me, and the people I passed on the street. I am inspired by people and the ability they have to change their own behaviour. I hope You Forgot the Mince inspires others to change too.”
You Forgot The Mince is performed by Francesca Joy, Ursula Mohan and Prince Plockey. It is directed by Stephen Whitson (UK Associate Director on the West End transfer of the Broadway hit show Hamilton and currently Associate Director of 42nd Street at Theatre Royal, Drury Lane). Movement is by award-winning choreographers Errol White and Davina Givan, of White & Givan, and sound by Ed Clarke.
The production features an amalgamation of verbatim text, original text and physical theatre accompanied by an original score. The interactions between the characters poignantly highlight the stark reality of control and coercion, interlaced with humour and normality.
Imagine If is a Leeds-based theatre company and charity, founded in 2014, which tours new writing to theatres and prisons across the UK. Its productions are based on the world around us comprising real stories from real people, placing those without a voice at the forefront of each Imagine If production. As well as theatre productions, Imagine If runs a range of drama-based workshops across the UK with offenders, ex-offenders, those with mental health issues, recovering addicts, young adults in the care system and those from disadvantaged backgrounds. You Forgot the Mince had an extensive research phase including drama workshops in HMP Leeds and with ex-offenders within the community.
You Forgot the Mince runs from 7 – 28 August (exc. 21 August) at the Pleasance Courtyard. Tickets, priced £6.50 - £10 (‘2 for 1’ tickets on 7 and 8 August), are available from the Pleasance Box Office: http://ift.tt/2uEcUqL and Telephone Booking: 0131 556 6550. Imagine If are supporting young adults in care with four free tickets available for every show
Website: http://ift.tt/2umLpqF
Twitter: @imagine_if_co / Facebook: @imagineiftheatrecompany
Show trailer: https://www.youtube.com/watch?v=9Hh8yL6xQdI&t=1s
LISTINGS
Show: You Forgot the Mince
Theatre company: Imagine If
Dates: 7 – 28 August (no performance 21 August)
Times: 1.00pm
Venue: Pleasance Courtyard (Venue 33), 60 Pleasance, Edinburgh EH8 9TJ
Duration: 60 minutes (no interval)
Suitability: ages 12+. Performance contains brief depictions of violence
Prices (standard/concession): £7.50/£6.50: Mon 14, Tues 15, Tues 22, Mon 28; £9.00/£8.00: Weds 9, Thu 10, Weds 16, Thu 17, Weds 23, Thu 24; £10.00/£9.00: Mon 7, Tues 8, Fri 11, Sat 12, Sun 13, Fri 18, Sat 19, Sun 20, Fri 25, Sat 26, Sun 27
(Concessions available - valid for anyone under 18 years old, registered students, registered unemployed, registered disabled, or over 60 years old. ID required).
7 and 8 August: ‘2 for 1’ ticket offer available
Imagine If are supporting young adults in care with four free tickets available for every show
Box Office: http://ift.tt/2uEcUqL / 0131 556 6550.
PRESS ENQUIRIES:
Alison Duguid, Press & Comms Consultant: [email protected] / 07934 375492.
To book review tickets for this show please email the Pleasance Press Office [email protected] and cc: [email protected]
NOTES TO EDITORS
BIOGS FOR CREATIVES/CAST
· FRANCESCA JOY began writing and touring her own stand-up comedy sets in 2012, which led to a real passion for all styles of writing and she began script writing the following year in 2013, after securing a place on the West Yorkshire Playhouse's writing course. Theatre writing credits include: You Forgot the Mince (UK Tour), Displaced (Carriageworks Theatre), Mairzy Doats (Headingley Literary Festival), Doing Time (West Yorkshire Playhouse). Film writing credits include: Bunny Girls (Black Hat Pictures), Noughts and Crosses (Chocolate Bear UK). Francesca has been professionally acting for television and stage since she graduated from her theatre training in 2012. Theatre credits include: The Musicians (National Theatre), In or Out (Seven Arts), Rastaroots (Contact Theatre) Dick Whittington (UK Tour), My Mother Said I Never Should (Carriageworks). Screen credits include: Falling (Mojofilm), Emmerdale (ITV), Trapped Magic (Cloud Castle Entertainment), Bunny Girls (Black Hat Pictures), Ex-Men: The Care Home Wars (Alec Birkbeck Films), Lovebite (West End Films).
· STEPHEN WHITSON trained at The Arts Educational Schools, London. Theatre Directing credits include: The Last Five Years and Putting It Together (The Lyric, Belfast), Elegies for Angels, Punks and Raging Queens (Criterion, London), Little Women (Old Rep, Birmingham), Return To The Forbidden Planet (SWG3, Glasgow), Dubailand (Finborough), If Only… (Bread & Roses, London), Circuit Breaker (Timewave Festival), and The Wizard of Oz (St. Ives Theatre). Upcoming work: Benighted (Old Red Lion), 42nd Street (Associate Director - Theatre Royal, Drury Lane) and Hamilton (UK Associate Director - Victoria Palace Theatre).
· URSULA MOHAN began her acting career at Wimbledon Theatre before winning a scholarship to train at The Webber Douglas. She has just played Flo in a one-woman show called Florence Smith - Now & Then which will tour in 2018 and last year she played Lear as a Queen in a revival of the 2014 critically acclaimed production of Shakespeare’s King Lear (Tristan Bates and Union Theatre.) Other recent work includes: Hecuba in The Women of Troy and Mother in Blood Wedding, (Scoop); Sarah in Horniman’s Choice and Mrs Midget in Outward Bound (Finborough); Mrs Goulding in The Veil (National) Mrs Tottendale in The Drowsy Chaperone (Gatehouse); Mrs Fox in Dads Army (UK Tour); and Fairy Godmother in Cinderella (Hertford). She has appeared in Doctors (BBC).
· PRINCE PLOCKEY trained at Mountview Academy of Theatre Arts. His theatre credits include the European tour of The Life and Death of Martin Luther King for TNT Theatre directed by Paul Stebbings (MBE). For Lazarus Theatre Company he played Giovanni in Tis Pity She’s A Whore, Tamburlaine in Tamburlaine the Great, Coriolanus in Coriolanus, Agamemnon in Troilus & Cressida, directed by Ricky Dukes and Gloucester/King Richard in Richard III directed by Gavin Harrington-Odedra.
ABOUT THE PLEASANCE EDINBURGH
· Pleasance Edinburgh opened as part of the 1985 Festival Fringe with two theatres facing onto a deserted courtyard-come-car-park at an unfashionable eastern end of Edinburgh’s Old Town. Thirtythree seasons later the Pleasance has become the largest and most highly respected venues at the Edinburgh Festival Fringe, with an international profile and a network of alumni that reads like a Who’s Who of contemporary comedy, drama and entertainment. @ThePleasance #ThePleasance http://ift.tt/2un34OJ
from the vileblog http://ift.tt/2uEeyZH
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