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Call the Midwife: A true story of the East End in the 1950's

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Call the Midwife: A true story of the East End in the 1950's

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by Jennifer Worth

This book is about Jennifer Worth when she became a midwife in the 1950's when conditions that women gave birth in was so different to the condition we now have.

In her book Jennifer gives accounts on the horrifying conditions that women were expected to endure.  This book can be quite graphic in some of the descriptions that Jennifer goes into to about the lives. birth and conditions that women gave birth in but also the lengths some women would go to not to have children or not to have babies out of wedlock by going to back street abortionists and due to the conditions there was a high risk of infection or even death.

This book would be good for students taking a Midwifery course or even the
pre nursing course.

I understand that this book may not be for everyone but I really enjoyed the ups and downs of a young Midwife in the 1950's.

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I recently previewed the, The Inbetweeners movie. Not the first time however, the inbetweeners is a fantastic movie Staring; Simon bird, Joe Thomas, James Buckley and Neil Sutherland. I think this is a great film as it portrays the life of British Teenagers and has it down to a tee.

It is a comedic film and is definitely not for the faint humoured. It has a lot of funny jokes in it and some are rather adultery humour. Set in Malia although starting off in Bristol, England four students decide to take  vacation, A Specific vacation.

The whole movie lasts for 97 minutes. And was released on the 17 th of August 2011. There has recently been An Inbetweeners 2, however I strongly recommend to watch The inbetweeners 1 Before hand as it Truly a fanatic movie.

By Louis Slack

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This a story about 11 year old Dre Parker( Jayden Smith). Jayden moved to china with his mum as her job caused her to move . With hours of Jayden being at his new school in China  he got bullied by a bunch of boys.  Mr Han ( Jackie Chan) teaches Jayden how to do self- defense and kung fu guruand to show him how to hold his own battles at the climatic wushu tournament.
In my opinion this is one of the best films out of all the Karate Kid films that I've watched.

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In my review i will talk  about Beauty and the Beast. The movie was firstly created in 1991 and it was a best picture of  nominee, The songs a quite similar to the last one they are just a bit different and some of them where from mose house's firs crack was at the tale as a old time.
the new one is 40 minutes longer which gives more detail to the story, it is all well guged by the director called Bill Condon which already craated a Dreamgirls, the Twilight Saga: Breaking Dawn- part 1 and 2.
as a play of belle was a Emma Watson which was already plaing in Harry Potter. And it feels like an outcast for reding books and dreaming bigger than the small-minded locals. As before movie Belle has more back story to it than the animated one.
Bartek

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Royal Blood are a new band who have just one album to their name, when I say band I mean duo because to many peoples surprise there's only two people in the band. How they manage to sound like a full band using only two instruments is truly amazing and one of the many reasons the band is so popular.
The first song on the album is titled 'Out Of The Black' which was featured on their four track EP released back in 2014, it is a fantastic start to the album with the loud, angry tone of the bass guitar and the brilliant lyrics to accompany 'I've got a gun for a mouth and a bullet with your name on it'.
One thing to note about a lot of the songs on the album is that most of them were recorded in one take to give a more natural sound.
Their hard rock feel continues throughout the album with fast upbeat songs like ' Figure It Out ' to heavy angrier songs like 'Ten Tonne Skeleton'. This album was overall fantastic and was a joy to listen to throughout.
I give this album 9/10 because for a small amount of instruments they produce a large amount of sound and this album seems to be rock bouncing back into the charts.

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HIM Dark Light Album -

Dark Light is the fifth studio album by the Finnish Gothic, Heavy Metal band, HIM. The album was released in Germany on the 23rd of September 2005, Internationally on the 26th and was also released in the USA on 27th.

The album was released in stores, with a glossy black plastic wrap so you would have to buy it to appreciate the real cover. The album was originally supposed to be produced by accomplished American producer, Andy Wallace, but was fired for making the back 'sound too American' so the band hired Tim Palmer, who had produced 'Love Metal' and 'And Love Said No!'

The album has been described as "the bands pristine washes of keyboards sound dangerously sunny on the sound 'wings of a butterfly' while the gorgeously romantic title track wouldn't sound out of place on an old episode of Buffy".

In my opinion, this album is what got me interested in the band. I discovered it when i was going through a rough patch with my family.

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Little Mix album Glory days-
Glory days is the fourth studio album by Little Mix.
The album is mostly for teenagers.

This album is more personal to them.
the album was released on the 18th of November 2016 and it was released by  two labels which were  Syco Music and Columbia Records.

Their album has their UK number one single on which was 'Shout Out to My Ex' which also won a Brit.
They have announced their UK tour which will being starting on October 2017.and  their European part of the tour will  in June 2017.

Glory Days became the group's first UK number-one album, and its 90,000 sales in its first week in the UK made it the fastest-selling album since David Bowie's Blackstar, released over 10 months earlier.

In my opinion this is the album that they have done so far as you can relent to them more. i will give the album 4/5.

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Fury- stirring macho and gruesome tank film

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Fury- stirring macho and gruesome tank film

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As far as the look and atmosphere go, this WW2 action drama feels almost like a Saving Private Ryan spin-off. The action sequences are impressive, especially the decision to colour the flying tank bullets, giving them almost a laser look, is fresh and cool. There are long calm sequences of showing the horrors of war through a different, more personal perspective. And then again there are really gruesome deaths. Sadly, the showdown follows the tropes of war dramas by the numbers and is accordingly predictable. Just like in Suicide Squad, director Ayers seems to enjoy fights in the mist (or smoke), obscuring the view. That's not particularly impressive. Still, overall a pretty strong movie with plenty of memorable scenes.

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This book is a must-read. Very enjoyable and you learn so much from it. Thanks, Duygu!
Nick

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Sophie is in Philosophical World
The novel has written by schoolteacher for teens and young adults to guide them into the philosophical journey. The novel has been published in 30 countries. Also selling millions of copies and being translated into over 50 different language.
Sophie's World is ideal book for who wants a first look into the philosophical world. The novel about Sophie's journey through the history of philosophy. A great novel that narrated the history of philosophy with clearly language. The point is it has good storyline and the storyline develops in every page. Also there is so many mysterious things in the novel. Sophie Amundsen is on 14-year-old schoolgirl who lives in Norway with her mother. The novel begins with Sophie has found a letters in her mailbox which is addressed 'Hilde Moller Knag' and Sophie starts to explore philosophical world with these letters.
Haven't you read this book yet? You are missed so many things to explore. Every reader need to join Sophie's philosophical journey. As a story-style book that chronologically examines the history of philosophy. According to many philosophical books, there is a simpler language to understand philosophy easily. Anyway it is most impressive book to begin to understand philosophical world.

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Early in the press cycle for her fourth LP, Adele referred to 30 as her most personal album yet-a high bar for someone whose wrenching second album taught the entire world how to cry and compelled Julia Roberts to publicly threaten Adele's next boyfriend. You could say Big Feelings, backed up with the full weight of her expressive mezzo-soprano, made the London-born singer-songwriter one of the most universally admired pop stars on the planet. These include (but are not limited to): giving your heart away and having it played to the beat, resigning yourself to someone who reminds you of an ex, fearing that love will elude you forever or that it's somehow trapped in the past, crystallized in amber. It's hard to imagine something more personal than the empathy bombs that Adele typically drops, but she did not lie about 30.

Here, she's telling a more unexpected story about love: What it means to inflict that pain on your family, to rebuild yourself from scratch, and- big exhale-to try to love again. The task necessitated a more nuanced writing style and looser structures to some of the songs, resulting in Adele's most ambitious album to date. The way the 33-year-old interacts with storied traditions feels more in sync with contemporary pop, R&B, and hip-hop, as though she's taking cues from newer visionaries like Jazmine Sullivan and Frank Ocean as much as her diva elders. She worked with producer Inflo, of London collective SAULT and Little Simz acclaim, on three songs that bring a real warmth and soulfulness to the record's final third. And her vocals are more playful: Motown-style background vox are modulated to a chirp on "Cry Your Heart Out" and "Love Is a Game," in a kind of remix of her usual retro homage.

Adele, like other hermetic superstars, dislikes celebrity but makes no effort to conceal the fact that her life inspired her art. Without much context or arc, the polished songs on 2015's didn't land in quite the same way as the overwhelming hits of 21. (Though Adele, like Jennifer Coolidge, did wonderful things to redefine greetings.) On 30, Adele makes her story legible-it's about "divorce, babe, divorce," going through your Saturn Return, all the things of Nancy Meyers movies but happening 20 years earlier-and shows that it's complicated and undeniably her own.

The stage is set by the twinkling Fender Rhodes chords that open "Strangers by Nature," a collaboration with film composer and producer ​​Ludwig Göransson. Inspired by the songs of Judy Garland and the 1992 Meryl Streep/Goldie Hawn dark comedy Death Becomes Her, Adele mourns her past relationships in a manner so dramatic and forlorn, it's practically camp-complete with Disney strings and an opening line worthy of a Smiths song ("I'll be taking flowers to the cemetery of my heart"). Then comes "Easy on Me," the grounding piano ballad whose swooping eee's underscore once again that our most expressive singers can make magic from a single syllable. The song represents the first of many times on 30 that Adele will ask for grace-from herself, the lord, and her young son Angelo.

Adele has said she prompted the end of her marriage to Simon Konecki because she wasn't happy, and her guilt and hope to be understood by Angelo yields some of the record's richest material. Inspired by the voice notes on Tyler, the Creator and Skepta's albums, "My Little Love" includes private recordings of tender bedtime conversations between Adele and Angelo as they adjusted to the divorce. It is an uncomfortable choice to make a quiet storm record telling her son's story, but it shows a brilliant new shade of melancholy for an artist with an already robust palette. ("Do you feel the way my past aches?" she coos, breaking your heart.) One of five songs on 30 that sprawls past the six-minute mark, "My Little Love" is a staggering journey-tucked at the end is Adele's version of rock bottom, a raw voice note where she admits that, for the first time in years, she feels really and truly lonely. It is hard to hear her like this: someone who is easily able to tap into a super-human well of emotion plainly admitting that she's broken, sweat-pantsed, and terrified.

After a strong start taking stock and making amends, Adele dips into a more sultry side with two shorter pop tracks about dating again. The first, a Greg Kurstin collab called "Oh My God," fits in somewhere between Ed Sheeran and Florence Welch, but the whistle-tone runs that punctuate the chorus, plus those "lord let me's" towards the end, show how Adele's vocal tics can do a lot to characterize a song. Unfortunately, little can help "Can I Get It," an out-of-place appearance from pop pros Max Martin and Shellback that retreads corny '10s pop trends (cue the whistling). Adele has talked about how the song's titular chorus is in reference to a relationship, not just hooking up, but it's also bound to be misunderstood. Which is fine! Lots of big pop songs are. On an album so close to feeling like a holistic statement, this just comes across like the single inserted with pop (and maybe even country) radio in mind.

This middle part of 30 is set back on course by "I Drink Wine," an Elton John-style barroom singalong with strong gospel undertones and an introspective voice memo at the end. Adele serves take-me-to-church chardonnay realness from the jump, opening the song with a verse about her childhood as a means of perspective on how she got away from herself. She knows the lifelong work of ego-death, even on a divorce record: "I hope I learn to get over myself," she belts in the chorus, a hint of grit in her low notes. Though the lyrics abound with clichés-"can't fight fire with fire," "the road less traveled," "they say to play hard, you work hard"-it is, on the whole, generous and grounded. If this is what soundtracks the 2032 remake of , I won't be mad.

As she moves into the final third of the record, past the Ella-meets-Ariana jazz interlude "All Night Parking," Adele's humility extends to her kiss-offs. This only makes them land harder and more deliciously, like being roasted in a few expertly articulated words ("I know it's hard but it's not," goes one). She dresses down a lover for not showing up enough on the slowly unfurling neo-soul of "Woman Like Me," the best of her tracks with Inflo, and ends up revealing more about her own priorities: "Complacency is the worst trait to have, are you crazy?" starts the chorus. Her voice is low and assured, with a hint of disappointment. The expectations and boundaries that Adele sets for others over the course of 30 feel hard-won.

As much as the prayer-like "Hold On" seems intended as 30's emotional climax, that honor belongs to "To Be Loved," with a vocal performance that will go down in Adele lore, right next to 25's "All I Ask." She has said she won't perform it live and only sang it front to back a few times, including a video recording where the power of her voice distorts the audio. The subject matter is too devastating to revisit: the sparse piano ballad, a co-write with Tobias Jesso Jr., is sung to an adult Angelo as an explanation for why her marriage didn't work. Consider it a kind of companion track to "My Little Love," a zoom-out, flash-forward moment in the narrative. Adele is at first dignified, then desperate to convey the high stakes of love, and the performance is a marvel of control and phrasing that draws comparisons to the greats like Whitney and Aretha. This is what Adele does best: creates a world of feeling out of little more than her voice and then takes you to the brink. She is wise enough to offer a pillow-soft comedown with closing track "Love Is a Game," but the damage is done.

In "To Be Loved," Adele offers the listener a thesis statement for her music: "To be loved and love at the highest count/Means to lose all the things I can't live without." Oftentimes she has made us feel the carnage of that risk or captured the yearning side of romance for maximum effect, but 30 shows what happens when you willingly walk off the cliff and live to tell about it. This requires patience, honesty, therapy, constantly taking two steps forward and one step back. Knowing what you want is largely gleaned through finding out what you don't want. Life is messy and not always built for three-minute pop songs with perfect hooks. Adele was always more complicated than that, and now she has an album that ups the stakes and nuance of her artistry. Not just in telling a story over the course of 12 songs, or by making a record that interacts with more modern musical ideas, or in how she's using her voice with newfound multitudes, but by being bold enough to share it all so vulnerably, with the entire world listening.

Buy: Rough Trade
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Early in the press cycle for her fourth LP, Adele referred to 30 as her most personal album yet-a high bar for someone whose wrenching second album taught the entire world how to cry and compelled Julia Roberts to publicly threaten Adele's next boyfriend.

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Jungle Cruise review: “Goes all out to entertain, but also exhausts”

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Jungle Cruise goes all out to entertain, but becomes exhausting

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http://www.musicomh.com/reviews/albums/roots-manuva-bleeds

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Early in Netflix's globe-trotting romp Red Notice, a priceless artifact is revealed to be a clever fake by the application of a fizzy drink. You won't need sugary beverages to catch writer/director Rawson Marshall Thurber's comedy-thriller out, because it's exactly what it seems to be: a starry and undemanding caper, with Dwayne Johnson, Ryan Reynolds, and Gal Gadot sticking like fingerprints to character type.

Reynolds plays master art thief Nolan Booth, whom we first encounter pursued by Johnson's FBI profiler John Hartley for stealing said artifact. Various twists, turns, surprise incarcerations, and quips about Johnson's physique later, Booth and Hartley reluctantly unite to best the Bishop (Gadot), the super-thief who routinely outwits them. Will these relative rookies-in-crime manage to make their moves before the Bishop calls checkmate?

In a livelier outing than his last Johnson team-up, the cumbersome Skyscraper, Thurber kicks proceedings off with a frisky foot chase and barely lets up. Clearly in receipt of the no-dawdling memo, Reynolds matches the pace with volleys of on-brand meta-gags, mostly aimed at Johnson ("You're like a well-dressed wall"). Reveling in the banter and pop-culture nods, Reynolds gives a sure impression of someone making everything up on the hoof, like Deadpool with fewer strap-on moments. (Though he does get a gag about "mouth-sexing a goat".)

With an under-stretched Gadot cast to be unbeatable, no more, you know broadly what you're getting here. An odd-couple buddy movie where Gadot plays the rogue-ish third element, Red Notice functions best when the cast lean gamely into the double-crosses and low-flying banter, albeit less successfully with some shoehorned-in 'Daddy issues' subtexts.

Thurbar also strains to crowbar in WW2 references for an overly derivative end-stretch, which surrenders to Indiana Jones' influence a little too readily. Even if there are worse homages to make in a film designed to match Netflix's investment with audience-friendly returns, Johnson hardly needs to 'do an Indy' again so soon after Jungle Cruise.

We hardly needed a certain crowd-pleasing (shivers-inducing, more like...) pop-star cameo, either, though Thurber otherwise summons enough light-fingered entertainment from his leads to ensure we don't mind being taken for a ride. "I'm not so big on 'forget-ness'," says Booth at one point, after offering his forgiveness to a competitor. If you've got more time for forgettable fun, Red Notice scrubs up OK.

Red Notice is available to watch on Netflix from November 19. For more, check out the best Netflix movie s streaming right now.

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Red Notice review: "Johnson, Reynolds, and Gadot deliver a flimsy but playful Netflix frolic"

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Early in Netflix's globe-trotting romp Red Notice, a priceless artifact is revealed to be a clever fake by the application of a fizzy drink. You won't need sugary beverages to catch writer/director Rawson Marshall Thurber's comedy-thriller out, because it's exactly what it seems to be: a starry and undemanding caper, with Dwayne Johnson, Ryan Reynolds, and Gal Gadot sticking like fingerprints to character type.

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The legacy of Ivan Reitman's phantom-finding franchise, following a group of NY scientists stopping a surplus of spooks, has had its share of bumps (in the night) - from the diminishing returns of the 1989 sequel to the underperforming gender-switch reboot of 2016.

So it would be fair to approach Ghostbusters: Afterlife with the same caution you might employ entering the Sedgewick Hotel's 12th floor. But breathe a sigh of relief: co-writer/director Jason Reitman (son of Ivan) hasn't crossed the streams and invoke a cinematic total protonic reversal (otherwise known as shitting on the original). Rather, this reverential reinvention hits the sweet spot of successfully intertwining origin lore with modernity. It even manages to address some of the problematic sexism of the OG 'busters without relinquishing the spirit of the enterprise.

So where do we find team Ghostbusters now? Egon (Harold Ramis) has popped his clogs after years of living hermit-like in small-town Oklahoma, undertaking covert experiments at his ramshackle farm (seen in a truly spine-tingling pre-title sequence). The rest of the gang has been largely forgotten by the general public, which is why Egon's grown-up daughter Callie (Carrie Coon) is unimpressed that she needs to sort out the affairs of her skip-the-nest Pa after being informed of his death.

Her bickering kids, teen Trevor (Finn Wolfhard) and 12-year-old science nerd Phoebe (Mckenna Grace), are equally nonplussed to relocate to Grandpa's house in Summerville, a town without a bar of phone signal and a preponderance of seismic tremors, despite not being on a faultline. It's little wonder that bright Phoebe is bored by summer classes led by manchild Mr Grooberson (Paul Rudd), whose idea of a lesson is popping Cujo in the VCR (one of many '80s hat-tips). Instead, she starts exploring spectral activity with new pal Podcast (Logan Kim) and some very familiar equipment. Meanwhile, Trevor's not going to ignore the lure of that 'shitbox' 1959 Cadillac languishing in the barn...

So far, so familiar as a next-gen re-tool. But Afterlife succeeds precisely by not messing with the formula. Leaning hard into an Amblin-esque vibe, this is a movie that feels like a product of the '80s in a good way. Families talk over each other naturalistically like the dinner-table conversations of E.T.; there are animatronics instead of CG; a town diner seems like a throwback to another era; kids are taken seriously and lensed from their perspective; and a Goonies sense of magic is conjured when there's something strange in the neighborhood.

Part of that love of yesteryear is personified by Grooberson, a man old enough to be a Ghostbusters fan. In Rudd's capable comedic hands, he's a foil providing much of the wonder in the face of 2021 cynicism. "Science is punk rock," he enthuses before blowing up a school bus and facilitating the kids' adventures, while his third-act character switch is a grin-plastering hoot.

Coon too excels, as a recognisable, harassed parent in the mould of Poltergeist's JoBeth Williams, while Grace shows the kind of focus-pulling power she demonstrated in The Handmaid's Tale. (By contrast, Wolfhard is short-changed by an underdeveloped character, his casting seeming as much about netting that Stranger Things cachet as his ability to inhabit the role.) Along with the 'Busters' legendary kit, the terror dogs, Stay-Puft, Slimer proxy Muncher (with Josh Gad as this version's ugly little spud), Janine and more are all lovingly referenced.

And it won't be a surprise to discover a number of starry cameos eventually materialise. But the how and wherefore are skilfully negotiated, ensuring that their addition to the story brings true emotional heft rather than providing mere lip service. They are very much a side note to the main event, which is a celebration of finding peace - whether that's in owning your intelligence, forgiving a family member or friend, finding eternal rest or accepting your destiny. And y'know, if you need to do that by zapping Main Street with an unlicensed nuclear accelerator, while strapped to a gunner seat, then so be it.

While a gently chiding #MeToo post-credit sequence and open-door policy for further sequels might annoy purists, it would seem churlish to admonish such a warm-hearted film. Afterlife is, like the recent Free Guy, one of those rare movies that's a genuine four-quadrant treat. Smart and knowing without being snide, it's a film that will entertain adults as much as kids, fans and much as newbies; and it operates from a place of nostalgia as well as future-facing optimism. Dedicated to the late Ramis (and there's magic in that, too), it's a movie that lives up to the promise of its provenance. Bustin', it turns out, does make you feel good.

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Ghostbusters: Afterlife review: "A genuine treat full of warmth, wit and wonder"

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The legacy of Ivan Reitman's phantom-finding franchise, following a group of NY scientists stopping a surplus of spooks, has had its share of bumps (in the night) - from the diminishing returns of the 1989 sequel to the underperforming gender-switch reboot of 2016.

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Below are typical examples of reviews written about books, films and music albums. Choose a couple to read, or, if you prefer, find a review of something you like online.

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Clare Turner

‘Hidden’, the second book written by Emma Kavanagh,

an ex-police psychologist, begins at the end – with a rather grisly scene of a multiple shooting in a Welsh hospital, described by “Charlie”, a reporter on a local paper. And it then goes backwards, though not necessarily straightforwardly: the main narrative, told from the perspective of different characters, starts six days earlier – as well as a few minutes before the actual shooting. And the final chapter is set two weeks after the shooting.

I found it took me a little while and some irritation to adjust to this zigzag effect, but once I did, it worked well enough.

Ms Kavanagh certainly has the gift of telling a good story, and I became involved with the characters and swept along by the narrative.

However I found the quality of the writing a little uneven, almost as if the author took time to find her voice; also she did not wear her psychologist credentials lightly. The cover suggested comparison with Nicci French and SJ Watson but I think that overstates a little, just at the present.

However, she held my attention, managed to deal with the rather difficult structure skilfully and is

definitely someone to watch; I look forward to her next!