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BookwormMama14 (18 KP) rated The Lost Girl of Astor Street in Books
Jan 2, 2019
Oh.My.Goodness! I don't even know where to start with this one. First of all, I am not overly attracted to books that are suspenseful and cause me to jump out of my skin when my REFRIGERATOR makes noises. However, Rachel McMillan keeps talking about this book, and I decided that I just had to read it! THAT being said, The Lost Girl of Astor Street is a must read!
This book is written in first person, but it is nothing like other books with this point of view. Most of the time when I read a book written as first person, I feel like I am simply inside the character's head, getting a front row seat to the way they think and the way they process information that comes their way. With The Lost Girl of Astor Street, Stephanie Morrill takes the first person voice to a whole new level. A level where I felt as though I became Piper Sail. I was processing the way Piper was processing, her thoughts were my thoughts...This added such a deep level of intimacy with the character that I feel like I know Piper like I know myself.
Set in 1920s Chicago, you will be swept into the Jazz Age and will be tempted to dance the night away with Piper and a certain Italian detective. Having grown up in what Piper Sail thought was a safe neighborhood, she soon comes to realize that nothing is as it appears. Has she placed her trust in the wrong people? Will she ever discover what has happened to Lydia? And will the unlikeliest of people, become her greatest champion? Follow "Detective" Sail through the underbelly of Chicago. Uproot lies, reveal truth, and fight for justice for those who can not fight for themselves.
I borrowed The Lost Girl of Astor Street from my local library. I was not required to write a review. All opinions expressed are mine alone.ull review to come.
This book is written in first person, but it is nothing like other books with this point of view. Most of the time when I read a book written as first person, I feel like I am simply inside the character's head, getting a front row seat to the way they think and the way they process information that comes their way. With The Lost Girl of Astor Street, Stephanie Morrill takes the first person voice to a whole new level. A level where I felt as though I became Piper Sail. I was processing the way Piper was processing, her thoughts were my thoughts...This added such a deep level of intimacy with the character that I feel like I know Piper like I know myself.
Set in 1920s Chicago, you will be swept into the Jazz Age and will be tempted to dance the night away with Piper and a certain Italian detective. Having grown up in what Piper Sail thought was a safe neighborhood, she soon comes to realize that nothing is as it appears. Has she placed her trust in the wrong people? Will she ever discover what has happened to Lydia? And will the unlikeliest of people, become her greatest champion? Follow "Detective" Sail through the underbelly of Chicago. Uproot lies, reveal truth, and fight for justice for those who can not fight for themselves.
I borrowed The Lost Girl of Astor Street from my local library. I was not required to write a review. All opinions expressed are mine alone.ull review to come.
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Butch Vig recommended track London Calling by The Clash in London Calling by The Clash in Music (curated)
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Genesis P-Orridge recommended Featuring The Human Host And The Heavy Metal Kids by Hapshash and The Coloured Coat in Music (curated)
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Joe Swanberg recommended Crumb (1994) in Movies (curated)
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Brian Eno recommended Fresh by Sly & The Family Stone in Music (curated)
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Daniel Rossen recommended track Before the Beginning by Fleetwood Mac in Then Play On by Fleetwood Mac in Music (curated)
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Mario Van Peebles recommended Night of the Living Dead (1968) in Movies (curated)
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Kurt Vile recommended Karma by Pharoah Sanders in Music (curated)
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Merissa (11779 KP) rated Fever (Songbird #1) in Books
Apr 11, 2023
This is the story of Ella, a character who loves Jazz but has absolutely no backbone to speak of. She is a people pleaser as she is afraid of them leaving her. Now, normally, a character like Ella would have me screaming at my Kindle to "grow a spine!" However, something about Ella drew me in. Perhaps it was the occasional glimpses of who she could be, given the right circumstances and encouragement.
Cole starts off as a bit of a player but soon falls for his 'shower girl'. The two of them not knowing who they were but in constant contact was amusing. Cole changes his mind from being a player to having an unknown girl be 'the one' for him but that is the only thing that is rushed. It progresses slowly and naturally between Cole and Ella.
David, I felt sorry for. He's really not the right guy for Ella but he was there when she needed him so he's not really the bad guy of the show either. He doesn't see Ella or consider her wants but then she doesn't open her mouth either so it's not all his fault.
This was a very well-written contemporary romance between two college students as they learn who they are, what they want and how to go about getting it. I loved the ending with Ella (no spoilers) - I thought it absolutely perfect and was so happy to see it happen.
If you have read any other of Melissa Pearl's books, then you already know you are in for a treat. If you haven't - and you like new adult contemporary romance - then I can recommend you start with this one.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
September 11, 2016
Cole starts off as a bit of a player but soon falls for his 'shower girl'. The two of them not knowing who they were but in constant contact was amusing. Cole changes his mind from being a player to having an unknown girl be 'the one' for him but that is the only thing that is rushed. It progresses slowly and naturally between Cole and Ella.
David, I felt sorry for. He's really not the right guy for Ella but he was there when she needed him so he's not really the bad guy of the show either. He doesn't see Ella or consider her wants but then she doesn't open her mouth either so it's not all his fault.
This was a very well-written contemporary romance between two college students as they learn who they are, what they want and how to go about getting it. I loved the ending with Ella (no spoilers) - I thought it absolutely perfect and was so happy to see it happen.
If you have read any other of Melissa Pearl's books, then you already know you are in for a treat. If you haven't - and you like new adult contemporary romance - then I can recommend you start with this one.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
September 11, 2016
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Bob Mann (459 KP) rated La La Land (2016) in Movies
Sep 29, 2021
“It’s very nostalgic – will people like it?”
A little film. Not sure whether you might have heard of it yet? Damien Chazelle has followed up his astonishingly proficient “Whiplash” – my top film of 2015 – with a sure-fire theatre-filler in “La La Land”. The old-fashioned musical extravaganza is back, and back with style!
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.