Word: gallicism
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...Texan is not happy about persistent suggestions in the French press that his remarkable comeback may be caused by the same kind of performance-enhancing drugs that French and other riders were caught taking. Armstrong, who has repeatedly passed blood and urine tests, denounces the Gallic grousing as "disturbing" and "unfair." He attributes his results to "sweat" and hard training, adding, "This team has done more work than anyone else." Most racing teams are built around a single star, whose cohort protects him from crowding rivals, brings him food and water and shelters him from the wind. "Their job," says...
...back a lot of the element of fun, including Daft Punk's Homework album and the song of last summer, Stardust's "Music Sounds better With You." It continued this year with Cassius's 1999, an excellent disco cut-up pastiche work, and I'm hoping for more quality Gallic crossovers. I also think the stunning new Armand van Helden and Basement Jaxx albums (2 Future 4 U and Remedy respectively), with their amazing singles ("You Don't Know Me" and "Red Alert"), signal that dance still has lots of promising avenues to explore. Trance music also seems...
...text "O goodness me/ what misery/ how dreadful a calamity!" complemented its crazy waltz, while the singers onstage danced what was ostensibly the pachanga. Or the success of the Bat's corny "He is the goose to be cooked...watch while I baste." Even better was the faux-Gallic banter between Eisenstein and Frank, neither of whom spoke French: "affaire?" ... "Camembert!"; "du jour?" ... "I' amour...
...Capri, the most rapturous music (by Georges Delerue, his violins sawing and soaring like Philip Glass in ecstasy). And, always, pretty women. A Ziegfeld of the Left Bank, Godard reinvented Jean Seberg and discovered Anna Karina, Juliet Berto, Maruschka Detmers, Myriem Roussel, Juliette Binoche, Julie Delpy--glories of Gallic cinema. In Contempt he saves Bardot from cheesecake notoriety. She's smart, sensitive, brutal, doomed...
This unlikely partnership between the modern American minimalist and the chain-smoking Gallic dandy has resulted in 1993's Orphee, 1994's La Belle et la Bete and now Les Enfants Terribles, each based on a film of the same name by Cocteau. Distinguished not only by Glass's familiar, artful brand of minimalist music but also by Cocteau's impish, erotic sensibility, the operas are nevertheless quite different from one another. Orphee was a conventional opera that followed the script of the original film. With La Belle, Glass went a step further, stripping the film of its sound track...