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Up on the terrace of Orrery; I found my sweetheart. It was always going to be French. It’s a Bandol. Domaine La Suffrene, 2007. And it’s a Rosé.

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Everyone is talking about Rosé. I am amazed at the polarity of opinion. There’s a real love/hate thing going on here. The jury among the chattering classes still seems to be out as to whether rosé can ever be taken seriously as a fine wine.

And was neatly captured by John Stimpfig recently in “how to spend it”. It’s basically “a bit of fun for when the sun comes out. Not a wine for contemplation. For some, the words pink, wine and fine can never be in the same sentence. It would simply be beyond the pale.

That said it’s now perfectly possible to find several heavy weight wine critics who are willing to come out in public about their predilection for pink wine. (Jancis Robinson did so this past week-end, FT Life & Arts). It’s quite a schizophrenic style, with a lot of happy-go-lucky stuff at the bargain basement end … and there are some dry, distinctive classy rosés made from some serious red grapes.”   

Back to the Bandol. It’s complex. Great balance with a flowery nose and hints of gooseberry. I am told it is highly complementary with fish and charcuterie. The sommelier says “it displays the kind of character which could be summed up as Mediterranean in a glass…” bring on the serious sunshine.

wonderful musician.

a recent review of America Brasil (Culture, June 22 2008) says everything I may have said - "... he's so cool, he makes your average bossa nova crooner look thoroughly sweaty. having wrong- footed everyone with his samba Bowie covers, the Brazilian singer-songwriter continues on his idiosyncratic way...deep, dark voice ... he knows how to craft a no-nonsense funk riff...". beautiful.

Mr Tellier aside – this is the stuff of genius

Neat choreography.

Five male dancers (including the wonderful Carlos Acosta) and five female dancers explore the potential of dance to solo piano works by Chopin.

It’s about relationships. The dancers reflect the moods of the music’s mazurkas, waltzes and études. We see courtship, dialogue, flirting, and possibly friendship. Perhaps there’s some improvisation. The performers add their individual personality which will make each performance unique.

It is Jerome Robbins at The Royal Ballet.

Here is a taster:

A wonderful evening’s entertainment.

Saw her at the Barbican recently. Fantastic performance.

A selection of some of his best work captured in "blek le rat" published by Thames and Hudson. The book is part of an exhibition. Blek le Rat is now available in UK.

Sheep - blek

Rather interesting remark made by King Adz in the introduction "... I was filming Blek pasting up an image of a sheep ...in East London, when a young city-gent clocked Blek and stopped Blek in his tracks. He examined what Blek was doing for a beat and then asked: "Are you Banksy? ... Blek and Banksy are both incredibly important artists in the street art movement... But Blek was out and about stenciling Parisian walls while Banksy was still at primary school. Banksy confirmed "Everytime I think I've painted something slightly original, I find out that Blek le Rat has done it as well. Only 20 years earlier" "  

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Are we any closer to knowing who Banksy is? Does it matter?

I love to wander the streets where Banksy frequents; am always excited, perhaps I am going to see something different today.  Love that feeling.

"... sharp, satire humour... " Matt Groening

" ... loud drums and some mean chords..." Frank Zappa on Varese

Frank Zappa Biography Part 1

Hooked by the BBC’s series “Great British Menu” and the chefs’ challenge to conjure up contemporary British cuisine; we opted for Jason Atherton’s attempt.

Four courses. Witty, modern and exceedingly in good taste.

A glass of Limoux to get the proceedings under way. First up is “Bacon, lettuce and tomato with Croque Monsieur”. I hear you already, but a BLT is American and the Croque Monsieur is as Gallic as they come. Apparently, the programme’s judges allowed the chefs to draw on international influences and insisted only that the main ingredient is British. So, Jason’s dish is a simple take on the Brits love of sandwiches.

Wow, spooning the tomato jelly with bacon onion cream and sipping lettuce soup, I was in heaven. The brioche based croque monsieur was just fantastic (though not very keen on cheddar cheese).

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Next up was snow. Lightly smoked salmon with avocado puree and horseradish snow. The best touch was the thinly sliced Anya potatoes sitting on top of the salmon. These potatoes would work in a cold salad with fresh green beans and some herbs. Terrific.

Poured out a glass of Valpolicella Ripasso (as recommended by Liffey on a number of occasions) to accompany the next dish.

Beef fillet, ox tail, smoke potato puree and marrow bone.

I did have fun running around town looking for a bone or two. The nice man in the Ginger Pig gave us plenty. What a lovely man. Plus his 28 day aged beef. Pretty marvelous stuff. Big thanks to the other gentleman for explaining the various cuts of meat and ageing process. Am sure I confused you. Would love to invite you over for lunch at some point.   Tracking down hickory essence and smoked wood chips, that was a challenge. Many hours later and thanks to another kind chap, I came back fully equipped.

Now that was worth it. Our smoked mash potato was unctuous.

And, then the pudding. Arctic roll, berry salad and raspberry sarawak. Very ‘70’s and simply gorgeous.

Coffee to follow.

Recipes: http://www.bbc.co.uk/food/tv_and_radio/menu_southeastthree.shtml

Inspired by several posts by The Dude, I thought I’d pick-up on his current flurry of film, beautiful actresses, the red carpet and good directors.

Inspiré par les blogs récents par le " Le Dude". J'ai pensé que je contribuerais à ses idées de film, de belles actrices, du tapis rouge et de bons directeurs.

Dans le « 8 ½ » Claudia Cardinale apparaît à côté de deux actrices fantastiques de la période (Anouk Aimee et Sandra Milo). « 8½  » à côté de la La Dolce Vita en tant qu'un du meilleur des films Fellini.

http://www.imdb.com/media/rm1323342336/tt0056801?slideshow=1

C'est une histoire simple. Un homme passe par une crise. Le caractère central Guido (joué par le merveilleux, Marcello Mastroianni) est un réalisateur. Nous le voyons essayer d'accomplir un film tandis que préoccupé des cauchemars, culpabilité et inquiétude et en subissant un traitement à une ressource de santé. Le film nous laisse dedans à son monde de film (acteurs, producteurs, -être-acteurs etc.) et d'amis de Guido, de maîtresses et de famille personnels. Le thème de reproduction de la religion et du catholicisme nous apporte une bande des caractères comprenant des prêtres, des anges et des cardinaux. Et un évêque de vie réelle. On détecte cette scène a été complètement improvisé. Quelques scènes fantastiques dans le film incluent - le rêve de Guido de la vie dans un harem avec l'épouse, la mère et les maîtresses : nous le voyons comme victime et plus docile (brandi avec un fouet). Avec une parcelle de terrain très lâche, par Guido Fellini aborde l'ennui et la tristesse de vie, du désespoir, de la mort et du suicide provinciaux. En conséquence, nous voyons Guido en tant qu'un adulteur, une fraude, inconsistants, effrayés de la vie et nécessitant l'amour maternel. Ce symbole de la pureté ou des moyens au salut qui entre dans presque tous les films de Fellini vient sous la forme et la forme de Claudia (Claudia Cardinale) ; rappelez-vous la jeune fille à l'extrémité de la « La Dolce Vita ». Les films de Fellini me font le rire, se tapissent et pensent (mais pas trop dur).

Dans une entrevue, essais de Constanzo Costantini aux influences illicites sur les travaux de Fellini. « Avez-vous lu Ulysse ? Selon Alberto Moravio, vous devez l'avoir lu et avoir pensé cela : Guido le protagoniste du film, ressemble à Leopold Bloom » Fellini répond « Je suis désolé de décevoir la Moravie, mais je n'ai pas lu Ulysse. » Costantini réplique « … vous font lire Proust, l'auteur plus mentionné par rapport au 8 ½ ? » Encore, Fellini indique « Je suis désolé, mais j'aie peur je dois dire que je n'ai pas. » Costantini pose à « Pardon une question indiscrète : … combien de livres vous font lire dedans les cinq dernières années ? » Et Fellini indique « … Je suis un lecteur passionné des livres magiques, des rapports de cour et des articles de journal. »

In 8 ½ Claudia Cardinale appears alongside two fantastic actresses of the period (Anouk Aimee and Sandra Milo). “8 ½” ranks alongside La Dolce Vita as one of the best Fellini’s films.

It’s a simple story. A man is going through a crisis. The central character Guido (played by the wonderful, Marcello Mastroianni) is a film director.  We see him trying to complete a film whilst troubled by nightmares, guilt and anxiety and undergoing a cure at a health resort. The film lets us in to his world of film (actors, producers, would-be-actors etc.) and Guido’s personal friends, mistresses and family. The recurring theme of religion and Catholicism brings us a band of characters including priests, angels and cardinals. And a real life Bishop. One detects this scene was completely improvised. Some fantastic scenes in the film include - Guido’s dream of living in a harem with wife, mother and mistresses: we see him as victim and tamer (brandished with a whip).

With a very loose plot, through Guido Fellini tackles boredom and dreariness of provincial life, desperation, death and suicide. Consequently, we see Guido as an adulterer, a cheat, fickle, afraid of life and in need of maternal love.  That symbol of purity or a means to salvation which enters almost all of Fellini’s films comes in the shape and form of Claudia (Claudia Cardinale); remember the young girl at the end of La Dolce Vita.

Fellini’s films make me laugh, cringe and think (but not too hard).

In an interview, Constanzo Costantini tries to illicit influences on Fellini’s works. “Have you not read Ulysses? According to Alberto Moravio, you must have read it and thought about it: Guido the protagonist of the film, resembles Leopold Bloom” Fellini responds “I am sorry to disappoint Moravia, but I haven’t read Ulysses.” Costantini retorts “… have you read Proust, the author most mentioned in relation to 8 ½? “ Again, Fellini says “I’m sorry, but I am afraid I must say I haven’t.”

Costantini askes “ Pardon an indiscreet question: … how many books have you read in the last five years? And Fellini says “… I am a passionate reader of magic books, court reports and newspaper items.”