“Twelve Dreams of the Sun” - 1999/January 1st 2000.

An electronic opera conceived and performed live by Jean Michel Jarre.
Featuring Jarre classics, interpretations on Oriental, Western and traditiona
Egyptian songs and music from his eagerly awaited new album Metamorphoses

As the rest of the world prepares to celebrate the arrival of the third millennium, the Egyptian Minister of Culture, Mr Farouk Hosny, has commissioned a landmark event to take this country of ancient civilization into its seventh millennium.

Specially conceived for this once in a lifetime experience, “Twelve Dreams of the Sun” is a four act electronic experience which has been composed and will be performed and directed by renowned French artist Jean Michel Jarre. To be held at the foot of the great Pyramids of Giza. “Twelve Dreams of the Sun” will commence at sunset on New Year’s Eve 1999 and will continue until sunrise on January 1st 2000.

A co-production with the Cairo Opera House, Jean Michel Jarre Millennia Night in the Egyptian Desert promises to be one of the most visual and entertaining celebrations of the turn of the century. It will incorporate extraordinary audio- visual and stage displays together with a unique interpretation of Oriental, Western and traditional Egyptian songs, music and choreography.

A crowd of over 50.000 is expected to watch “The Twelve Dreams of The Sun”, which Jean Michel Jarre will perform with the help of over 1000 performers and musicians. Extracts of the show will be transmitted live around the world and the Concert will be broadcast live on the web on www.cyberconcerts.com.

"The Twelve Dreams of The Sun" will feature many of Jean Michel Jarre’s classics, as well as music from his new album Metamorphoses, which is released by Dreyfus Disques/Sony Music on January 25, 2000. Jean Michel Jarre’s first single, from culture, will be the highlight of his millennium Concert.

Jean Michel Jarre commented; “When I was asked by the Egyptian government to create a millennium opera I have just finished writing C’est La Vie for my new album. It was like a premonition and what better way to start this exciting new millennium than in front of one of the oldest and most magical symbols of human civilization.”

 

“ … Who hasn’t dreamed of experiencing that once in a lifetime extraordinary adventure…to climb the highest mountain, to explore the deepest ocean, to travel in outer-space, to fly around the world in a hot-air balloon, to spend a magical night in the desert under the stars?…”

"The Twelve Dreams of The Sun" is different from Jean Michel Jarre’s previous creations. It is much more than a concert, a show or an opera. It is an adventure celebrating the passing of time and the festive turning of the Millennium. "The Twelve Dreams of The Sun" will take place on a central stage situated on the Giza Plateau. Thus creating a magical night during which the Sun dreams about our times, its own mythological Egyptian origins, life, death and the future. A live celebration in music and technicolour, "The Twelve Dreams of The Sun" is a surrealistic late of the Sun’s dreams since the beginning of time.

Jarre’s four act Concert spectacular will portray an imaginary voyage of the Sun into the New Millennium. A tale of 12 dreams that will take us from the past to the future through awesome and inspiring scenery and staging. It will incorporate Egyptian, international, classical and contemporary performances, giving this extraordinary event a universal touch. This spectacular concert, which Jarre will perform live, will transform the Giza Pyramids and desert area in a way that only Jean Michel Jarre can. "The Twelve Dreams of The Sun" is a magical, not to be missed voyage into the dawn of the new millennium. It will touch everyone who will witness it, making it a night that will endure in the heart and soul.

On 31 December the festivities will take place in 4 acts with the idea of accompanying the Sun from the final sunset of the passing millennium through to sunrise on the first day of the year 2000.

Act 1 – The last sunset will be marked by a spectacular lighting design of the Three Great Pyramids: Kheops, Khefren and Mykerinos, as well as a live mix of different atmospheric sounds which will infiltrate the audience.

Act 2 – At around 10.30 PM the celebration will reach its highlight with a 3-hour live concert performance by Jean Michel Jarre. 1000 performers together with Jarre will take us through to 1.30 AM. Jean Michel Jarre will mark the birth of the first day of the 3rd millennium with a “Midnight Surprise”- the first ever performance of his brand new work together with the capping of the great pyramid Kheops which will flood the surrounding area with golden rays.

Act 3 – 1.30 AM until sunrise will see an “Oriental tribute to the Sun” from the local musicians and dancers who would have participated in Jarre’s Live performance.

Act 4 - At dawn, around 5.30 AM Jean Michel Jarre will come back on stage with his musicians to welcome, in music and vision, the sunrise of the new millennium

                           
                                     What Are The Twelve Dreams of The Sun?

“ In the beginning there was only the Sun, The Sun created the world, The sun gave mankind twelve attributes. The Sun wanted mankind to discover the attributes, so he concealed them in twelve common things. Each Millennium the Sun remembers the attributes in twelve dreams.”


                                                            THE ROCK

                                                 The Sun dreams of Time

                                                             THE HOUSE

                                                The Sun dreams of Protection

                                                             THE TREE

                                               The Sun dreams of Wisdom

                                                              THE BOAT

                                               The Sun dreams of Eternity

                                                            THE FLESH

                                               The Sun dreams of Fidelity

                                                            THE VOICE

                                              The Sun dreams of Memory

                                                            THE BLOOD

                                              The Sun dreams of Courage

                                                             THE SKY

                                              The Sun dreams of Space

                                                            THE CHILD

                                              The Sun dreams of Innocence

                                                             THE BELL

                                              The Sun dreams of Celebration

                                                             THE SNOW

                                              The Sun dreams of Purity

                                                             THE GATE

                                              The Sun dreams of Freedom

Jean Michel Jarre - Czarodziej w stoczni 2005

 Echo Miasta 25.08.2005

Jean Michel Jarre interview - About Equinoxe, Oxygène

Interviewer Bert Hertogs

Jean Michel Jarre - Oxygène Tour 1997 (Full concert)

           

Oxygène Tour

In 1997, Jarre held an indoor tour in Europe dedicated to his continuation of the Oxygène album, Oxygène 7-13, starting in Toulon, France and ending in Orléans, France. In total, 230,000 people attended the concerts.

Track listing (The track listing varied depending on concert, but these were the tracks played)

"Oxygène 7"
"Chronologie 6"
"Equinoxe 7"
"Magnetic Fields 1"
"Oxygène 6"
"Oxygène 10"
"Oxygène 4"
"Oxygène 11"
"Souvenir of China"
"Oxygène 2"
"Magnetic Fields 2"
"Oxygène 5"
"Oxygène 8"
"Oxygène 12"
"Revolutions"
"Equinoxe 4"
"Oxygène 13"

Jean Michel Jarre - Place De La Concorde 1979 (Full concert)

               
Place de la Concorde in the centre of Paris was the setting for Jean Michel Jarre's first open-air concert in 1979. Although he had previously given concerts, together with the rock bands he played with during his late teens, by comparison with his previous concerts and the conventional concerts of the time, this concert was a completely unique, innovative performance. It was accompanied by giant light projections and fireworks displays. Place de la Concorde was the first of a long series of concerts that helped to visualise Jarre's music and also break new ground for concert performances.


On July 14 1979 the ambitious show attracted an estimated audience of one million people. Jarre was alone on stage with his synthesisers, performing Oxygene and Equinoxe, and the concert was important in establishing a new standard. It also became the first of many Jarre-concerts to hijack an entire city for one night.


Track list:

1. Oxygene 1
2. Oxygene 2
3. Oxygene 3
4. Oxygene 5
5. Oxygene 6
6. Equinoxe 1
7. Equinoxe 2
8. Equinoxe 3
9. Equinoxe 4
10. Equinoxe 5
11. Equinoxe 6
12. Equinoxe 7
13. Equinoxe 8
14. Oxygene 4

Musician:
Jean Michel Jarre
Date and Place:
14 July 1979, Place de la Concorde, Paris, France

Estimated Audience:
1.500.000

Jean Michel Jarre - Equinoxe Part 2

Équinoxe (English: "equinox") was the second major-label album release by French musician Jean Michel Jarre, released on Disques Dreyfus (with license to Polydor) in late 1978.

The album reflects a day in the life of a human being, from morning to night.[citation needed] Parts 1 to 4 (i.e. side A) and tracks 5 to 8 (side B) segué smoothly from one to the next.

Jarre had developed his sound, employing more dynamic and rhythmic elements, particularly a greater use of sequencing on basslines. Much of this was achieved using custom equipment developed by his collaborator Michel Geiss.

The release was followed by a concert on the Place de la Concorde, Paris on July 14, 1979. The concert attracted 1 million people, becoming Jarre's first entry in the Guinness Book of Records for the largest crowd for an outdoor concert.

Two singles were released from the album, "Équinoxe Part 5" first, and then "Équinoxe Part 4". Part of "Équinoxe Part 8" has been played live with different arrangements, including a version for an acoustic street organ, under the title of "Band in the Rain".

The album reached #11 in the UK charts and #126 in the US charts.

Track listing

"Équinoxe Part 1" -- 2:23
"Équinoxe Part 2" -- 5:01
"Équinoxe Part 3" -- 5:11
"Équinoxe Part 4" -- 6:53
"Équinoxe Part 5" -- 3:47
"Équinoxe Part 6" -- 3:23
"Équinoxe Part 7" -- 7:25
"Équinoxe Part 8" -- 5:02

Personnel

Jean-Michel Jarre -- ARP 2600 Synthesizer, EMS Synthi AKS, VCS 3 Synthesizer, Yamaha CS-80, Oberheim TVS-1A, RMI Harmonic Synthesizer, RMI Keyboard Computer, ELKA 707, Korg Polyphonic Ensemble 2000, Eminent 310U, Mellotron, ARP Sequencer, Oberheim Digital Sequencer, Matrisequencer 250, Rhythmicomputer (Korg MiniPops 7), EMS Vocoder

Keyboard Player - June 2008

Keyboard Player - June 2008

Mistrz laserowej harfy - Rzeczpospolita : 21.10.2011

Rzeczpospolita : 21.10.2011

MUSIKGOTT – VISIONÄR – REVOLUTIONÄR: Jean Michel Jarre

Jean-Michel Jarre: Oxygene Live

Jean Michel Jarre goes back to basics in more ways than one on his most recent tour of the seminal album Oxygene. But as he attempts to do it with all of the original instruments that recorded the work — some 40 pieces of classic gear — reliability issues will surely see the French synth pioneer hoist by his own petard, right? Mais non!
  Jon Andrews

As you probably know, Jean Michel Jarre's live experience is normally hi-tech, high glamour, high cheese and definitely high profile. From lasers over London's Docklands, to breaking down the Bamboo Curtain playing China, to rocking millions at Houston and Disneyland, this is one man who knows how to put on shows of enormous significance and capacity. But for his most recent tour of the classic album Oxygene, Jarre has been toning down the glitz and glamour, toning down his on-stage frolicking, and going back to basics with the technology. Consequently, he's delivered the most personal, moving and arguably relevant performances of his career.

Tonight's crowd at Birmingham's Symphony Hall might not be of the capacity that Jarre is used to, but it's a packed venue and the atmosphere generated by said audience is what you might call electric, albeit backed up by occasional doses of the fawning adulation that Jarre seems to attract. The age range is surprisingly varied — from teenagers to pensioners — and there's a definite air of geekdom filling the venue, enhanced by the fact that the banks of classic keyboards are free for all to view on stage as the auditorium fills. Indeed, a few people wander to the stage to admire the rig and argue over its contents, no doubt right down to the actual serial numbers of the keyboards on offer. More of this synth spotting later, but suffice it to say that gone are the laser harps, gone are the gimmicks, there are no multi-tracks or computers in sight, and there are a lot of leads and, you get the impression, as many fingers being crossed backstage before the show too

Even before the gig starts you feel that, as well as it all being a more low-key affair, it's going to be far more intimate and consequently more real. As the crowd enters, expectation levels rise and reach a peak when an egg-shaped chair appears. Those 'in the know' realise that Jarre is sitting in it with his back to us (although it's pretty obvious to the rest, it has to be said), but when he spins around you'd think it took everyone by surprise, such are the whoops and cheers.

No backing tracks

Jarre explains that we're going to witness Oxygene played live with the original synths and sequencers from start to finish. No backing tracks, no computers, just untrustworthy machines whose unreliability might come to the fore to dramatic effect as the concert progresses. More whooping from a crowd that, frankly, wouldn't care if the machines short-circuited and spat molten electronics all over them. He goes on to explain that the problem with all of this old technology is, of course, that much of it doesn't stay in tune, so there follows a ten-minute tuning session that Jarre cleverly makes a part of the show. It's not exactly an orchestra tuning up as Jarre leaps from keyboard to keyboard to great effect, but if anything it only heightens expectations for the main event, which kicks off with barely an intro. As Oxygene Part I swims into earshot, so appears a sea of telephones recording what turns out to be one of the most visually stunning examples of technology you'll ever see on stage.

As we progress through the album, the first thing to hit you is the sound quality. There might be problems with the gear — that's a given — but that's not taken our attention away from the glorious sound that these old beasts can make. The rich analogue fatness is something that perhaps has been missing from our digital worlds, despite what soft synth manufacturers have been telling us. Make no mistake, though, what we are seeing and hearing tonight is the real deal. Can we ever go back to plug-ins?

  

Original synths

It seems almost inevitable that we're talking about the synths again. And why not? Watching these machines — and we counted around 40 classic analogue instruments in action — actually being played really is something to behold. Each is lit and highlighted, seemingly from within, so that you can often spot more obviously which is being played. And Jarre, so often the showman, grinning, leaping and gurning around the stage in the past, seems happy on this occasion to play second fiddle to the synths, or, as he calls them, the 'old ladies' on stage around him. At one point he even tells us that he wouldn't be here without them with a sincerity that shows he really does believe it

What is happening on stage is then revealed to an astonishing degree as this worship of analogue synthesis reaches an even greater peak, fittingly during the 'hit' — Oxygene Part IV. A huge mirror lowers above the stage, turns 45 degrees to reveal Jarre and his 'band' from above in all of their 'really playing this and sequencing that' glory. Jarre's three fellow players — Dominique Perrier, Claude Samard and Francis Rimbert — are shown to be wrestling with at least half a dozen synths each, while Jarre himself parades between a square formation of around a dozen at the front. We can see them all play and we really can see it when those keyboards go wrong. And we can also hear the tuning issues, volume issues, and even phono plugs being accidentally disconnected. At one point, a mobile phone interferes with the sound. ("The concert in Birmingham went OK," says Jarre later in his blog, "except that Claude forgot to switch off his cell phone before the concert and we had a lot of interferences." That's told him then.) As each of these mistakes occur, the crowd looks around, smiling, because it really doesn't seem to matter. It surprises me, in fact, that the mistakes aren't applauded, such is the level of love from the crowd — and such is the realism that those mistakes add to the performance.

On we go through Oxygene, and Jarre adeptly orchestrates his moments of glory; at one time mastering the Theremin — a notoriously difficult instrument — another time grappling with a Doepfer ribbon controller, and yet another picking up his Moog Liberation for a spot of strap-on synth action. We work our way through the album, reaching Oxygene VI, and a huge 3D rendition of the album logo (a skull within the planet Earth) appears on screen behind the stage to remind us that the album was one of the first 'environmental' recordings ever made. Despite myself, it's quite a moving moment, especially as VI was always, to my mind, one of the unsung heroes of Oxygene.

Dominique Perrier, Francis Rimbert, Jean Michel Jarre and Claude Samard.

Triumph of imperfection

Encores follow as Jarre treats the crowd to several moments of ad-lib madness. The audience responds to the final moments with a standing ovation — even those with walking sticks — and you have to say that the night is a triumph of technology. Yes, of course the machines don't always play ball, but I'd go as far as to argue that such mechanical hiccups add to the impact of the night. The errors show that perhaps our refined technology, our computers on stage, our soft synths, our vast workstations, our backing tracks and all that outboard processing that has become such an essential part of today's live experience is sucking the very life out of what should be a 'live' performance. And behind it all there's an irony that a man regarded for his love of technology needed to return to synthesizers from the dawn of time to realise what it was that made him so great in the first place, and while doing so he has perhaps unwittingly taught us all a lesson in live performance. Tonight we've witnessed technology from the past telling us that today's perfection perhaps isn't so 'right' after all. Men and machines in imperfect harmony, you could say

 

Jean Michel Jarre: (centre right)

Moog Memorymoog with 2 x 'table-top' EMS Synthi As.

EMS Synthi AKS.

RMI Harmonic Synthesizer and Digisequencer, custom-built over a six-month period by a team of four engineers led by Michel Geiss in 1992.

Oberheim 2-Voice and OSC Oscar programmable monosynth.

2 x EMS VCS3s either side of an ARP 2600.

Eminent 310U and Roland Jupiter-4.

Yamaha CS80 and Alesis Andromeda A6.

Moog Liberation.

Theremin.

Ribbon controller (Doepfer RM2) played live.

Dominique Perrier: (left)

Eminent 310U with Moog Voyager above.

Customised Mellotron.

Moog System 55.

ARP Odyssey.

Moog Memorymoog.

Claude Samard: (centre)

Eminent 310U and Moog Minimoog.

Linn LM-1 and 2 x Keio Minipops 7 drum machines.

Moog Taurus MkI.

EMS Synthi A.

ARP 2600.

Moog Little Phatty and a Roland Juno 106 above.

Roland VP-330 Vocoder Plus.

Francis Rimbert: (far right)

Eminent 310U and Roland Jupiter-8.

Moog Minimoog.

Sequential Circuits Prophet 5.

ARP 2500.

Korg PS3300 with Korg PS3100.

Pedals used by all include Electro-Harmonix Small Stone phaser and Electric Mistress flanger.

Jarre on Oxygene live

Francis Rimbert

Jarre tells us why he dusted down the classics for one more road trip

"I did it with these very instruments, very specially made and by crazy guys," Jarre says about the recording of Oxygene, pointing to his on-stage setup. "All of these instruments can be compared to the Stradivarius of classical music or the Gibson Les Paul, or, say, the Fender Telecaster of the early '60s. They are absolutely unique in their sound, and I am here [hugely successful and playing Oxygene live] probably because of the mad creators who devised them. Actually, today is a dream, standing here in 2008, I [feel like] a violin player who is playing on an instrument that was devised four centuries ago. It proves that somehow people who have a special know-how with special secrets are able to create very sexy instruments."

Jarre adds that the other reason it's important that Oxygene is unleashed again in 2008 is that its original inspiration — that of environmental issues affecting the planet — is now very much at the fore in people's minds. "Another source of inspiration for Oxygene is the concept about the future of the planet," he says. "The title, the globe with the skull inside there weren't many of us thinking about the future of the planet [back then]. Here in the UK, you have been quite ahead of our times by being quite concerned about the future of the planet even 30 years ago, but nowadays the vision of Oxygene could almost be Al Gore's logo. It's the reason I'm so honoured to be playing and performing the music linked to our environment, our biosphere, and I have always been involved in environmental issues and the ecology in my music, and I am very happy to share that message."

And of his fellow players? "They are very good friends who all know the instruments and have a very special relationship with them. It's become a ritual on this tour before we start to tune these old ladies because they can be a bit difficult sometimes. We don't have any computers or anything on stage — it's a pure plug and play experience! Sometimes we might have accidents, but we share them!"

Source: www.soundonsound.com

Jean-Michel Jarre et les "Champs magnétiques"

Le musicien Jean-Michel JARRE est invité sur le plateau de l'émission. Après la diffusion du clip "Champs magnétiques", Jean-Michel JARRE évoque sa façon de concevoir la musique

Jean Michel Jarre: Why all French women are arrogant...and English women are romantics

  

Coup de foudre: Jean Michel Jarre with his second wife, English actress Charlotte Rampling, who he calls "an extraordinary person"

Actress wife Anne Parillaud

Former fiancée Isabelle Adjani

Jarre at his keyboard in Paris earlier this year

By Olivia Cole

06 September 2010

The composer Jean Michel Jarre is known for his smoldering back catalog of women as much as his platinum-selling electro-pop. As he puts it in his nonchalant Gallic way: "I have shared my life with three actresses." There was, of course, our very own Charlotte Rampling, then Isabelle Adjani, to whom he was briefly engaged, and now Anne Parillaud, star of Nikita, and the ex-wife of auteur Luc Besson.
"For me, the audio-visual combination works very well," he says, with no discernible sense of irony.
Now aged 62 and halfway through an 18-month world tour monster, Which includes a night at the O2 Arena on October 10, he is a man of strong opinions on both French and Angielski women. He has, as he says, "known both sides": he was married to Rampling, one of Britain's sexiest cinematic exports, for 20 years until 1998.
He thinks That Angielski girls ("women", he corrects himself) are more self-conscious, but on the other hand "they are far less knowing, and more romantic." This may all sound rather odd to his third wife, sex bomb actress Parillaud - to whom he refers, rather alarmingly, twice, as his "wife cour-rant." This is a phrase I have heard used in jokes, never before in real life. He wants to make a distinction Between his second wife, Rampling, and the third Mrs Jarre, but even so.
"There is," he continues, "that famous image of the French woman, sitting in her car, putting on her lipstick in the mirror." He acts out the scene for my benefit. He thinks that I will enjoy this chapter (he is right). "French women are"
Insouciant? I offer helpfully. "Arrogant," he says. "In my opinion, British women are more romantic than French ones." I ask if he thinks the Brits have a romantic Notion of the French as louche and liberal. "I think the garden of my neighbor is nicer," he says. I think he means the grass is always greener.
As he acknowledges, "First of all, it's ridiculous to make generalisations, but it's fun." He fans the flames by adding: "I understand more when I travel why people believe that the French are arrogant." We are cour-rantly perched in the Met Bar, empty on a sunny afternoon. JMJ and his small entourage (serious, intense-looking young male assistant) have been staying at the hotel here, presumably not in twin rooms. They are now en route to Glasgow.
Jarre's charm is rather winning, if practised. Or perhaps beyond the element of aging rock star ridiculousness, he is, in fact, rather nice.
His parents both died this year, his father, Maurice, won Oscars for soundtracks to films like Dr. Zhivago and Lawrence of Arabia but left a trail of abandoned ex-wives and small children, starting with Jean Michel, aged five. They were not reconciled when he died and he says poignantly, if melodramatically, that he "died twice, once when he left me and my mum, and once when he died." He was devoted to his mother, who worked for the French Resistance, and says That she managed "to take the place of my father, which is a very hard thing to do".
There is also the old adage That a man who adores his mother makes a good husband. Despite colorful episodes, his partners, cour-rant or otherwise, all claim to adore him. Bar, one presumes, Adjani, who chose to announce both Their relationship and their "rupture" (French women do just to break-ups) on the cover of Voici. "My partners in my life were always the same way," he says of his inclination to stay out of the media. "I just had one occasion in my life when suddenly my private life was everywhere and that was an accident and beyond my control."
He's still best-known for his multi-million-selling album, Oxygen, Which when I was about 10 was the soundtrack to our local fireworks. He was with Rampling then and even now the inky labrador eyes go rather melty talking about her. The superlatives come: Their despite the painful break-up Their relationship is now: "Fantastic, it's great - it's a miracle - it's very nice. We are really very, very close. She's an extraordinary person."
The two were famously Introduced at a dinner party at the Cannes film festival in 1976 and experienced a coup de foudre he describes as "chemical". After a lost weekend in the Lancaster Hotel, the pair Swiftly extricated themselves from Their marriages. He had, in fact, seen her films and sought her out, convinced That they were made for each other. How Is That possible, I wonder? "You know," he says, "I think there is a difference Between - how can I put it? - Between knowing and recognising someone. It takes a whole lifetime to know someone but to recognize somebody as a soulmate takes an instant - and That is exactly what happened. "
He rejects the idea That this is highly romantic. "I do not think so - I think it's chemical. Suddenly it's like cells - the chemistry, and this chemistry is timeless in our case."
After 15 years, though, suffered from depression Rampling and the end of the marriage was by all accounts tortuous and messy with her in Chelsea, Jarre frolicking in the pages of the French media with a civil servant half his age and neither willing to call it quits. I wonder, perhaps, if he sticks with relationships too long as a Counterpoint to his father's example.
HOWEVER, he has no truck with the idea That Infidelity is another French specialty: "I think that in any language when you have a real relationship and there is love and respect Between people, Infidelity is always something difficult to accept - Whether you are Chinese , British, French. I think that is a universal concept ... or a problem. "
I suppose what I want to ask is if artistes, as he would term them, are more Likely to follow where chemical reactions take them and behave appallingly, whatever the Consequences, but somehow I can not bring myself to push him into a corner. It's hard to dislike a man who collects other people's children (he has two of his own and three Stepchildren) and raises them as his own.
I can not quite gauge him so finally trot out my favorite cod-psychologist trick and ask him what his three favorite animals are. "My favorite three animals? I would say dog, elephant and dragon. Dragon is nice because he is the king of the animals and he does not exist. Only on paper. He has a psychological issue and somehow I like animals with psychological problems , "he says with a big laugh. He laughs a lot more when I Say That According to mythology the first is how you want the world to see you, the second how they do see you and the third is what you really are.
Towards the end of our ginger ale and cappuccino, he starts talking about my open face, positive energy ...
Blimey. I Imagine That Those dark eyes, In Their day, were really rather good at all this. It is faintly ridiculous. But with his reckless opinions and idealistic Notions - that we're interested in actors and painters and celebrities because people fantasize about the lives of artistes - it's hard not to like him too.
A good guy, a dragon Whose life is not quite what it Appears on paper and with the odd psychological problem. I reckon that's about right.
And what the French think:
Ulas Enis, 20, medical student from Paris, living in Victoria
I think French women are more arrogant. They're colder and much more distant than British women.
Laure Falque, 21, medical student from Paris, living in Holland Park
I'm not so sure. I guess maybe I'm so used to it that I do not notice. French women do not smile. I mean, I do not smile in Paris.
Wind Quentin, 17, a student from Lyon, living in Bromley
Who is Jean Michel Jarre's supposed to be? He's wrong anyway. French girls are more romantic than girls but Angielski Angielski girls are more open. With a French girl you'll need to work to get her as a girlfriend.
Chantale L'Hermenier, 49, nurse from west France, living in Ealing
I think he's arrogant to say so. I think French ladies are as romantic as Angielski ladies, maybe even more so. That discriminate Between the two is arrogant, Particularly as he is French himself. He has not lived here and only visits. How would he know?
DeFaramond Marika, 18, from Paris, living in Fulham
It's not true. French women are traditionally more romantic. They've got Paris. And I do not see how they could be more arrogant - unless they are from a rich background, but I do not see it.
Martin Roux, 42, accountant, from Nice, living in Kensington
I'd say that's about right. French women have more attitude. But, in fact, Jean Michel Jarre would say the exact opposite if he were talking to a French newspaper. I think he has said the opposite before.
Jasmine Gardner

Source: www.thisislondon.co.uk

01 March 2010 - Trax

no 133

Trax - 2010

00 March 2010 - Sono Mag

Sono Mag - 2010

01 February 2010 - Geek

Geek - 2010

January 2010 - Technikart

Technikart - 2010

25 May 2009 - Paris Match

Paris Match - 2009