Laetitia Dosch : la belle et la bête

It may be a story of skin, porous membrane between oneself and the world. The skin that Laetitia Dosch has diaphanous, like most redheads, but that’s not the reason why this delicate, almost transparent envelope seems to work as a sensor. Rather a matter of sensitivity, obviously. On this evening of June, the young woman vibrates with all her being , under the big pines of the Domaine d’O, in Montpellier, at the exit of the representation of Hate  : a creation of which she signs the text and the staging, in which she plays, and which, after Lausanne and Montpellier, arrives at Nanterre, where it is not necessary to miss it .

The show is in his image: a total singularity. The beautiful, out of a painting Botticelli, plays, skin against leather, with the beast. In this case a horse named Corazon (“heart”, in Spanish), with a gray trout dress. They are both naked, which is more noticeable at home than at home. It would seem that Laetitia Dosch does not do anything like another, from the beginning.

“I’ve always been the weird of the family,” she says. Its heterogeneous environment and Catholic ultratraditionnel 8 th arrondissement of Paris. “At the same time, my family was strange, in its way, we lived with my grandparents, uncles and aunts, and in the middle of animals, alive or dead. At home there were two parallel worlds: the adult ones, and the animals and me. But it’s good that I have fallen in the ” cathos ” , like that, I could not reproduce any scheme, “she says with this light humor, falsely naive, which characterizes it.

Squeaky Spirit

It is indeed in her private Catholic high school, however, that she discovers the theater, which saves her from a lonely and mute adolescence. And it is in the theater that she plunges, with lost body, she who appears today as one of the muses of the young French auteur cinema. With an eclecticism, a curiosity, an originality that make him make the difference between very different forms, which nevertheless still marks his identity.

She played Shakespeare alongside Eric Ruf, the boss of the Comédie-Française, or under the direction of the director Mélanie Leray, while ferreting into the much more experimental and performative world of choreographers Marco Berrettini and La Ribot. And she wrote her first show, Laetitia makes a fart … , parody of stand-up, where she plays a humorist a little weak, who makes jokes about the old, the Jews and the Blacks. Laetitia Dosch does not mind having a squeaky mind. [ . . . ]

Angèle, the young Belgian singer conquering summer festivals

It was discovered last year with a first single, “The Law of Murphy”, which immediately seduced the public. While her highly anticipated debut album is announced for this fall, Angèle is touring the summer festivals. This weekend, the young Belgian singer has conquered the heart of festival-goers Vieilles Charrues. Fluid and fresh, Angèle continues her tour of France.

In a few months, Angèle has blazed the web and continues its operation seduction on the road of festivals. Author, composer, performer and musician, the young Belgian artist was on the stage of Vieilles Charrues de Cahaix in Brittany [ . . . ]

Read more at CULTUREBOX: Les Vieilles Charrues : Angèle, la jeune chanteuse belge à la conquête des festivals de l’été

Chanson du Jour: Theme from Midnight Cowboy

John Barry, who supervised the music and composed the score for Midnight Cowboy, won a Grammy for Best Instrumental Theme. Fred Neil’s song “Everybody’s Talkin'” won a Grammy Award for Best Male Pop Vocal Performance for Harry Nilsson.

Bob Dylan wrote “Lay Lady Lay” to serve as the theme song, but did not finish it in time.T he movie’s main theme, “Midnight Cowboy”, featured harmonica by Toots Thielemans.

Among the film soundtracks that Thielemans recorded are The Pawnbroker (1964), Midnight Cowboy (1969), Cinderella Liberty (1973), The Sugarland Express (1974) and Looking for Mr. Goodbar (1977). His harmonica theme song for the popular Sesame Street TV show was heard for 40 years.

“Toots” played in both Benny Goodman’s and Charlie Parker’s bands, and on recordings by Edith Piaf, Peggy Lee, and Billy Joel (“Leave a Tender Moment Alone”). He passed away in 2016.

French domestic abuse thriller terrifying US audiences

It is an unsatisfactory but all-too-familiar denouement of divorce battles involving children: the judge who must allow a violent man back into his family’s lives because there is no proof of abuse claims.
Oscar-nominated Xavier Legrand’s French-language thriller “Custody,” an unsparing account of abuse focusing as much on the damage to the children, has earned acclaim at home and on the festivals circuit ahead its summer US release.
“I would like people to realize that domestic violence is a real scourge in our society and that children are also victims who are too often forgotten,” Legrand, 40, told AFP during the COLCOA festival of French film in Los Angeles, which wraps on Monday.
“And especially that they understand that these kinds of situations can turn into horror. These are murders. Under no circumstances are these crimes of passion.”
Over half of the killings of women in the United States are related to domestic violence, government figures show, with victims often dying at the hands of an ex who was granted shared custody of the children.
Last year the US Centers for Disease Control and Prevention analyzed around 10,000 murders of women in the decade from 2003, finding that more than half were perpetrated by a romantic partner or ex.

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