An antagonistic lover in Julie Scolnik's "Paris Blue" would like to similarly prefer to exist only in the letters he writes. Adopting an attitude suggested (although perhaps not "intended") by Derrida's famous pun, "il n’y a pas de hors-texte", the man courting the protagonist wants her to believe the text and ignore everything outside it. Blind to the subtle colors of this City of Lights, he wants her to see what he can never make her hear. The story would end there. Close the book. Happy End. But, little by little, troubling things about Luc give us warning signs. Fairly early on, we, the reader, want to tell Julie, “Stop!” “Say no!” “This is not going to end well!” The admiration was mutual - French cinephiles loved American jazz. The film score became a key area of collaboration as jazz musicians worked closely with a younger generation of radical directors that made up the French new wave. These scores elevated French films to new levels of intensity, cool and atmosphere. The lyrical language weaving it’s journey via the passion for music has left me exhausted; this is not the easy read I was expecting although hints were there which didn’t register. It’s a very American story with references to an early music and literature immersion by the whole of Julie’s family. Not your typical family I expect.

The only time I feel alive is when I'm painting. Vincent Van Gogh

…

Color ChartsYeh,” broke in Louis, “but that old Sultana wouldn’t let me in, even when I tol’ him none of them ladies had anything Lucille hadn’t got – but better!” At the 34th Academy Awards for films from 1961, Ellington was nominated for the Oscar for Best Music, Scoring of a Musical Picture but the award was given, rather expectedly, to Saul Chaplin, Johnny Green, Sid Ramin and Irwin Kostal for West Side Story. The award was part of the ten (10) Oscar juggernaut awarded to West Side Story that year. This book reminds us of several books that we've read this year: “No Perfect Love” by Dr. Alyson Nerenberg (non-fiction) and “A Major League Love” by Domenic Melillo (fiction). All of these books highlight the twists and turns that life and love can take. Something unique about “Paris Blue” by Julie Scolnik, however, is that it especially highlights the “rose-tinted goggles” of idealism that lovers often have at first, leading to disappointments and shattered expectations. It's about what happens when the perfect love isn't so perfect, and it's also about a woman's journey to self-discovery. Also includes the previously unreleased live recordings from May 31, 1969 "I Will Never Be Untrue"&"Me And The Devil Blues" Rhino Entertainment Company. Manufactured for & marketed by Rhino Entertainment Company, a Warner Music Group Company, 777 S. Santa Fe Ave, Los Angeles, CA 90021

Joanne Wodward, Diahann Carrol and Barbara Laage (in a more minor role, albeit soulful and penetrating) all hit their mark with humor, depth and candor. Serge Reggiani's role as the junkie guitar player adds his own set of "blues" to an already spicy mixture of music, love, rejection and pathos. "Satchmo" and company provide a most welcome musical interlude at just the right time to lighten up the plot just a bit! This is not merely a movie about race, jazz, drug use, love affairs, Parisian scenery, etc. It's a movie about all the aforementioned and then some. Ritt & Co. go deeper than just superficially touching on so-called hip, trendy issues. Each character portrayed has his/her own set of "blues" to contend with and no individual set of "blues" is merely confined to one sole issue, but rather a complex mixture of many factors that comprise each of our character's makeup. It is in the intertwining of each character's individual persona with the other characters' own traits and idiosyncrasies that lets the story unfold and take cohesive shape. Successes and failures are inextricably linked, as in Ram's (Newman) fame as a jazz soloist counterpointed with his rejection as a serious composer/arranger. Eddie (Poitier) also has his own set of personal conflicts that are duly explored here.Paris Blue is an RAL Design color with the number 240 85 15. Different from the Classic list, the RAL Design catalogue specifies colors for interiors. RAL is a well-known color matching system used in several European countries including Germany, France, Italy and the UK. First loves only happen once a lifetime, and as such are memorable, for better or worse. In that vein, what could be a more memorable, or magical, experience than finding that love in Paris, a city well known for its romance? For Julie, a 20-year-old music student from a small town in Main, that’s exactly what happened. Furthering her musical talents, and trying to broaden her horizons in a city full of culture, Julie meets Luc, an older man who shares her passionate love of music and art. As the story so often goes, from that moment on, her life was never the same. Guests include jazz singer Dee Dee Bridgewater, film director Bertrand Tavernier, composer Martial Solal, jazz writer Geoff Dyer, historians Kevi Donat and Ginette Vincendeau, bass player Henri Texier and playwright Jake Lamar. Color Space Conversions Decimal 3888527 Binary 00111011, 01010101, 10001111 Hexadecimal #3b558f LRV ≈ 9.4% Closest short hex #458 ΔE = 1.961 RGB rgb(59, 85, 143) RGBA rgba(59, 85, 143, 1.0) rg chromaticity r: 0.206, g: 0.296, b: 0.498 RYB red: 23.137%, yellow: 30.923%, blue: 56.078% Android / android.graphics.Color -12888689 / 0xff3b558f HSL hsl(221, 42%, 40%) HSLA hsla(221, 42%, 40%, 1.0) HSV / HSB hue: 221° (221.429), saturation: 59% (0.587), value: 56% (0.561) HSP hue: 221.429, saturation: 58.741%, perceived brightness: 34.217% HSL uv (HUSL) H: 256.075, S: 63.935, L: 36.760 Cubehelix H: -140.528, S: 0.572, L: 0.328 TSL T: -2.162, S: 0.179, L: 0.329 CMYK cyan: 59% (0.587), magenta: 41% (0.406), yellow: 0% (0.000), key: 44% (0.439) CMY cyan: 77% (0.769), magenta: 67% (0.667), yellow: 44% (0.439) XYZ X: 10.008, Y: 9.409, Z: 27.270 xyY x: 0.214, y: 0.202, Y: 9.409 CIELab L: 36.760, a: 8.693, b: -35.102 CIELuv L: 36.760, u: -12.420, v: -50.094 CIELCH / LCHab L: 36.760, C: 36.162, H: 283.909 CIELUV / LCHuv L: 36.760, C: 51.610, H: 256.075 Hunter-Lab L: 30.674, a: 4.560, b: -31.238 CIECAM02 J: 26.753, C: 42.079, h: 258.523, Q: 101.904, M: 36.798, s: 60.092, H: 310.320 OSA-UCS lightness: -10.367, jaune: -6.197, green: 1.121 LMS L: 6.948, M: 9.097, S: 26.975 YCbCr Y: 88.017, Cb: 157.310, Cr: 112.468 YCoCg Y: 93.000, Cg: -8.000, Co: -6.250 YDbDr Y: 83.838, Db: 89.014, Dr: 47.244 YPbPr Y: 83.638, Pb: 31.990, Pr: -15.668 xvYCC Y: 87.830, Cb: 156.101, Cr: 114.237 YIQ Y: 83.838, I: -34.122, Q: 12.548 YUV Y: 83.838, U: 29.114, V: -21.791 Okhsl h: 264.550, s: 0.547, l: 0.373 Okhsv h: 264.550. s: 0.546, v: 0.575 Okhwb h: 264.550, w: 0.261, b: 0.425 Oklab l: 0.458, a: -0.010, b: -0.100 Oklch l: 0.458, c: 0.100, h: 264.550 Munsell Color System 7.5PB 3/10 ΔE = 4.144 Brand Color Facebook ΔE = 1.973 Random Colors

The film also features trumpeter Louis Armstrong (as Wild Man Moore) and jazz pianist Aaron Bridgers; both play music within the film. It was produced by Sam Shaw, directed by Martin Ritt from a screenplay by Walter Bernstein, and with cinematography by Christian Matras. Paris Blues was released in the U.S. on September 27, 1961. Paris Blue has the hex code #B7DDED. The equivalent RGB values are (183, 221, 237), which means it is composed of Music plays a big part in this story. It is music that brings them together in the first place, and the thing that they bond over so intensely, creating an emotional connection well before anything else. The music is so instrumental to their relationship, in fact, that Scolnik provides an index at the end of the pieces that meant the most to them. It’s a sentimental addition that creates another layer of vulnerability to the story being told. Details of other color codes including equivalent web safe and HTML & CSS colors are given in the table below. Also listed are the closest Pantone® (PMS) and RAL colors.

Exact Matching Paints

This is how the story unfolds as Julie recalls the first serous love of her life, Luc. She’s twenty, very pretty, and somewhat naive—an American college student in Paris during her year of study abroad. He’s in his late twenties, a former student radical, a legal bureaucrat for the French government. He’s hoping to join a legal firm someday. Both are smart. Both love classical music. She wants to perfect her French. He wants to learn English. When they notice each other during rehearsals of the Chorus of the Orchestra of Paris, this is a dream come true. The story is nothing too deep. Two musicians, one coloured, one white, meet up with two girls in Paris, and what one would expect to ensue obligingly ensues. The drug problem rears its ugly head; Paul Newman (Ram Bowen, a trombonist) writes a jazz concerto; but it all manages to end fairly happily. Louis plays the part of a visiting American jazz celebrity (Wild Man Moore), complete with his own band – not the All Stars – and mugs his way through his part with his usual infectious, gay abandon. A2, A3 <> Recorded live at a benefit for Norman Mailer's mayoral campaign, Cinematheque 16, West Hollywood, CA, May 31, 1969 To be young and in love in Paris! I’ll start by saying that I love French culture and language, so I really enjoyed the beautiful, detailed Parisan descriptions, which were an instant trip to the city-of-light without leaving my seat.

Paris Blues is a film with a sound jazz base, four A-list actors, a top director (Martin Ritt – The Spy Who Came In From The Cold, Hud), plus a guest appearance by Louis Armstrong, ubiquitous in films of this type in the 50s and 60s. Arguably the icing on the cake is a score by Duke Ellington. The treatment we got during the whole of our tour,” she says, “was wonderful. Everywhere they took to Louis’ music and came in thousands. It was different to last time – they seemed to appreciate the music more. Kinda’ got with it more. Danny Barcelona’s drum solos stopped nearly every show, yet the time before they didn’t take too much notice of the drums. Louis says they’re getting to know the beat. I was relieved they did like the show, as with all those bottles lying around it would have been dangerous if they hadn’t! Oh, they were Pepsi bottles – they must have drunk millions of gallons. You see the only entrance fee charged was a top from a Pepsi bottle. But they had to open the bottle before they could get in, because on the inside of the crown top was a picture of Louis – and that was what they had to show at the gate. We were entertained by all the rulers everywhere. Velma and I were even invited to visit a harem – a thing which had never been done before.”Paris in the civil rights era was a hub of artistic collaboration as well as a kind of political refuge - a destination for American jazz musicians escaping racial prejudice and turbulence at home, finding new creative encounters abroad. In place of the travelogue element, we get a lovely scene in which Sidney Poitier (Eddie Cook), and Diahann Carroll (Connie Lampson) stroll around the Bird Market on Île de la Cité. Although they are in love, Eddie is in Paris primarily because Parisians are noted for being colour blind and he is judged solely on his skill as a saxophonist rather than the colour of his skin. Connie, however, is active in the struggle for racial equality and urges Eddie to return with her to the US and stand up to be counted. Paris Blue is a superbly written memoir by Julie Scolnik about finding unexpected and intense love, in a foreign country. I loved the descriptions of Paris and how the city became such a part of Julie’s story, creating the sense that the love she shared with Luc was literally impossible anywhere else. Scolnik’s wonderful prose perfectly captures the atmosphere and energy of Paris, and the first half of the book reads like a love letter to the city itself. Paris has had more than its fair share of lines written in its honor and this book joins those ranks, painting vivid pictures of bustling streets, quaint cafes, cultured inhabitants, and the serenely bucolic nature that the city still manages to maintain despite all the activity. Julie’s relationship with Luc takes more of a center stage in the latter part of the memoir, as their relationship progresses and then regresses in turns, leaving the reader unsure where the two may eventually land. Throughout the entire impassioned book, Scolnik keeps the tone deeply personal, opening each chapter with an excerpt from one of Luc’s letters, providing hints to events that occur later in their blossoming friendship turned to romance. She never shies away from her feelings or actions, portraying them all as accurately as one can imagine they were at the moment in time. The Dukely presence was sheltered, and his wants attended to, by an old friend who saw to his meals (Duke is a somewhat exacting eater), acted as interpreter and whose extreme elegance would be enough to stir the muse in the most veritable clodhopper imaginable. And recently it should be noted, the Ducal muse has been working overtime. “I’ve written more in the past year, than I’ve done for the five years previously,” he said. “But one can’t keep it bottled up, can one? Like this good French wine, it doesn’t keep for ever you know.” But now we notice something new: Our reprimands are turning inward. Haven’t we made the same mistakes as Julie? Wasn’t there a first love—or a second, or third—the dismal ashes of which still conceal a glowing ember?