The next day, I had the pleasure of meeting Elton John again in his Virginia Water home, just before he left for the United States, where he was going to record during summer 74 his ninth studio album Captain Fantastic and the Brown Dirt Cowboy, before his U.S. Tour's September launch. My new works having been presented to him beforehand, I was able to exchange with the musician and chat informally with him during a short while –a sunny one, needless to say.

Elton John's management used as well some additional paintings for other usages. One was used for an ad in the US "Billboard" magazine for the Bitch Is Back single's release, and also for The Bitch Is Back's record sleeve in Portugal (from the 1974 Caribou album). Another one was used for a giant party's invitation in Los Angeles, given at the MCA/Universal Studios to celebrate the success of the L.A. dates of Elton John's 1974 US Tour.

Thus, a small miracle. Even today, I sometimes have difficulty realizing that all of this really happened, because the least one could say is that those paintings did not show Elton John in a particularly flattering light, not to mention the members of his group - even less so...! But indeed, this is what always characterized Elton John beyond his musical genius : his amazing sense of humour, and the ability to distinguish fondness and care under the fun of a cartoony portrait. These publications represented, along with my personal encounter with Elton John, one of the most exciting moments of my life. And it is certainly that meeting with Elton John that determined later in my mind the will to try and approach artists like David Bowie, Véronique Sanson and mainly Joni Mitchell.

I have already said, especially in the section of this site dedicated to the part of my youth work inspired by Joni Mitchell's music and poems, how much my meetings with her and all the works I did after, had proved to be instrumental in my becoming a painter. And that is true.