Medal record
Competitor for  France
Men’s Boxing
Olympic Games
Bronze	1924 Paris	Bantamweight

Jean Ces (5 September 1906 – 25 December 1969) was a French bantamweight professional boxer who competed in the 1920s. He won a bronze medal in Boxing at the 1924 Summer Olympics in the bantamweight category, losing against Salvatore Tripoli in the semi-final.

References[link]

• Jean Ces' profile at Sports Reference.com

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Jean Sablon (Nogent-sur-Marne 25 March 1906 – 24 February 1994 at Cannes-La-Bocca) was a popular French singer and actor.

The son of a composer, with brothers and sisters who had successful careers of their own in musical entertainment, Jean Sablon studied piano at the Lyceé Charlemagne in Paris. He left before graduating to enroll at the Paris Conservatoire in order to concentrate on a vocal career. He started in the cabarets of Paris at the age of 17, and was subsequently accompanied on his first album by the pianist/composer Mireille, whose song Couchés dans le foin became a great success. Later, he partnered the wildly popular Mistinguett at the Casino de Paris and boosted his career considerably. He was the first cabaret singer to use a microphone in his stage act. In the 1920s he spent time in Brazil where his recordings remain extremely popular today.

In 1937 he won the Grand Prix du Disque for the song "Vous qui passez sans me voir," written for him by Charles Trenet and Johnny Hess. That same year, he went to the United States, where he sang on live radio broadcasts for CBS and made several records in the English language. On Broadway, he worked with luminaries such as Cole Porter and George Gershwin. He returned to Paris but with the German occupation of France in World War II, he went back to America for the duration.

Jean Sablon became one of the most widely acclaimed male French singers, considered second only in overall lifetime popularity to Maurice Chevalier. His records sold in the millions around the world and he is frequently referred to as the French equivalent of America's Bing Crosby. During his career, he recorded with some of the world's top musicians, including Django Reinhardt and Stéphane Grappelli. Sablon is credited with arranging Reinhardt's debut in a fashionable cabaret in 1933. He is also recognized for his talents as a lyricist and a composer. Sablon appeared in a number of motion pictures and television films performing as a vocalist or pianist, his last coming in 1984 when he sang "April in Paris" in Mistral's Daughter, the popular American TV miniseries filmed in France.

Jean Sablon died in 1994 and was interred in the Cimetière du Montparnasse in Paris.

Adapted from the article Jean Sablon, from Wikinfo, licensed under the GNU Free Documentation License.

External links[link]

• International Jose Guillermo Carrillo Foundation
• Jean Sablon at the Internet Movie Database
• Official site Jean Sablon link title

Suzy Delair (born 31 December 1917) is a French actress and singer. She's one of the most famous movie stars of the french cinema and one of the latest movie legends.

Born in Paris, Delair acted in films directed by Henri-Georges Clouzot, Jean Dréville, Jean Grémillon, Marcel L'Herbier, Christian-Jaque, Marcel Carné, Luchino Visconti, René Clément and Gérard Oury.

For several years,^[vague] Delair was the companion of French film director Henri-Georges Clouzot.

Filmography[link]

• Un caprice de la Pompadour (Willy Wolff et Joë Hamman, 1930)
• Violettes impériales (Henri Roussell), 1932)
• La Dame de chez Maxim's (Alexander Korda), 1932)
• L'Or dans la rue (K. Bernhardt), 1934)... Madeleine
• The Depression Is Over (Robert Siodmak, 1934)
• Dédé (Abel Gance), 1935)... Poliche
• Prends la route (Jean Boyer), 1936)
• Trois Six Neuf (Raymond Rouleau, 1937)
• The Last One of the Six (Georges Lacombe, 1941)... Mila Malou
• The Murderer Lives at Number 21 (Henri-Georges Clouzot, 1942)... Mila Malou
• Défense d'aimer (Richard Pottier, 1942)... Totte
• La Vie de Bohème (Marcel L'Herbier, 1945)... Phémie/Femia
• Quay of the Goldsmiths (Henri-Georges Clouzot, 1947)... Jenny Lamour.
• Confessions of a Rogue (Jean Dréville, 1947)... Coraline
• Par la fenêtre (Gilles Grangier, 1948)... Fernande
• White Paws (Jean Grémillon, 1949)... Odette
• Lady Paname (Henri Jeanson, 1949)... Raymonde Bosset, dite Caprice
• I'm in the Revue (Mario Soldati, 1950)... La Chanteuse
• Lost Souvenirs (Christian-Jaque, 1950)... Suzy Henebey (episode "Une couronne mortuaire")
• Utopia (Léo Joannon, 1951)... Chérie Lamour
• Fly in the Ointment (Guy Lefranc, 1955)... Lucette Gauthier
• Fernandel the Dressmaker (Jean Boyer, 1956)... Adrienne Vignard
• Gervaise (René Clément, 1956)... Virginie
• Rocco e i suoi fratelli ("Rocco and his Brothers", Luchino Visconti, 1960)... Luisa.
• The Regattas of San Francisco (Claude Autant-Lara, 1960)... Lucilla.
• Du Mouron pour les petits oiseaux ("Chicken Feed for Little Birds", Marcel Carné, 1962).
• Is Paris Burning? (René Clément, 1966)... A Parisienne.
• The Mad Adventures of "Rabbi" Jacob (Gérard Oury, 1973)... Germaine Pivert.
• Forget Me, Mandoline (1976)... Mireille

External links[link]

• Suzy Delair at the Internet Movie Database
• Suzy Delair at AllRovi
• Suzy Delair at AlloCiné (French)

Jean-Baptiste Lully

Jean-Baptiste de Lully (French pronunciation: [ʒɑ̃batist də lyˈli]; Italian: Giovanni Battista Lulli; 28 November 1632 – 22 March 1687) was an Italian-born French composer who spent most of his life working in the court of Louis XIV of France. He is considered the chief master of the French Baroque style. Lully disavowed any Italian influence in French music of the period. He became a French subject in 1661.

Biography[link]

Portrait & signature of Jean Baptiste Lully around the 1670s, shows the composer in middle age

Lully, son of a working-class miller, was born in Florence, Italy. Lully had little education, but he learned basic techniques on the guitar, originally taught by a Franciscan friar of Florence. Later in France, he learned how to play the violin, and to dance. In 1646, he was discovered by Roger de Lorraine, the chevalier de Guise, son of Charles, Duke of Guise, and was taken to France, where he entered the services of Mademoiselle de Montpensier (la Grande Mademoiselle) as a scullery-boy and Italian-language teacher. With the help of this princess, his talent increased. He studied the theory of music under Nicolas Métru. It has been said that a scurrilous song on his patroness (the doggerel he set to music refers to a "sigh" she produced while at stool) resulted in his dismissal. It is far more likely that he did not want to moulder out in the provinces with the exiled princess.^{[citation needed]}

He came into Louis XIV's service in late 1652, early 1653 as a dancer. He composed some music for the Ballet de la nuit, which pleased the king immensely. He was appointed as the composer of instrumental music to the king, and placed at the head of the Petits Violons, the kings private violin band. In 1661, the King appointed Lully the Surintendant de la musique de la chambre du roi, which brought the twenty-four violons of the Grand Bande of Les Vingt-quatre Violons du Roi under Lully's command.^[1]

Lully composed many ballets for the King during the 1650s and 1660s, in which the King and Lully himself danced. He also had tremendous success composing the music for the comedies of Molière, including Le Mariage forcé (1664), L'Amour médecin (1665), and Le Bourgeois gentilhomme (1670). It was when he met Molière that together they created the comédie-ballet. Louis XIV's interest in ballet waned as he aged, and his dancing ability declined (his last performance was in 1670) and so Lully pursued opera. He bought the privilege for opera from Pierre Perrin and, with the backing of Jean-Baptiste Colbert and the king, created a new privilege which essentially gave Lully complete control of all music performed in France until his death in 1687.

He was known to be a libertine. In 1661, in letters of naturalization and in his marriage contract to Madeleine Lambert, daughter of Lully's friend and fellow musician Michel Lambert, Giovanni Battista Lulli declared himself as "'Jean-Baptiste de Lully, escuyer' son of 'Laurent de Lully, gentilhomme Florentin'".^[2] Although his life is full of meteoric heights, his love affairs with men and women also brought him down in scandal several times at the great displeasure of Louis XIV. Despite these scandals, he always managed to get back into the good graces of Louis, who found Lully essential for his musical entertainments and who thought of Lully as one of his few true friends.

On 8 January 1687, Lully was conducting a Te Deum in honor of Louis XIV's recent recovery from illness. He was beating time by banging a long staff (a precursor to the bâton) against the floor, as was the common practice at the time, when he struck his toe, creating an abscess. The wound turned gangrenous, but Lully refused to have his toe amputated and the gangrene spread, resulting in his death on 22 March. He left his last opera, Achille et Polyxène, unfinished. All three of his sons -- Louis Lully, Jean-Baptiste Lully fils and Jean-Louis Lully -- also had musical careers at the French court.

Music[link]

Jean-Baptiste Lully's Alceste Ballet in the marble courtyard at the Palace of Versailles, 1674.

Lully's music is from the Middle Baroque period, 1650 to 1700. Typical of Baroque music is the use of the basso continuo as the driving force behind the music. The pitch standard for French Baroque music was about 392 Hz for A above middle C, a whole tone lower than modern practice where A is usually 440 Hz.

Lully's music is known for its power, liveliness in its fast movements and its deep emotional character in its sad movements. Some of his most popular works are his passacaille (passacaglia) and chaconne which are dance movements found in many of his works such as Armide or Phaëton.

The influence of Lully's music produced a radical revolution in the style of the dances of the court itself. Instead of the slow and stately movements which had prevailed until then, he introduced lively ballets of rapid rhythm. Lully also enjoyed the friendship of Molière, with whom he created a new music form, the comédie-ballet which combined theater, comedy, and ballet. He played a crucial role in synthesizing, consolidating and disseminating orchestral organization, scorings, performance practices, and repertory.

"Portrait of several musicians and artists" by François Puget. Traditionally the two main figures have been identified as the composer Jean-Baptiste Lully and the librettist Philippe Quinault. (Musée du Louvre).

The instruments in his music were: five voices of strings such as dessus (a higher voice range than soprano), haute-contre (a type of high tenor voice), taille (baritenor), quinte, basse), divided as follows: one voice of violins, three voices of violas, one voice of cello, and basse de viole (viole, viola da gamba). He also utilized guitar, lute, archlute, theorbo, harpsichord, organ, oboe, bassoon, recorder, flute, brass instruments and various percussion instruments.

He is often credited with introducing new instruments into the orchestra, but this legend needs closer scrutiny. He continued to use recorders in preference to the newer transverse flute, and the "hautbois" he used in his orchestra were transitional instruments, somewhere between shawms and so-called Baroque oboes.^[3]

Lully founded French opera (tragédie en musique or tragédie lyrique), having found Italian-style opera inappropriate for the French language. Having found a congenial poet and librettist in Philippe Quinault, Lully composed many operas and other works, which were received enthusiastically. Lully can be considered the founder of French opera, having forsaken the Italian method of dividing musical numbers into separate recitatives and arias, choosing instead to combine the two for dramatic effect. Lully also opted for quicker story development as was more to the taste of the French public.

Lully's music is still played regularly via recordings at the Palace of Versailles during the summertime in the gardens, setting the mood for one's visit.

Media[link]

 Chœur des divinités de la terre et des eaux, from Psyché (1687) - Midi file (help·info)

Cultural references[link]

• The relationship between Louis XIV and Lully was depicted in the French film by Gérard Corbiau, Le Roi danse (The King is dancing) in 2000.

• For his family, see the article by Jérôme de La Gorce, "Lully's Tuscan Family," pp. 1–15. The rest of the articles focus primarily on his music and its reception. Giannini, Tula. "The Music Library of Jean-Baptiste Christophe Ballard, Sole Music Printer to the King of France, 1750 Inventory of his Grand Collection Brought to Light." Indexed in RILM. See article at the Pratt Institute.^[4]

References[link]

Further reading[link]

• Scott, R.H.F. (1973). Jean-Baptiste Lully. London: Peter Owen Limited. ISBN 0-7206-0432-X. 
• Stanley, Sadie; Rosow, Lois (1992). "Lully, Jean-Baptiste". The New Grove Dictionary of Opera. London: Macmillan. ISBN 0-333-73432-7. 
• Green, Robert A. (2002). "Lully, Jean-Baptiste". glbtq Encyclopaedia. glbtq.com. http://www.glbtq.com/arts/lully_jb.html. Retrieved 2007-08-16. 
• Heyer, John Hajdu, ed. (2000). Lully Studies. Cambridge, UK: Cambridge University Press. ISBN 0-521-62183-6. 

External links[link]

Wikimedia Commons has media related to: Jean-Baptiste Lully

Wikisource has the text of an 1879 American Cyclopædia article about Jean-Baptiste Lully.

Ballet portal

• Free scores by Jean-Baptiste Lully in the Choral Public Domain Library (ChoralWiki)
• Free scores by Jean-Baptiste Lully at the International Music Score Library Project
• Free scores by Jean-Baptiste Lully in the Werner Icking Music Archive (WIMA)
• The Mutopia Project has compositions by Jean-Baptiste Lully
• Jean-Baptiste Lully Collection at the University of North Texas
• Bibliothèque Nationale de France has a collection of autographs available on-line.
•  W. H. Grattan Flood (1913). "Jean-Baptiste Lully". Catholic Encyclopedia. New York: Robert Appleton Company. 
•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

Marc Parenteau

Toronto Argonauts
Date of birth:	(1980-12-04) December 4, 1980 (age 31)
Place of birth:	Sherbrooke, Quebec
Career information
Status:	Active
CFL status:	Non-import
Position(s):	OL
Height:	6 ft 5 in (1.96 m)
Weight:	304 lb (138 kg)
College:	Boston College
CFL Draft:	2003 / Round: 5 / Pick: 36
Drafted by:	Ottawa Renegades
Organizations
As player:
2005 2005-2006 2007-2011 2012-present	Ottawa Renegades Winnipeg Blue Bombers Saskatchewan Roughriders Toronto Argonauts

Marc Parenteau (born December 4, 1980 in Sherbrooke, Quebec) is a professional Canadian football offensive lineman for the Toronto Argonauts of the Canadian Football League. He was drafted 36th overall by the Ottawa Renegades in the 2003 CFL Draft. He was signed by the Saskatchewan Roughriders to a contract on February 12, 2007 and played for five seasons before being released on February 10, 2012.^[1] He was soon after signed by the Argonauts on February 13, 2012.^[2]

References[link]

External links[link]

• Marc Parenteau. Canadian Football League. Accessed 2011-01-05.
• Backup lineman very valuable. Canada.com (Regina Leader-Post), July 12, 2007. Accessed 2011-01-05.
• Riders' Marc Parenteau laughs about first catch. Canada.com (Regina Leader-Post), October 28, 2010. Accessed 2011-01-05.

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