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Guesch Patti
Background information
Birth name	Patricia Porasse
Born	(1946-03-16) 16 March 1946 (age 66)
Origin	France
Genres	Pop music
Occupations	Singer, songwriter
Years active	1984–present
Website	Officiel site

Guesch Patti, (16 March 1946), born Patricia Porasse, is a French singer.

Biography[link]

Early life[link]

Patti was born in Paris, France. She chose her artist name from the nickname she had as a child Guesch. Patti is a nickname for Patricia.

Guesch Patti first started her career at dancing at age 9 when she performed in a ballet at the Opéra National de Paris, working with Roland Petit, then at contemporary dance with Carolyn Carlson and Pina Bausch, and finally at variety dance on television.

Music[link]

After having accompanied the pianist Yves Gilbert, she decided to begin a singer career and recorded two discs in 1965 that passed unnoticed. In 1984, Patti participated in the trio named 'Dacapo', and had her first solo hit in 1987/1988 with "Étienne", which was certified gold disc in France. This song sold more than half a million copies and was ranked #1 in several countries, including France and Italy. Labyrinthe, released a short time after, was also successful : in 1988, it won a Victoire de la Musique in the category 'Female révélation of the year', which is awarded to best new artists. Another single, "Let Be Must the Queen", was a minor hit, peaking at #25 in France and #21 in Austria.

Her second album, entitled Nomades, was released in January 1990. In spite of an European tour and concerts performed in the US and Canada, the album was less successful than the previous. "L'Homme au tablier vert", "Comment dire" and "Nomades" were the three singles from the album, but were not charted.

In 1992, Patti released her third album, Gobe, which was critically well-received, but considered a commercial failure.

In 1995, her next album, Blonde, strongly marked a musical shift and a more electronic experimentation, with less commercial sounds and new collaborations with many artists including Étienne Daho (on the song "Blonde") and Françoise Hardy ("Un peu, beaucoup"). There were three singles from this album : "La Marquise", "Blonde" and "Amnésie". In addition, the British filmmaker Peter Greenaway chose "Blonde" for the soundtrack of his film The Pillow Book (1996).

The fifth album, Dernières Nouvelles, released in 2000, highlighted a painful and romance-drama ambiance, strongly tinged with loneliness. A DVD released in March 2002 completed the album. With much musical innovation, this DVD presents a large part of the album, containing choreographed performances and a false interview dealing with existential problems and the condition of the artist. The same year, Patti recorded a duet with Gonzales for the single entitled "Dans tes yeux".

Theatre and films[link]

Following the failure of these albums in the 1990s, Patti decided to abandon music and diversify her artistic experiences. She then continued her dancing career, especially with the show entitled Elle sourit aux larmes, presented at the Theatre des Abbesses in 2001 in which she performed dances from various contemporary choreographers including Odile Duboc, Daniel Larrieu and another specially written for her by Dominique Mercy.

Patti also appeared in films. She made a brief appearance in Claude Lelouch's film Une pour toutes, and also played in Elles, by Luis Galvao Teles, alongside Miou-Miou, Marthe Keller, Marisa Berenson and Carmen Maura. She continued to go on stage, with plays such as L'Opéra de quat'sous, Les Monologues du vagin and Jésus Camacho 404 284. During the summer of 2006, she was a member of the jury in Dancing Show, broadcast on France 2 in France.

At present, Patti is again taking up music and is preparing a new album.

Discography[link]

Albums[link]

• Labyrinthe (1988)
• Nomades (1990)
• Gobe (1992)
• Blonde (1995)
• Dernières nouvelles (2000)

Singles[link]

• "Somnifères" (1984)
• "Étienne" (1987)
• "Let be must the queen" (1988)
• "Cul Cul Clan" (1988)
• "Bon anniversaire" (1988)
• "L'homme au tablier vert" (1990)
• "Comment dire" (1990)
• "Nomade" (1990)
• "Wake up" (1992)
• "Mélomane" (1992)
• "La marquise" (1995)
• "Amnésie" (1995)
• "Blonde" (1996)
• "4+1" (including "Étienne" remix) (2000)
• "Dans tes yeux" (duet with Gonzales) (2002)
• "Bilingue" (2009)

Music video collection[link]

• "Dernières nouvelles" (2002)

External links[link]

• Official site (french)
• Guesch Patti info site
• Guesch Patti at the Internet Movie Database

References[link]

This article incorporates information from the revision as of 2008-06-16 of the equivalent article on the French Wikipedia.

Raymond Ventura (16 April 1908, Paris - 30 March 1979, Palma de Mallorca, Spain) was a French jazz bandleader. He played a significant role in popularizing jazz in France in the 1930s.^[1]

His nephew was the singer Sacha Distel.

Career[link]

Ventura played piano in a group called The Collegiate Five from 1924, which recorded under the name Ray Ventura and His Collegians for Columbia Records beginning in 1928. He led the group from 1929 and recorded for Decca Records and other labels through the 1930s, becoming a popular dance ensemble in France in that decade. His sidemen included Philippe Brun, Alix Combelle, and Guy Paquinet.

One of his group's popular songs from 1936 was "Tout va très bien, Madame la Marquise," in which the Marquise is told by her servants that everything is fine at home, except for a series of escalating calamities. It is seen as a metaphor for France's obliviousness to the approaching war.^[2]

He led a big band in South America from 1942 to 1944 before returning to lead a group in France from 1945 to 1949. During his tour in Brazil during the Second World War he was joined by the French singer Henri Salvador (1917–2008). Two years later in Argentina the French trumpet player Georges Henry joined the group after having left the Lecuona Cuban boys. Georges Henry later worked at the creation of TV Tupi in Brazil.

References[link]

Georges Brassens
Background information
Born	(1921-10-22)22 October 1921 Sète, France
Died	29 October 1981(1981-10-29) (aged 60) Saint-Gély-du-Fesc
Occupations	Singer-songwriter
Instruments	Acoustic guitar
Years active	1951–1981
Labels	Universal Music
Associated acts	Pierre Nicolas, sometimes Barthélémy Rosso, Joël Favreau

Georges Brassens (French pronunciation: [ʒɔʁʒ bʁasɛ̃s]), 22 October 1921 – 29 October 1981), was a French singer-songwriter and poet.

Biography[link]

Brassens was born in Sète, a town in southern France near Montpellier. Now an iconic figure in France, he achieved fame through his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics; indeed, he is considered one of France's most accomplished postwar poets. He has also set to music poems by both well-known and relatively obscure poets, including Louis Aragon (Il n'y a pas d'amour heureux), Victor Hugo (La Légende de la Nonne, Gastibelza), Jean Richepin, François Villon (La Ballade des Dames du Temps Jadis), and Guillaume Apollinaire, Antoine Pol (Les Passantes).

During World War II, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany (March 1943). Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." They would later become close friends.

After being given ten days' leave in France, he decided not to return to the labour camp. Brassens took refuge in a slum called "Impasse Florimont," in the 14th arrondissement of Paris, where he lived for several years with its owner, Jeanne Planche, a friend of his aunt. Planche lived with her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years. Planche was the inspiration for Brassens's song Jeanne.

Apart from Paris and Sète, he lived first in Crespières (near Paris) and latterly in Lezardrieux (Brittany).

Biography[link]

Childhood[link]

Brassens grew up in the family home in Sète with his mother, Elvira Dagrosa, father, Jean-Louis, half-sister, Simone (daughter of Elvira and her first husband, who was killed in the war), and paternal grandfather, Jules. His mother, who came from southern Italy (Basilicata province), was a devout Roman Catholic, while his father was an easy-going, generous, openminded, anticlerical man. Brassens grew up between these two starkly contrasting personalities, who nonetheless shared a love for music. His mother—whom Brassens labelled a "missionary for songs" (militante de la chanson), Simone and Jules, were always singing. This environment imparted to Brassens a passion for singing that would come to define his life. At the time he listened constantly to his early idols: Charles Trenet, Tino Rossi, and Ray Ventura. He was said to love music above all else: it was his first passion and the path that led him to his career. He told his friend André Sève, "[It is] a kind of internal vibration, something intense, a pleasure that has something of the sensual to it." He hoped to enroll at a music conservatory, but his mother insisted that he could only do so if his grades improved. Consequently, he never learned to read music. A poor student, Brassens performed badly in school.

Alphonse Bonnafé, Brassens's ninth-grade teacher, strongly encouraged his apparent gift for poetry and creativity. Brassens had already been experimenting with songwriting and poetry. Bonnafé aided his attempts at poetry and pushed him to spend more time on his schoolwork, suggesting he begin to study classical poetry. Brassens developed an interest in versification and rhyme. By Brassens's admission, Bonnafé's influence on his work was enormous: "We were thugs, at fourteen, fifteen, and we started to like poets. That is quite a transformation. Thanks to this teacher, I opened my mind to something bigger. Later on, every time I wrote a song, I asked myself the question: would Bonnafé like it?" By this point, music had taken a slight backstage to poetry for Brassens, who now dreamed of being a writer.

Nonetheless, personal friendships and adolescence still defined Brassens in his teens. At age seventeen, he was implicated in a crime that would prove to be a turning point in his life. In order to make a little money, Georges and his gang decided to turn to small thefts whose principal victims were their respective families. Georges stole a ring and a bracelet from his sister. The police found and caught him, which caused a minor scandal. The young men were publicly characterized as "high school mobsters" or "scum". Some of the perpetrators, unsupported by their families, spent time in prison. While Brassens's father was more forgiving and immediately picked up his son, Brassens was expelled from school. He decided to move to Paris in February 1940, following a short trial as an apprentice mason in his father's business after World War II had already broken out.

Wartime[link]

Apprenticeship[link]

Brassens lived with his aunt Antoinette in the 14th arrondissement of Paris, where he taught himself to play piano. He began working at a Renault car factory. In May 1940 the factory was bombed, and France invaded by Germany. Brassens returned to the family home in Sète. He spent the summer in his home town, but soon returned to Paris, feeling that this was where his future lay. He did not work, since employment would serve only to profit the occupying enemy. Saddened by the lack of poetic culture, Brassens spent most of his days in the library. It was then that he set a pattern of rising at five in the morning, and going to bed at sunset – a pattern he maintained the greater part of his life. He meticulously studied the great masters: Villon, Baudelaire, Verlaine and Hugo. His approach to poetry was almost scientific. Reading, for instance, a poem by Verlaine, he dissected it image by image, attentive to the slightest change in rhythm, analysing the rhymes and the way they alternated. He drew on this enormous literary culture as wrote his first collection of poems, Des coups d’épée dans l’eau, whose conclusion foreshadowed the anarchism of his future songs:

Le siècle ou nous vivons est un siècle pourri.

Tout n'est que lâcheté, bassesse,

Les plus grands assassins vont aux plus grandes messes

Et sont des plus grands rois les plus grands favoris.

Hommage de l'auteur à ceux qui l'ont compris,

Et merde aux autres.

(The century we live in is a rotten century.

Nothing but cowardice and baseness.

The greatest murderers attend the greatest masses

And are the greatest favourites of the greatest kings.

Homage from the author to those who understood it,

And shit for the others.)

Brassens also published A la venvole in 1942, thanks to the money of his family and friends, and with the surprising help of a woman named Jeanne Planche, a neighbour of Antoinette, probably the first Brassens fan. Brassens later commented on his early works: "In those times, I was only regurgitating what I had learned reading the poets. I hadn't transformed it into honey yet."

Exile[link]

In March 1943, Brassens was requisitioned for the STO (Service de Travail Obligatoire: Obligatory Work Service) and was taken to Basdorf, Germany. He found time to write, but he stooped to easiness. It was nevertheless in Germany that he wrote Bonhomme and Pauvre Martin, along with more than a hundred songs, that were later either burned or frequently altered before they reached their final form (Le Mauvais sujet repenti). He also wrote the beginning of his first novel, Lalie Kakamou. In Germany, he met some of his best friends like Pierre Onténiente, whom he nicknamed "Gibraltar", because he was "firm as a rock." Onténiente later became his right-hand man and his private secretary.

A year after he arrived in Basdorf, Brassens was granted a ten day furlough. It was obvious to him and his new friends that he wouldn't come back. In Paris, he had to find a hideout, but he knew very few people. He had indeed led quite a lonely life in Paris, seeing only a friend from Sète and the girls. Finally, Jeanne Planche came to his aid and offered to put him up as long as necessary. Jeanne lived with her husband Marcel in a hovel at 9 impasse Florimont, with no gas, water or electricity. Brassens accepted... and stayed there for twenty two years. He once said on the radio: "I was nice there, and I have gained since then quite an amazing sense of discomfort." According to Pierre Onténiente: "Jeanne had a crush on Georges and Marcel knew nothing, as he started to get drunk at eight in the morning."

Anarchist influences[link]

Once put up at Jeanne Planche's, Georges had to stay hidden for five months, waiting for the war to come to an end. He continued writing poems and songs. He composed using as his only instrument a small piece of furniture that he called "my drum" on which he beat out the rhythm. He resumed writing the novel he started in Basdorf, for only now did he consider a career as a famous novelist. The end of World War II and the freedom suddenly regained didn't change his habits much, except that he got his library card back and resumed studying poetry.

The end of the war meant the homecoming of the friends form Basdorf, with whom Brassens planned to create an anarchist-minded paper, Le Cri des gueux (The villains' cry), which never came into being for lack of money. At the same time, he set up the "Prehistoric Party" with Emile Miramont (a friend from Sète nicknamed "Corne d'Auroch" –auroch's horn) and André Larue (whom he met in Basdorf), which advocated the return to a more modest way of life, but whose chief purpose was to ridicule the other political parties. After the failure of Le Cri des gueux, Brassens joined the Anarchist Federation and wrote some virulent, black humour tinged articles for Le Libertaire, the Federation's paper. But the extravagance of the future songwriter wasn’t to everybody’s taste, and he soon had to leave the Federation, albeit without resentment.

Brassens said in an interview: "I'm an anarchist, so much so that I always cross at the zebra crossing to avoid arguing with the police." He also said: "I'm not very fond of the law. As Léautaud would say, I could do without laws [...] I think most people couldn’t."

Career[link]

His friends who heard and liked his songs urged him to go and try them out in a cabaret, café or concert hall. He was shy and had difficulty performing in front of people. At first, he wanted to sell his songs to well-known singers such as "les frères Jacques". The owner of a cafe told him that his songs were not the type he was looking for. But at one point he met the singer Patachou in a very well-known cafe, Les Trois Baudets, and she brought him into the music scene. Several famous singers came into the music industry this way, including Jacques Brel and Léo Ferré. He later on made several appearances at the Paris Olympia under Bruno Coquatrix' management and at the Bobino music hall theater.

1964

He toured with Pierre Louki, who wrote a book of recollections entitled Avec Brassens (éditions Christian Pirot, 1999, ISBN 2-86808-129-0). After 1952, Brassens rarely left France. A few trips to Belgium and Switzerland; a month in Canada (1961, recording issued on CD in 2011) and another in North Africa were his only trips outside France – except for his concerts in Wales in 1970 and 1973 (Cardiff).^[1]

Songs[link]

Brassens rarely performed abroad. His lyrics are difficult to translate, though attempts have been made.^[2] He accompanied himself on acoustic guitar. Most of the time the only other accompaniment came from his friend Pierre Nicolas with a double bass, and sometimes a second guitar (Barthélémy Rosso, Joël Favreau).

His songs often decry hypocrisy and self-righteousness in the conservative French society of the time, especially among the religious, the well-to-do, and those in law enforcement. The criticism is often indirect, focusing on the good deeds or innocence of others in contrast. His elegant use of florid language and dark humor, along with bouncy rhythms, often give a rather jocular feel to even the grimmest lyrics.

Some of his most famous songs include:

• Les copains d'abord, about a boat of that name, and friendship, written for a movie Les copains (1964) directed by Yves Robert; (translated and covered by Asleep At The Wheel as "Friendship First" and by a Polish cover band Zespół Reprezentacyjny as "Kumple to grunt" and included on their 2007 eponymously titled CD).
• Chanson pour l'Auvergnat, lauding those who take care of the downtrodden against the pettiness of the bourgeois and the harshness of law enforcement.
• La Cane de Jeanne for Marcel and Jeanne Planche, who befriended and sheltered him and others.
• La mauvaise réputation – "the bad reputation" – a semi-autobiographical tune with its catchy lyric: "Mais les braves gens n'aiment pas que l'on suive une autre route qu'eux" (But the good folks don't like it if you take a different road than they do.)
• Les amoureux des bancs publics – about young lovers who kiss each other publicly and shock self-righteous people.
• Le gorille – tells, in a humorous fashion, of a gorilla with a large penis (and admired for this by ladies) who escapes his cage. Mistaking a robed judge for a woman, the beast forcefully sodomizes him. The song contrasts the wooden attitude that the judge had exhibited when sentencing a man to death by the guillotine with his cries for mercy when being assaulted by the gorilla. This song, considered pornographic, was banned for a while. The song's refrain (Gare au gori – i – i – i – ille, "beware the gorilla") is widely known; it was translated into English by Jake Thackray as Brother Gorilla, by Greek singer-songwriter Christos Thivaios as Ο Γορίλλας ("The Gorilla"), by Spanish songwriter Joaquín Carbonell as "El Gorila" ("The Gorilla"), by Italian songwriter Fabrizio De André as "Il Gorilla" ("The Gorilla" – FDA included this translation into his 1968 album "Volume III"), by a Polish cover band Zespół Reprezentacyjny as "Goryl" and by Israeli writer Dan Almagor as "הגורילה".
• Fernande – a 'virile antiphon' about the women lonely men think about to inspire self-gratification (or to nip it in the bud). Its infamous refrain (Quand je pense à Fernande, je bande, je bande..., `When I think about Fernande, I get hard') is still immediately recognized in France, and has essentially ended the use of several female first names.
• Supplique pour être enterré à la plage de Sète, a long song (7:18) describing, in a colourful, "live" and poetic way, his wish to be buried on a peculiar sandy beach in his hometown, "Plage de la Corniche".
• Mourir pour des idées, describing the recurring violence over ideas and an exhortation to be left in peace (translated into Italian by Italian singer-songwriter Fabrizio De André as "Morire per delle idee" and included in FDA's 1974 album "Canzoni" and by a Polish cover band Zespół Reprezentacyjny as "Śmierć za idee" and included on their 2007 CD "Kumple to grunt").

Brassens died of cancer in 1981, in Saint-Gély-du-Fesc, having suffered health problems for many years, and rests at the Cimetière le Py in Sète.

Legacy[link]

In recent years, more than 50 doctoral dissertations have been written about Georges Brassens. Many artists from Japan, Israel, Russia, the United States (where there is a Georges Brassens fan club), Italy and Spain have made cover versions of his songs. His songs have been translated into 20 languages, including Esperanto.

Many singers have covered Georges Brassens' lyrics in other languages, for instance Pierre de Gaillande, who translates Brassens' songs and performs them in English, Koshiji Fubuki in Japanese, Fabrizio De André (in Italian), Alberto Patrucco (in Italian), and Nanni Svampa (in Italian and Milanese), Graeme Allwright and Jake Thackray (in English), Sam Alpha (in creole), Yossi Banai (in Hebrew), Jiří Dědeček (in Czech), Mark Freidkin (in Russian), Loquillo, Paco Ibáñez, Javier Krahe, Joaquín Carbonell and Eduardo Peralta (in Spanish), Jacques Ivart (in esperanto), Franz Josef Degenhardt and Ralf Tauchmann (in German), Zespół Reprezentacyjny (they released 2 CDs of Brassens' songs in Polish) and Piotr Machalica (in Polish), Cornelis Vreeswijk (Swedish) and Tuula Amberla (in Finnish). Dieter Kaiser, a Belgian-German singer who performs in public concerts with the French-German professional guitarist Stéphane Bazire under the name Stéphane & Didier has translated into German language and gathered in a brochure 19 Brassens songs. He also translated among others the poem "Il n'y a pas d'amour heureux" of the French contemporary poet Louis Aragon. Franco-Cameroonian singer Kristo Numpuby also released a cover-album with the original French lyrics but adapted the songs to various African rhythms.

An international association of Georges Brassens fans exists and there is also a fan club in Berlin-Basdorf which organizes a Brassens festival every year in September.

Brassens composed about 250 songs, of which 200 were recorded, the other 50 remaining unfinished.

Renée Claude, an important Québécois singer, dedicated a tribute-album to him, J'ai rendez-vous avec vous (1993).

His songs have a major influence on many French singers across several generations, including Maxime Le Forestier, Renaud, Bénabar and others.

In 2008, the English folk-singer Leon Rosselson included a tribute song to Brassens, entitled "The Ghost of Georges Brassens", on his album A Proper State.

The song "À Brassens" ("To Brassens") from Jean Ferrat's album Ferrat was dedicated to Brassens.

Heritage sites[link]

Many schools, theatres, parks, public gardens, and public places are dedicated to Georges Brassens and his work, including:

• L'Espace Brassens in his hometown of Sète, a museum to his life.
• A park built on the site of the former Vaugirard horse market & slaughterhouses, was named parc Georges Brassens. Brassens lived a large part of his life about hundred metres from the slaughterhouses, at 9 impasse Florimont and then at 42 rue Santos Dumont. The park was inaugurated in 1975.
• A nearby station of Tram line 3 is also named in Brassens' honour.
• The Place du Marché of Brive-la-Gaillarde was renamed Place Georges Brassens, as a tribute to women that had had a clash here with the French gendarmerie, a clash he evoked in one of his songs, Hécatombe.
• In the Paris Métro station Porte des Lilas (Line 11) there is a mural portrait of Brassens along with a quote from his song "La Porte des Lilas", written for the 1957 film "Porte des Lilas" by René Clair. In this film, Brassens had a supporting role, practically playing himself.

References[link]

External links[link]

Wikimedia Commons has media related to: Georges Brassens

• (English) Espace Brassens museum in Sète
• (French) Georges-Brassens.com
• (French) AnalyseBrassens.com
• Georges Brassens at the Internet Movie Database

Marquise Goodwin

Personal information
Nationality	American
Born	(1990-11-19) November 19, 1990 (age 21) Lubbock, Texas
Height	5 ft 9 in (1.75 m)
Weight	170 lb (77 kg)
Sport
Sport	Track and Field
Event(s)	Long Jump
Achievements and titles
Personal best(s)	Long Jump: 8.18, (Eugene 2009)
Medal record Men's athletics Competitor for the  United States Summer Universiade Silver 2011 Shenzhen Long Jump World Junior Championships Gold 2008 Bydgoszcz Long Jump

Marquise Goodwin (born November 19, 1990, in Lubbock, Texas) is a sprinter and jumper for the University of Texas track team and also competes in football as a wide receiver. Currently he is a sophomore on scholarship to run track for the University of Texas-Austin track team and is one of the premier underclassmen in country in the long jump as well as the 60 metres and 100 metres dashes and the triple jump. He competed in five events during his high school track career at Rowlett High School^[1] where he broke the National High School record in the long jump at the U.S. Championships, finishing with a mark of 8.18 m (26 ft 10 in).^[2][3][4] Goodwin is from Rowlett, Texas.

High school career[link]

Goodwin caught 61 passes for 776 yards (12.7 average) and seven touchdowns in 2009 football season, had the second fastest 100-meter time (10.38) in the state, was the state champion in the triple jump and long jump, and was a member of the state title winning 4×100 relay team.^[5] Goodwin finished first in the long jump at the 2008 World Junior Championships in Athletics in Bydgoszcz, Poland^[6] and hopes to compete in the 2012 Summer Olympics.^[7]

College career[link]

Goodwin's first touchdown of his freshman year came in a 16-13 victory over rival Oklahoma October 17, 2009 at the Cotton Bowl in Dallas.^[8] Goodwin returned a kickoff 95 yards for a touchdown to seal the Longhorns' win over Texas A&M November 27, 2009.^[9]

References[link]

External links[link]

• IAAF profile for Marquise Goodwin
• DyeStat profile for Marquise Goodwin
• Texas Longhorns football bio