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Mademoiselle La Grange

Mademoiselle La Grange, born Marie Ragueneau de l'Estang, also known as Mademoiselle Marotte and Mademoiselle de La Grange,  was a 17th century French actress and a member of the Comedie Francaise. She was married to the French actor La Grange, and participated in Moliere's acting troupe until 1692.

=Early Life=

Marie Rageneau de l'Esstang was born May 18, 1639, in Paris.

Her mother was Marie Brunet. Her father, Cyprien Ragueneau, was a famous pastry chef and caterer in the Rue Saint-Honoré in Paris. On his daughter's baptismal certificate, Rageneau declared himself "pastry chef of Monsieur Cardinal de Richelieu". According to Dassoucy, who wrote an inspired description of Ragenau's madness, Rageneau ruined himself through his love of poetry, the result of all the poets who visited his shop. (in The Adventures of Italy by Monsieur Dassoucy, 1677), After her father spent a year in prison, Marie accompanied her parents and two siblings to the Languedoc region in the early 1650s, where Rageneau  joined  Molière's troupe of actors. There, he took on his stage name:  "Sieur de l'Estang ". Dassoucy also says that, unable to obtain even the smallest theatrical role, Rageneau   ended up as a candle snuffer in another troupe and died in 1654. He was the inspiration for the character of Ragueneau,  the baker-poet, in Cyrano de Bergerac.

=Acting Career=

Marie, known as Mlle Marotte, may have started with the troupe as a maid of one of the actresses, Mlle de Brie (according to Grimarest)  but the register of La Grange, who later became her husband, indicates that after the return of Moliere's troupe to Paris (1658) she was listed as a 'receveuse', a hostess or distributor of fine liquors. (website.) Some historians attribute a small role in Les Précieuses ridicules (1659), to her, based on the fact that the servant in the play is called Marotte. She also played the role of Georgette in The School of Women. Other roles included:

·The Countess in La Comtesse d'Escarbagnas le 2 décembre 1671 ;

·Béline in The Imaginary Invalid on February 10 1673 ;

·Dorimène in Le Triomphe des dames by Thomas Corneille in 1676;

·Mme Patin in Le Chevalier à la mode by Florent Carton Dancourt in 1687 ;

·Céphise in La Coquette by Jean-François Regnard en 1691.

She received half a share in the company and a day's wages for every performance.

=Marriage and family=

Marie married Charles Varlet de La Grange on April 24, 1672. when she was thirty three years old. La Grange was a fellow actor in Moliere's troupe with solid financial resources. He was also a diarist, and recorded the finances and activity of Moliere's troupe in his diary. What little we know of his wife Marie de la Grange comes largely from his diaries. "On April 24, the Sunday we played Quasimodo,"he notes."I got engaged. The next day, Monday, April 25, in St. Germaine de L'Auxerrois,  I got married to Marie Rageneau de l'Estang who is an actress in the troupe"  (Dictionaire Critique)

After her marriage to LaGrange, Marie gave birth to two twin girls, born prematurely on December 12, 1672. Both died within a few hours of their birth. Their baptism was attended by Moliere and by "Mlle Moliere". La Grange recorded the deaths of his daughters in his diary with characteristic reserve. https://books.google.com/books?id=hJuQnTv4fpAC&pg=RA1-PA6&dq=marie+ragueneau+de+l%27estang&hl=en&sa=X&ved=0ahUKEwj_66nF1OLgAhUR658KHSQ0D1IQ6AEIQTAE#v=onepage&q=marie%20ragueneau%20de%20l'estang&f=false

Her father died in 1654, and her mother passed away in Paris in 1670. (Dictionanaire.) Dictionnaire critique de biographie et d'histoire: errata et supplément pour tous les dictionnaires historiques, 1867

Front Cover Augustin Jal

=Epigram and Later Life

Madame Marie La Grange left the theater a month after her husband's death in 16???. Augustin Jai says of Marie, "An epigram, vulgar and probably exaggerated, accuses her of having not been very faithful to her husband." (Dictionnaire)

The Parfait brothers said of her that she was known while in Moliere's Troupe as Marotte, and was plain but flirtatious. The epigram mentioned by Jai, also attributed to the Parfait brothers, is as follows:

Si n'ayant qu'un amant on peut passer pour sage Elle est assez femme de bien Mais elle en aurait davantage Si l'on voulait l'aimer pour rien.

If in having just one lover one can pass oneself off as good She is doing very well But she would have even more of them If one wants to love her for nothing.

--Histoire de Theatre Français, par les frères Parfait, XIII, p. 299, quoted in Histoire de Vie et des Ouvrages de Moliere, p. 219

After La Grange died in x, Marie outlived him by 55 years, but little is known of her life at that time. Life Of Moliere, p. 30

Histoire de la vie et des ouvrages de Molière

Front Cover J. Hetzel, 1844

She received a pension of 1,000 pounds and died on ????> (Dictionanaire.)

Relations & Relationships in Seventeenth-century French Literature: Actes Du 36e Congrès Annuel de la North American Society for Seventeenth-Century French Literature, Portland State University, 6-8 Mai 2004

Front Cover Jennifer Robin Perlmutter, North American Society for Seventeenth-Century French Literature. Conference Gunter Narr Verlag, 2006 - Families in literature - 341 pages

https://books.google.com/books?id=9zNsEPJtIR4C&pg=PA83&dq=varlet+de+la+grange&hl=en&sa=X&ved=0ahUKEwi32pek2OLgAhVCNX0KHfIdCBAQ6AEIQzAE#v=onepage&q=varlet%20de%20la%20grange&f=false

Described as 'rather plain' with 'mediocre talent' in Dictionnaire critique de biographie et d'histoire: errata et supplément pour tous les dictionnaires historiques

Front Cover Augustin Jal 1867, p. 1030.

After La Grange died in x, Marie outlived him by 55 years, but little is known of her life at that time. Life Of Moliere, p. 30

Marie, dite Mlle Marotte, est peut-être entrée dans la troupe en tant que femme de chambre des comédiennes, mais le registre de La Grange indique qu'après le retour de la troupe de Molière à Paris (1658) elle était l'une des receveuses du théâtre. Certains historiens lui attribuent un petit rôle dans Les Précieuses ridicules (1659), arguant du fait que la servante s'appelle Marotte, puis celui de Georgette dans L'École des femmes en 1663, parce qu'un registre de la troupe lui attribue 3 livres à plusieurs reprises lors des représentations de la pièce, et qu'en 1685 elle finit par obtenir ce rôle. Mais, dans un cas comme dans l'autre, ces affirmations restent sujettes à caution : L'École des femmes ne comprend qu'un seul autre rôle féminin (Agnès joué par Catherine de Brie), et la troupe disposait de Madeleine Béjart, de Marquise Du Parc, de la jeune Armande Béjart (et même de Louis Béjart, qui jouait quelquefois les femmes âgées ou ridicules), comédiennes de premier plan bénéficiant logiquement de la préséance. C'est d'ailleurs au titre de receveuse que Marie recevait 3 livres à chaque représentation au début des années 1660, comme le révèle le registre de La Grange. De plus, pendant les dix années suivantes, elle continua à faire la receveuse et l'ouvreuse, voir tout au plus quelquefois, comme certains de ses collègues, la figurante. Et lorsque la troupe finit par l’accepter comme comédienne au début des années 1670, ce n'est que sur l'insistance de La Grange et à condition qu’elle ne perçoive qu'une demi-part et qu’elle paie le salaire d'un gagiste chaque jour de représentation.

On April 25, 1672, she married La Grange and then took the name of Miss de La Grange, under which she is the best known. Playing very little, she moved to a quarter in 1680, and a month after the death of her husband, in 1692, she left the troupe with a pension of 1,000 pounds, probably in respect of the great talent and the energy that has deployed her husband.

She died on February 3, 1727 in Paris, aged 88 years.

Some of her roles change the code] The Countess in The Countess of Escarbagnas on December 2, 1671; Beline in The Imaginary Ill on February 10, 1673; Dorimène in The Triumph of the Ladies by Thomas Corneille in 1676; Ms. Patin in The Knight in Fashion Florent Carton Dancourt in 1687; Cephise in La Coquette by Jean-François Regnard in 1691. Sources [edit | change the code] Henry Lyonnet, Dictionary of French Comedians, Library of the International Illustrated International Review, Paris and Geneva, 1902-1908 The Register of the Barn, ed. E. Young & Young P., Paris, Droz, 1947 (reprinted Slatkine 1977), Volume II, p.21-24 Dassoucy, The Adventures of Italy by Monsieur Dassoucy, chap. XII, Paris, Antoine de Raffle, 1677; ed. Dominique Bertrand, Paris, Champion, 2008, p. 401-403. Molière, Œuvres complètes, G. Forestier and C. Bourqui edition, Library of the Pléiade, Paris, Gallimard, 2010 (2 vols, in particular the long note 2 on p.1341)

https://www.nytimes.com/2015/11/05/technology/personaltech/the-high-price-of-delivery-app-convenience.html

Marie Robinson Wright, South American explorer and writer.

Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa

Front Cover Eric Charry University of Chicago Press, 2000

The Rough Guide to World Music: Africa & Middle East

Front Cover Simon Broughton, Mark Ellingham, Jon Lusk, Duncan Antony Clark Rough Guides, 2006

http://www.nytimes.com/1992/03/17/arts/review-music-african-songs-and-tales.html?mcubz=3

"Radio Gambia starts every broadcast day with the music of Amadou Bansang Jobarteh, who made his New York debut on Friday night at Washington Square Church. Mr. Jobarteh is a jali (the Mandinka word) or griot (the French word), an oral historian and praise singer, who accompanies himself on the kora, a 21-stringed harp. In the traditional way, he learned music from his father, who migrated to Gambia from Mali in the late 19th century; as a result, Amadou Bansang Jobarteh's repertory includes both Gambian and Malian styles.

For the first part of Friday's concert, presented by the World Music Institute, Mr. Jobarteh played Gambian songs: meditative music with chiming plucked patterns and improvisational flurries. Eric Charry, one of Mr. Jobarteh's students and the concert's translator, played ostinatos on a second kora; Mr. Jobarteh would add interlocking patterns or break into quick scales or insistent repeated notes, humming along with the lines he played."--NYT

"one of the most renowned kora players of 20th century Gambia"

African Voices on Slavery and the Slave Trade: Volume 2, Essays on Sources and Methods

Front Cover Alice Bellagamba, Sandra E. Greene, Martin A. Klein Cambridge University Press, Apr 14, 2016

from German? wiki article:

Amadou Bansang Jobarteh Amadou Bansang Jobarteh (* around 1915 in Tambasan Sang, Gambia, † 8 April 2001 in Bansang, Gambia) was a respected and influential musician in the Gambia. He played on the West African instrument Kora, a 21-string bridge harp.

Contents [hide] 1 life 2 Discography 3 References 4 References Life [Edit | Edit Source Code] Jobarteh belongs to the tradition of Jali (Griot). Jobarteh's father, Fili Jobarteh, was a musician from Kita in Mali, who settled in Tambasan Sang in the late 19th century, and who presented the prize under the patronage of the local ruler, Falai Kora. After his death, Fili Jobarteh forced to leave the village. He found a new job at Bansang. There the young Jobarteh learned to play the Kora, the instrument of the Mandinka, which was widely used in the Gambia. By 1940, Jobarteh went to the Kleinreich Kombo, where he found employment with the head of the community. Later a well-to-do dealer from Gunjur supported him. In 1986-1987, Jobarteh was a guest musician at the Department of Musicology at the University of Washington [1]

Amadou is the uncle of the musician Sidiki Diabaté, who is the father of the well-known Malian musician Toumani Diabaté. His granddaughter Maya Jobarteh plays Cello and his grandson Bajaly Suso also Kora. His most famous publication is Tabara.

Since the 1940s, he has worked for almost sixty years. He died in his home on April 8, 2001.

Discography Edit Source Code] 1978 Master of the Kora (EAVADISC) 1994 Tabara (Music of the World) 2001 Gambia for the People (The Orchard) References [Edit | Edit Source Code] Lucy Durán: A preliminary study of "Tutu Jara" as performed by Amadu Bansang Jobate. In: In: D.R. Widdess, R.F. Wolpert (eds.): Music and Tradition. Essays on Asian and other musics presented to Laurence Picken. Cambridge University Press, Cambridge, 1981, pp. 183-196 Single Signature [Edit | Edit Source Code] High Jumping ↑ Amadu Bansang Jobarteh - Gambia, West Africa. University of Washington Google Translate for Business:Translator ToolkitWebsite Translator

San Francisco Civil Rights Demonstrations of 1960-64

The San Francisco Civil Rights Demonstrations of 1960-64 were a series of nonviolent protest actions that took place at various businesses throughout San Francisco to protest discriminatory hiring practices against African-Americans. They included sit-ins, picket lines, marches and other events and targeted local businesses which included car dealerships on San Francisco's auto row, Woolworth's, Mel's Drive-In, Lucky's Supermarket, and the Sheraton Palace Hotel. The demonstration at the Sheraton, which included 1,500 people, was the largest Civil Rights demonstration in San Francisco until that time.

Background

Discrimination in housing and jobs.

marches in support of Birmingham, against Woolworths.

Prop 14

"Martin Luther King visited the Bay Area in May of 1964 for a rally to raise awareness and support of the passing of the civil rights bill in the U.S. Senate and to speak out against the attempt to repeal the Rumford Fair Housing Act in California, which was a law passed in 1963 to help end racial discrimination by property owners and landlords who refused to rent or sell their property to non-white customers. Reverend King stated that the repealing the Rumford Fair Housing Act would be a major set-back for California, for democracy, and for "what we are trying to do in the South." (News-Call Bulletin, May 29, 1964).

In 1964, the California Real Estate Association sponsored an initiative, Proposition 14, which would amend the constitution of California. This amendment gave landlords and property owners absolute discretion to choose who to sell, lease or rent to. The measure passed and soon after, the federal government cut off all housing funding to California in response. (News-Call Bulletin, November 5, 1964). In 1967, the California Supreme Court held that the proposition was unconstitutional because it violated the equal protection and due process provisions of the California Constitution. (Reitman v. Mulkey 64 Cal. 2d 529 (1966)." --Google--Mar 31, 1960 - Apr 21, 1965 The Civil Rights Movement in The Bay Area

Mel's Drive-In

"Beginning on October 19, 1963, the Ad Hoc Committee to End Discrimination organized pickets of the San Francisco, Oakland and Berkeley locations of Mel's Drive-In restaurants. Harold Dobbs was one of the owners of Mel's Drive-In and was running for mayor at the time. (Berkeley in the 60s by Jo Freemanp. 89).  On the Saturday before the election, November 5, 1963, the Ad Hoc Committee picketed Dobbs home.  The demonstrators conducted a mass sit-in of Mel's Drive-In, occupying all of the seats of the restaurant but refusing to order food. 59 protestors were arrested.  Dobbs signed an agreement a week later with the Ad Hoc Committee to hire more African Americans in front of house positions. "  Google--Mar 31, 1960 - Apr 21, 1965 The Civil Rights Movement in The Bay Area The Bancroft Library. also--( http://www.foundsf.org/index.php?title=Segregation_and_the_Civil_Rights_Movement_in_San_Francisco)

Sheraton Palace

" many hotels refused to hire African Americans as bartenders and waiters. The Ad Hoc Committee targeted the Sheraton-Palace to picket for its discriminatory hiring practices. On March 1st, 123 protesters were arrested. (News-Call Bulletin, March 2, 1964).

On Thursday, March 5th, the Sheraton-Palace hired its first African American waitress but refused to sign an agreement. As the pickets continued, more and more people joined the demonstrators and the number of protesters increases to the thousands. On March 6 and 7, thousands of people gathered to demonstrate. About 200 protesters were arrested. Mayor Shelley facilitated an agreement between all parties and 33 hotels agreed to a nondiscrimination policy, with a goal of 15-20% minority employees and inspections to ensure compliance with this agreement, among other things. (News-Call Bulletin, March 7, 1964)."

Split between NAACP and Ad-Hoc Committee to End Discrimination. (Google article).

Auto Row

"The next target for picketing was Auto Row on Van Ness Avenue in San Francisco. The car dealerships there refused to hire African Americans for any work other than janitorial.  On March 14, 1964, more than 1,000 demonstrators amassed at the Cadillac showrooms to picket. (News-Call Bulletin, March 14, 1964).  107 protesters were arrested.  A second sit-in occurred on April 11th at the Cadillac, Lincoln-Mercury and Chrysler dealerships on Van Ness.  They entered the dealership and sat in the floor room and in offices and 226 protesters were arrested.  (News-Call Bulletin, April 11, 1964).  The picketing continued and, on April 13th, the national NAACP announced that demonstrations would be held against dealerships across the nation.  Finally, Mayor Shelley's Interim Committee on Human Relations intervened to bring the NAACP and the auto-dealers to a resolution. "--Google Arts

Bank of America

"In May of 1964, CORE and the NAACP organized a picket of Bank of America to protest its discriminatory hiring practices. The picketing campaign included "bank-ins" in which demonstrators held up lines by window hopping from teller to teller and asking them to make change.  "Several demonstrators asked for rolls of pennies and them insisted on breaking them open at the tellers window and counting them while customers fumed in lines behind them."  (News-Call Bulletin, June 2, 1964).  Bank of American entered into an agreement with the State Fair Employment Practice Commission to implement equal employment opportunity policies and hire more minorities.  (News-Call, June 4, 1964)--Google Arts.

Lucky's

"Shop-ins"

Education

EDUCATION

"The residential segregation of black and white Bay Area residents was a major cause of the segregation of Bay Area schools. Max Rafferty, the State Superintendent of Public Instruction in 1964 stated that the problem of school segregation "will not be solved so long as any American family is prevented from acquiring housing in any neighborhood where the family wants to live." (News-Call Bulletin, March 9, 1964).  This was particularly evident in the cities of Berkeley, Oakland, Richmond and San Francisco.  (Prophets of Rage:  The black freedom struggle in San Francisco, 1945-1969 by Daniel Crowe, p. 72)

"While the courts were slowly enforcing the 1954 Brown v. Board of Education decision, outlawing educational segregation in the South, schools in northern and western cities like Berkeley were becoming ever more segregated. The fact that northern and western segregation was "de facto," the result of residential patterns, rather than "de jure," the result of discriminatory laws, made little difference to civil rights activists." (Berkeley, A City in History by Charles Wollenberg).

The Embassy Club (London)

The Embassy Club was a nightclub on Old Bond Street in London which was founded in 1919 by__________. It began as an exclusive and elegant supper club club, where a couch was reserved for the Prince of Wales ( Nights Out: Life in Cosmopolitan London Judith Walkowitz Yale University Press, May 15, 2012) and continued  in the 1920's  30s,  and 40's  featuring British jazz greats like Bert Ambrose in the 1920's (Who's Who of British Jazz: 2nd Edition John Chilton Bloomsbury Publishing, May 1, 2004), Freddy Gardner in the 1930s,  and Carl Barriteau in the 1940's, Georgia Brown in the 1950s. (Who's who). and attracted an upper class and exclusive clientele, such as ___ and _____. During World War I, German music bands were banned from playing in London nightclubs, soAmerican jazz bands began to make inroads into London Clubs, and Walkowitz noted in Nights Out that "even the staid Embassy Club" featured the Jazz Kings", a New Orleans black band whose clarinetist was "the legendary' Sydney Bechet."

Luigi, the owner of the club, was said to maintain a 'snooty' atmosphere, dressing his club "according to the strict protocols of social exclusion" (Walkowitz)

George Evans led the first of his experimental multi-saxophone bands at the Embassy Clubin 1941. (Who's who in British Jazz.)

In an article published in Life Magazine in 1950, the Duke of Windsor descried the Embassy Club as 'the place i went to the most', in his youth,  dancing the Charleston and the Black Bottom. He described the owner Luigi as 'a an italian with an enormous cranium and an 'unequaled sense of discretion'. (Life, A King's Story, HH. Duke of Winsor,  May 22, 1950)

In her 1962 memoir, "A child of the  Twenties", Frances Donaldson describes  not only her own recollections of the Embassy but quotes from Michael Arlen: (Child of the Twenties Frances Donaldson A&C Black, Dec 1, 2011 )  Says it presented a "microsome of many sections of society at that time" and describes it at some length. She describes the many hostesses and women of the theater who congregated at the club,including Tallulah Bankead etc. etc. as well as 'the last of the courtesans', quote.

The Embassy continued as an upscale nightclub into the 1960's and early 1970s. Then, in..

In the 1978, the Embassy Club re-opened as a discotheque and attracted a more flamboyant crowd. Descrbied as "London's version of studio 54". ("a wilder, more dysfunctional version of Studio 54"). "the Embassy was not about boy meets girl, but a place where sexual decadence reigned, underpinned by a homoerotic aesthetic that continued the rituals of the New York gay scene." ref: http://www.independent.co.uk/arts-entertainment/we-made-it-feel-mighty-real-1196748.html. Celebrity visitors included David Bowie, Pete Townsend, Mick Jagger and Marie Helvin  Boy George, Steve Strange and Rusty Egan

Design of club and influence of DJ Greg James in 1978 (Last Night a DJ Saved My Life: The History of the Disc Jockey Bill Brewster Grove/Atlantic, Inc., May 13, 2014)

Featured in 2010 biography, The Temptress: The Scandalous Life of Alice de Janze and the Mysterious Death of Lord Erroll Paul Spicer St. Martin's Press, Jul 20, 2010

Actor Ian Ogilvy writes about going home with a hostess from the Embassy Club in the 1950s in his 2016 memoir, Once a Saint, An Actor's Memoir, though he locates the club in the Soho District. Once A Saint: An Actor's Memoir Ian Ogilvy Little, Brown Book Group, May 5, 2016

John Taylor of Duran Duran describes his visits to the Embassy Club in the 1970s and the club's  the Pleasure Groove: Love, Death, and Duran Duran John Taylor Penguin, Sep 24, 2013 - "has a place in club folklore for a number of reasons, among the fact that for several years Motorhead's Lemmy was welded to the Space Invaders machine to the left of the main bar."

In 1981, the??(who) invested in the Embassy Club, and kept it going for awhile longer, but by the 1990's, there is no further mention of the club in any sources.

In the 21st century, another club called The Embassy Club Mayfair was opened on Burlington Street and was a popular nightclub until it closed in 2013.

Belle Cora

=Expats in Paris=

http://www.forbes.com/sites/timreuter/2014/01/24/how-american-expatriates-in-paris-built-the-united-states/#318bff725744

____