louis xiv

Par quel étrange détour esthétique le port de la perruque s’est il imposé pour devenir non seulement un must, mais l’apanage des grands hommes ? Pourquoi la perruque, grise et touffue? La raison est pathétique. 

Avec Simone Fortin et Charles Trahan

Production QUB Radio Octobre 2022

Pour de l’information concernant l’utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Avant qu’elle devienne le symbole de Movember, une campagne mondiale pour amasser des fonds pour les maladies touchant les hommes, la moustache était un attribut de mode, mais aussi un objet de controverse, qui a même été régulé par les gouvernements à divers moments de l'histoire. 

Avec Sophie Croteau  et Charles Trahan

Une production QUB Radio Novembre 2023

Pour de l’information concernant l’utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Accessoire de prédilection des femmes fatales et des starlettes, les chaussures à talons hauts sont aujourd’hui indissociables de la féminité. Pourtant, si l’on remonte à leur arrivée en Europe, il y a de cela plus de 400 ans, elles étaient synonymes de virilité et de pouvoir chez les nobles messieurs qui les portaient. Qui a eu l’idée de surélever les talons sur des chaussures et pour répondre à quel besoin? 

Avec Sarah-Florence  Benjamin et Charles Trahan

Une production QUB Radio Octobre 2023

Pour de l’information concernant l’utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Jean-Baptistle Lully is perhaps best known for the unusual circumstances of his death. But he lived a fascinating life that would rival any fictional rags-to-riches story. 

Research:

• James R. Anthony. “Lully’s Airs. French or Italian?” The Musical Times, vol. 128, no. 1729, 1987, pp. 126–29. JSTOR, https://doi.org/10.2307/964491
• Brett, Philip. “Issues in Music and Sexuality in the Long Eighteenth Century.” Historical Reflections / Réflexions Historiques, vol. 33, no. 1, 2007, pp. 69–77. JSTOR, http://www.jstor.org/stable/41299400
• Fairleigh, James P. “Lully as ‘Secrétaire Du Roi.’” Bach, vol. 15, no. 4, 1984, pp. 16–22. JSTOR, http://www.jstor.org/stable/41640222
• Britannica, The Editors of Encyclopaedia. "Baroque music". Encyclopedia Britannica, 18 Mar. 2023, https://www.britannica.com/art/Baroque-music. 
• Britannica, The Editors of Encyclopaedia. "the Fronde". Encyclopedia Britannica, 5 Feb. 2014, https://www.britannica.com/event/The-Fronde
• Anthony, James R. “The New Grove French Baroque Masters: Lully, Charpentier, Lalande, Couperin, Rameau.” New York. Norton. 1986. Accessed online: https://archive.org/details/newgrovefrenchba00anth/page/30/mode/2up?view=theater
• “The Sun King’s Musician, 1632-1687.” Chateau de Versailles. https://en.chateauversailles.fr/discover/history/great-characters/lully
• “Jean Baptiste Lully.” New World Encyclopedia. https://www.newworldencyclopedia.org/entry/Jean_Baptiste_Lully

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Today we expand on Pt. 1 and delve deeper into both life in early Quebec as well as the history, and throw in a couple bonuses for you, including some of the French place names in North America and some Algonquin Cree words you may not realize you are familiar with.

The Filles du Roi or Daughters of the King, was a term used to describe roughly 800 young French women who's dowries and passage to the new world was paid for by King Louis the 14th in an attempt to correct the imbalance of men in New France and help encourage the creation of families and the agricultural settlement of the territory.  Between 1663 and 1673 these women braved the trip across the ocean to an unknown future for the hope of new life and possibly new love in the new world.

A chateau that looks like a medieval castle, functions as a hunting lodge and supposedly is so grand it could rival Versailles? Chambord is so much more!

If you want to visit yourself then you want to check out the Chateau website.

This image shows how the double helix stairs work.
This video gives you an idea how you walk the stairs without meeting someone coming the other way.

History Hit Podcasts

For more interesting stuff about the Chateau then look no further than the Destination: History website.

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Comparing cultural expressions is a risky enterprise:  especially, in our case, because too many  still perceive Western “classical” art music to be somehow superior to other  musics because of its alleged and “universal” values. But we think the challenge can be worthwhile, especially at a deeper level, because it can help us  tease out complementary ways rulers use sound to literally underscore their political power. In today’s episode we investigate music and power in the Black Atlantic, where European and African musics collided in history.

Our first example is that of the Italo-French composer Jean-Baptiste Lully (1632-1687), who often features as the father of French opera. We focus on his role as composer of lavish multimedia productions known more formally as tragédies en musique, tragedies set to music and celebrating his patron Louis XIV. These fusions of music, drama, and dance were pure political spectacle, and in Louis’s younger years even involved the king himself as a dancer. 

The king was dancing because the purpose of a tragédie en musique was to place the king’s body (which itself represented France, to contemporary ways of thinking) at the center of a complex piece of theatre. The point was not so much to entertain the audience, which often consisted of France’s political elite, but to remind them of the king’s absolute power. 

Lully made a career of creating works like these. Tom unpacks Lully’s work, his dismissal by Louis after a sexual scandal (with a digression to the composer’s subsequent death of gangrene as the result of a self-inflicted wound sustained while directing music) and turns, finally, to Louis’s global political ambitions. Had those ambitions  been fully realized, the cultural world of the Black Atlantic (and thus our music history) would have been much more French.

Chris’s postcard takes us to the soundworlds of the great empires of sub-Saharan West Africa in the pre-colonial era. He starts with the Empire of Mali, whose first emperor, Sundiata Keita (ruling  in the thirteenth century CE) is memorialized in magnificent musical-epic poetry that has been passed down by oral and aural tradition. The bearers of this memory are called jeliat in the languages of West Africa (in French: griot). Chris explains how rulers of empires such as Mali depended on the jeliat, whose memorized epics were key sources of historical, genealogical, and legal knowledge, to tell their stories and legitimize their power.

We then attempt one of those challenging cross-cultural comparisons. Did Lully serve as a kind of praise-singerto Louis XIV? On the face of it certainly. 

Yet  historical comparisons are never simple or neutral. Just look at where we would be likely to encounter Lully’s music today: in “classical” opera houses or in other formats popular with elites in the “global north,” who are often culturally conditioned to value “timeless classics,” not political messages. In contrast the musical aesthetics and outputs  of the oral-aural epics of West Africa, which are still performed by musicians who claim direct lineage to their predecessors at the court of Sundiata, are more likely to pop up on playlists of “traditional” or “world” music. Both are “old” music, so why is one “classical” and the other “traditional”?

The answer is the Western colonization of Africa, the flows of labor, energy, and data that made it possible, and--in turn--the influence of the jelat tradition on the vernacular musics of the Black Atlantic, which underpin nearly so many pop music genres today, from the Delta Blues to hip-hop. Music, it seems to us, is never unmoored from political and economic realities.

Key Points

• In different ways around the world, political power and music mix.
• The prestigious genre of French “tragedy in music” formed in the late seventeenth century in lavish spectacles that told stories about the political power of Louis XIV, the “Sun King”
• The great poetic epics of the West African Empires, such as the Sundiata Epic from the court of the Empire of Mali, functioned similarly.
• Lully’s operas live on, often stripped of their political meaning, in Western “classical” music. The West African epics live on too, as African “traditional music.” Some of their ethos informs the popular genres today that stem from the collision of European and African cultures in the era of the Black Atlantic, with its trade in goods and enslaved people.

Resources

• We are fans of Gérard Corbiau’s 2000 film costume drama Le roi danse (even if it’s somewhat over the top!). Excerpts are available widely on YouTube and other platforms. The soundtrack is available on CD or download from Deutsche Grammophon, and the streaming services Apple Music and Spotify.
• Timothy Blanning’s book The Culture of Power and the Power of Culture: Old Regime Europe 1660-1789 is an excellent introduction to the use of cultural spectacle to underpin political power.
• Eric Charry's Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa is a masterful situation of “traditional” music as part of contemporary West Africa aesthetics and politics.
• Christopher Waterman’s Juju: A Social History and Ethnography of an African Popular Music places the proverb-rich Yoruba contemporary vocal/instrumental music juju in contemporary West African context.

All of the books mentioned in the episode can be found in our Sounding History Goodreads discussion group. Join the conversation!

While we tend to think of absolutism as just a really strong king, this episode shows how the concept of the centralized state was developed in response to the 17th century crisis of order.  In particular, we look at French King Louis XIV and his magnificent palace of Versailles, showing how Louis turned his life into a performance in order to gain power over his nobles.

For more information on History Off the Page, check out our website www.historyoffthepage.com! Or you can support the show via Patreon here: https://www.patreon.com/historyoffthepage?fan_landing=true.

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Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)

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Ever wished that you could be a royal? Who doesn'tt? Well, sign up to our three-step Rags to Royalty program, inspired by Madame de Maintenon, that will 100% absolutely take you to queenhood in no time.

Sources:

Françoise d’Aubigné, marquise de Maintenon (1635—1719) - John J. Conley – 9-(2021) https://iep.utm.edu/mainteno/

Madame de Maintenon – Louis XIV’s secret wife -Moniek (2018) https://www.historyofroyalwomen.com/the-royal-mistresses-series/madame-de-maintenon-louis-xivs-secret-wife/

Undercover Queen - Caroline Weber - 2009 https://www.nytimes.com/2009/09/06/books/review/Weber-t.html

Françoise d'Aubigné, marquise de Maintenon - The Editors of Encyclopaedia Britannica –(2021) https://www.britannica.com/biography/Francoise-dAubigne-marquise-de-Maintenon

The Touring Fan Live will be interviewing Jason Hill

Jason is a film score composer, record producer, songwriter.....I’ll ask him tonight what he doesn’t do!

Jason has worked with legendary artist such as the Killers, David Bowie, Jet, New York Dolls and so many more!

But I know Jason first from being the lead singer of Louis XIV! 

Jason shares stories from Louis XIV being the opening band for what was David Bowies last show, how Louis XIV was formed, how Jason scores films and so much more.

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L’année 1663 est marquée par une secousse sismique qui bouscule la jeune colonie canadienne : le roi de France Louis XIV, aux commandes de son royaume depuis peu, vient de poser son attention sur s’intéresse à sa colonie d’Amérique du Nord. Il est bien inquiet devant sa fragilité, tant sur le plan économique et démographique que sur le plan géopolitique. Pour remédier à la situation, il envoie son homme de confiance, l’intendant Jean Talon!

Pour de l’information concernant l’utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Absolutely Amazing or Divinely Despotic? 
In this episode of DGMH - "Drinks with Great Minds in History" I examine the absolute rule of the Sun King, Louis XIV, and try to figure out whether or not he truly was "the State..."

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Theme Music:
Hall of the Mountain King by Kevin MacLeod

Link: https://incompetech.filmmusic.io/song/3845-hall-of-the-mountain-king

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Emperor Kangxi has been compared to the Renaissance King, the Sun King, Louis XIV of France. Kangxi had the longest reign of all the Qing Dynasty Emperors. He ascended the throne in 1661. 

He took over his Dynasty from the regents appointed by his father.  Nearly immediately, the War of the Three Feudatories began. One of the feudatories rebelled in September 1673.  The other two joined.  For the first few years there was little resistance from the Manchus. Kangxi fought back.  By 1681, the war was over. 

Kangxi also rebuilt Peking.  He opened seaports to foreign trade. He welcomed Western culture, arts, and European refinements. He also worked on the infrastructure in China.  The Grand Canal is the longest, oldest, artificial river in the world and was built long before the Qing Dynasty.  Kangxi repaired it.  Trade flourished under him.  

He published the first Chinese atlas.  He promoted the use of smallpox vaccination. He had a close relationship with many Jesuit priests. He allowed Catholic churches in China and legalized the practice of Christianity.