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petit guide interactif de Paris by Mme Fle

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TOUCH this image to discover its story. Image tagging powered by ThingLink

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Rue Cler (Paris) - 2020 All You Need to Know BEFORE You Go (with Photos) - Tripadvisor

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Just like the Montoguiel st, Rue Cler is a similar yet less crowded pedestrian street between the Invalides and Eiffel tower. Many cheese and wine shops along with small bistros that can serve as your break spot while exploring.

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🥐 We would like to remind you that today is National Croissant Day. This Peanuts strip was first published on August 2, 1984.⁠

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Une enquête du ministère du Travail, basée sur 5000 tests réalisés auprès de 40 sociétés, indique que c'est encore une réalité.

Un candidat avec un nom maghrébin a vu son CV retenu 25 % de moins que l'autre profil européen. Andrey_Popov/Shutterstock / Andrey_Popov

C'est en catimini que le ministère du Travail s'apprête à mettre en ligne, ce vendredi sur son site internet, les résultats de la plus grande étude jamais réalisée sur les discriminations dans l'accès à l'emploi. La concrétisation d'une promesse d'Emmanuel Macron faite en mai 2018, le président de la République considérant que l'existence de discriminations réelles ou ressenties dans l'accès à l'emploi, en particulier pour les habitants des quartiers prioritaires de la politique de la ville, est l'une des manifestations des inégalités qui entaillent le contrat républicain.

Confiée à une équipe de chercheurs du CNRS, l'opération a porté sur 5000 tests réalisés auprès de 40 sociétés, tirées au sort, du SBF 12, indice qui représente les 120 plus grosses capitalisations boursières françaises. Via l'envoi de candidatures spontanées, de réponses à des offres d'emploi ou de demandes d'informations, le lieu de résidence et la consonance du nom maghrébine ou européenne ont été testés. Concrètement,

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Discrimination à l'embauche: sept grandes entreprises épinglées

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Une enquête du ministère du Travail, basée sur 5000 tests réalisés auprès de 40 sociétés, indique que c'est encore une réalité. C'est en catimini que le ministère du Travail s'apprête à mettre en ligne, ce vendredi sur son site internet, les résultats de la plus grande étude jamais réalisée sur les discriminations dans l'accès à l'emploi.

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The World's 50 Best Bars 2018. Discover the list of The World's 50 Best Bars 2018: View The List · Register For Regular Updates and Guest List Opportunities Now ...

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Beauford Delaney Returns to the Scene - The New York Times

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The Art of Collecting

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"The Time of Your Life," 1945, by Beauford Delaney, whose life and work are the subject of revival efforts in Knoxville, Tennessee and Paris. Credit Credit Courtesy of Michael Rosenfeld Gallery LLC, New York

PARIS - One of the most important African-American artists of the 20th century lay in an unmarked grave in Paris for 30 years.

Beauford Delaney's work from the 1930s to the 1970s spanned a range of styles, from naïf urban scenes and portraits to abstract. The Studio Museum in Harlem mounted a major retrospective in 1978, and his works were also shown in France at the Museum of Modern Art and at the École des Beaux-Arts.

Although never center stage, he was a darling of the international culture scene in New York and Paris. James Baldwin called him his "spiritual father." He was close friends with Henry Miller, who wrote about him, and Georgia O'Keefe, who painted his portrait.

But Delaney's star had faded long before his death in 1979 at a Paris mental hospital, at the age of 78. And he has remained largely unknown in his native Knoxville, Tenn.

This year, thanks to efforts on both sides of the Atlantic, Delaney's work is returning to the scene.

Monique Wells, an American expatriate who gives walking tours focused on famous African-Americans who lived in Paris, mounted an exhibition this year of more than 40 of Delaney's works from private collections. The show, at Columbia University's Paris campus, was a culmination of her efforts to preserve the artist's legacy in his adopted home by securing official recognition for several notable historical sites related to his life here.

The Knoxville Museum of Art is now looking at the possibility of an exhibition as part of a local initiative to bring Delaney's life and career to audiences in the artist's hometown.

Born in 1901, Delaney began working with Lloyd Branson, a Knoxville impressionist painter who saw talent in the young artist and took him under his wing when he was about 20 years old.

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Delaney in his Paris studio in 1967. His style ranged from simple urban scenes and portraits to the abstract. Credit Estate of Beauford Delaney, by permission of Derek L. Spratley, Esq., Court Appointed Administrator

In 1923, Delaney left home for Boston, where he studied at several schools, including the Massachusetts Normal School and the South Boston School of Art. He made his way in 1929 to New York, where he floated between Greenwich Village and Harlem. With the city in the throes of the Great Depression, he supported himself with various small jobs while painting simple but earnest portraits, modernist interiors and urban street scenes often depicting the disenfranchised and downtrodden.

In 1953, at the age of 52, Delaney moved to Paris, where his friend, Baldwin, had already fallen into a steady rhythm of expat life. Settling in the Left Bank neighborhood of Montparnasse, an artists' enclave, Delaney, like Baldwin, relished a sense of freedom as a gay black man that he did not have in the United States.

In his new home, Delaney pivoted to colorful abstractionism in his work, a clear departure from the figurative expressionism he was known for.

His move to Paris came at a time when the power center of the art world was shifting to New York. His bold divergence in style derailed any momentum he had built with his Greenwich Street work and isolated him even more from the artistic community.

"He not only alienated himself from the art world at large, but also from the African-American community of artists," said Michael Rosenfeld, a New York gallerist who has been a dealer of Delaney's work for 25 years. "Delaney was making his own statement at a time when that wasn't expected. He was bold and pioneering and courageous to go against the grain of what was expected of an African-American artist."

Delaney found little commercial success in Paris and survived mostly on the generosity of friends and dedicated patrons. Existing mental health problems only intensified and, by the 1960s, his decline was fueled by heavy drinking and the onset of schizophrenia. A year after his Harlem retrospective, he was dead. Baldwin and other friends paid for his burial in the Thiais cemetery near Paris.

Ms. Wells, who has lived in Paris more than 20 years, was researching grave sites in 2009 for her tours and wanted to include Delaney, knowing only that he was a painter and mentor to Baldwin.

Richard Gibson, a friend of Delaney, gave Ms. Wells the location of his gravesite after a chance meeting. In his email with the information, Mr. Gibson asked, "Is Beauford still buried there?"

Mr. Gibson was referring to Delaney's burial "concession," a French system of leasing graves in which plots are rented for a period of time, after which bodies can be moved to a common grave if extension fees are not paid.

Unable to find his grave on her own with the coordinates, Ms. Wells enlisted the aid of cemetery attendants, who helped her pinpoint a ceramic flower arrangement with no name or other indication of who was interred there. Inquiring with the Paris cemetery system, Ms. Wells learned Delaney's concession had expired six years after his death, but his remains had not been exhumed in 1985 as they should have.

An exhibition this year of Delaney's works by Michael Rosenfeld Gallery in New York. Credit Joshua Nefsky

"It was a miracle he was even still in the ground," Ms. Wells said.

Ms. Wells raised money to renew the concession and install a proper tombstone. Delaney's grave has since been placed on the "celebrity" list in the Thiais cemetery, allowing his burial concession to stand in perpetuity.

Through her research tracing Delaney's life in Paris, she met collectors of his work and organized the exhibition. That show was attended by a delegation of Knoxville Art Museum staff and trustees. Stephen Wicks, a curator at the museum, had found Ms. Wells's blog about saving Delaney's grave and reached out to her about efforts in Knoxville.

Until recently, the Knoxville Art Museum already owned works by Delaney's brother Joseph, also an accomplished painter, but nothing by Beauford. Many say his legacy fell through the cracks largely because he did not leave a will, blocking access to works in his estate.

After the Knoxville museum mounted a Beauford Delaney retrospective with loaned works in 2003, Mr. Wicks said it was clear the artist was a crucial missing piece in the museum's permanent collection. "I bemoaned the fact that we still hadn't acquired anything," he said.

Growing market appreciation of Delaney's work has made it challenging for the Knoxville museum to afford it. Mr. Rosenfeld, the gallerist, said that as the value of works by contemporary African-American artists like Mark Bradford and Glenn Ligon has risen dramatically, so has interest in the 20th-century African-American vanguard like Delaney, Norman Lewis and Alma Thomas. Delaney canvases that sold for $6,000 in the early 1990s, he said, now reach $200,000.

The Knoxville museum acquired a couple of Delaney's watercolors in 2014 with donor funds, and last year it purchased its first Delaney oil canvas entitled "Scattered Light." This year, it added to its permanent collection a 1933 portrait of Delaney's mother, Delia, and another of his friend Dante Pavone. The museum agreed with Delaney's estate to not disclose prices.

The Knoxville museum reached an agreement in 2013 with Delaney's estate to house his personal archives, which Mr. Wicks hopes a local repository will purchase in the long term.

In Paris, Ms. Wells has been able to install historical plaques at a hotel on the Rue d'Odessa, where Delaney first stayed, and around the corner on Rue de la Gaité marking what used to be Les Mille Colonnes, a cheap and cheerful restaurant frequented by the artist.

Mr. Wicks said the Knoxville initiative hoped to do the same in significant locations there, and is working with two other local institutions on a teaching module on Delaney for area public schools. "It would be great for young people here to view Beauford as East Tennessee's Picasso," he said.

He added that stories like Delaney's were needed now more than ever. "He came from humble circumstances and was able to rise up," he said. "My hope is Beauford Delaney is the beginning of what will become a larger story of the Delaney family in Knoxville. They had an important role here that would inspire generations."

Correction:

Because of an editing error, an earlier version of this article misstated the job title of Stephen Wicks. He is a curator at the Knoxville Art Museum, not its director.

Correction:

Because of an editing error, an earlier version of this article misstated the site of a 1978 retrospective of Beauford Delaney's work. It is the Studio Museum in Harlem, not the Studio Museum of Harlem.

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The Art of Collecting PARIS - One of the most important African-American artists of the 20th century lay in an unmarked grave in Paris for 30 years. Beauford Delaney's work from the 1930s to the 1970s spanned a range of styles, from naïf urban scenes and portraits to abstract.

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Avec Inside Opéra, l'entreprise Team Break propose un voyage immersif permettant de découvrir le lieu avec un regard neuf.

Alors que la centaine de participants s'amasse dans l'entrée de l'Opera Garnier, le directeur pousse un cri, devant la foule : " le fantôme de l'Opéra, mais c'est impossible ! " Et pourtant, l'historique fantôme de l'Opéra est bien de retour, et met en danger la prochaine représentation au programme, La flûte enchantée de Mozart. Un seul espoir pour contrer le péril : les spectateurs qui devaient assister à la dernière répétition. A eux de parcourir les entrailles du Palais Garnier afin de retrouver les notes de partition volées par le fantôme, en une heure maximum.

Voilà l'intrigue d'un jeu d'un nouveau genre, un escape game, jeu d'évasion grandeur nature organisé pour la première fois dans le lieu historique qu'est l'Opéra-Garnier. " Le cadre apporte une plus-value, on fait ça dans un lieu chargé d'histoire, pas dans une pièce créée exprès comme pour d'autres escape game ", témoigne Louis Delacroix, jeune Lillois venu à Paris pour l'événement. Comme lui, ils étaient nombreux à avoir réservé leur journée, ce samedi 9 juin pour participer à Inside Opéra. Oscillant entre un escape game classique et une visite guidée, l'événement a pour objectif de " faire découvrir le palais Garnier, de s'amuser et surtout d'apprendre " selon les mots de Pierre-Henri Londner, cofondateur de l'entreprise Team Break à l'initiative du projet.

L'enquête commence en bas des marches du Grand Escalier pour se dérouler ensuite dans les lieux emblématiques du bâtiment, le Grand Foyer, la Galerie du Glacier, ou encore la véritable loge du fantôme de l'Opéra. " Elle n'a pas été rajoutée, elle existait avant qu'on arrive ! " précise Pierre-Henri Londner. A chaque pièce correspond une intrigue qui permet de découvrir une note de musique. Une fois les huit résolues, il ne reste plus qu'à donner le précieux sésame à l'orchestre désœuvré. Seule absence, la salle de spectacle et son plafond peint par Marc Chagall - les joueurs peuvent l'admirer mais ne sont pas autorisés à y rentrer.

Les escape games, un succès populaire

La formule de ces jeux d'évasion grandeur nature a débarqué en France à la fin de l'année 2013. Depuis, le succès populaire ne se dément pas et de plus en plus de nouvelles salles dédiées à ces jeux collectifs ouvrent dans l'Hexagone. Au point de convaincre l'Opéra, construit sur les plans de l'architecte Charles Garnier, de s'y essayer. Il s'agit du second " Inside " mis au point par l'entreprise Team Break en partenariat avec RERE et les productions adonis. Le premier avait proposé aux participants un parcours immersif permettant la découverte des méandres du Parc des Princes en résolvant des énigmes.

Regroupée au départ et à l'arrivée, la centaine de personnes qui participent se voient répartis en petits groupes ayant tous la même mission. " Le concept est intéressant, ça permet de varier entre le ludique et le culturel " confie Samira, employée dans la fonction publique venue relever le défi avec une dizaine d'autres collègues. Ensemble, ils voguent de pièce en pièce, levant la tête pour scruter le plafond ou examiner en détail sur les murs. Après un petit flottement au début pour savoir par où commencer, le groupe enchaîne les réponses sans trop de problèmes. Comme les autres apprentis enquêteurs, ils bénéficient de l'aide des comédiens et des musiciens présents un peu partout. " Il y a une quinzaine de personnages qui déambulent dans le bâtiment en jouant des textes qui doivent aider les participants " détaille M. Lodner.

Après 50 minutes, Samira et ses collègues ont fini par découvrir les notes composant la partition manquante. " Ce n'était pas très difficile par rapport à d'autres auxquelles on a joué, en plus on peut voir ce que les autres groupes font, ce qui donne un indice si on est perdu " raconte Charlotte qui a une vingtaine d'escape games à son actif. Si le niveau de difficulté semble modeste à certains joueurs, ils ont apprécié la redécouverte des splendeurs du Palais Garnier ainsi que la surprise qui attend les participants à la fin du parcours.

Inside Opéra à l'Opéra Garnier, Place de l'Opéra, Paris 9. Du 9 juin au 2 septembre. De 22 à 28 euros

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Le fantôme de l'Opéra est de retour à Garnier grâce à un " escape game "

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Avec Inside Opéra, l'entreprise Team Break propose un voyage immersif permettant de découvrir le lieu avec un regard neuf. Voilà l'intrigue d'un jeu d'un nouveau genre, un escape game, jeu d'évasion grandeur nature organisé pour la première fois dans le lieu historique qu'est l'Opéra-Garnier.

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Au milieu des années 90, le photographe Janol Apin a mis en scène les noms des stations du métro Parisien avec humour et imagination. De Monceau à Rue de la pompe en passant par Duroc et Dupleix, les stations parisiennes parlent le langage international du mime.

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Les noms des stations de Métro pris au pied de la lettre - GOLEM13.FR

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Au milieu des années 90, le photographe Janol Apin a mis en scène les noms des stations du métro Parisien avec humour et imagination. De Monceau à Rue de la pompe en passant par Duroc et Dupleix, les stations parisiennes parlent le langage international du mime.

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Les adresses de tournage de la série "Versailles", réalisée par Jalil Lespert

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Découvrez les adresses de tournage de la série "Versailles", réalisée par Jalil Lespert et diffusée sur Canal+

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Saint-Germain-en-Laye Tourisme proche Paris 78 Yvelines

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Le château de Saint-Germain-en-Laye et son Domaine national sont des lieux de visite incontournables dans la ville royale, où de nombreux rois de France ont vécu. Visite, horaires d'ouverture, tarifs, vous trouverez toutes les informations pratiques.

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Le parc de Bagatelle is one of four gardens in Paris which makes up the botanic gardens of Paris. It contains a magnificent rose garden with 9000 plants.

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Des fastes de Versailles aux tumultes de la prise de la Bastille, la Révolution française vue au jour le jour. La fin d'un monde et la naissance de la Déclaration des droits de l'Homme.

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Say " bonjour " to Black Paris-a one-of-a-kind Black Heritage destination!

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Guillaume explore Paris: Le Passé, le Présent, et le Futur

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Guillaume explore Paris: Passé, Present, et Futur par Nicole Johnson Guillaume explore Paris: Passé, Present, et Futur par Nicole Johnson Guillaume explore Paris: Passé, Present, et Futur par Nicole Johnson

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France.fr : Explore la France et ses merveilles - Explore France

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Si le retour du printemps fait bourgeonner vos envies de voyages, voyagez en France ! Elle n'est jamais aussi belle qu'à cette saison où l'on peut savourer les doux rayons de soleil en terrasses, flâner dans des parcs et jardins en pleine floraison, musarder tranquillement en bords de mer, en montagne ou à la campagne en profitant de journées plus longues.

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Sur Paris en Images, retrouvez plus de 130 000 photos des collections photographiques de la Ville de Paris (collections Roger-Viollet, musées et bibliothèques municipales).

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Beloved American jazz singer and bandleader Cab Calloway once said, "You hear about the Duke Ellingtons, the Jimmy Luncefords, the Fletcher Hendersons, but people sometimes forget that jazz was not only built in the minds of the great ones, but on the backs of the ordinary ones." While far from ordinary, Harlem in Montmartre tells the story of the long-forgotten "extraordinary ones," who left America to create the jazz age in Paris between the First and Second World Wars. After peace was signed at Versailles, many black Americans remained in Europe rather than return to the brutal segregation and racism of America. Over the next two decades, they formed an expatriate community of musicians, entertainers and entrepreneurs, primarily congregating in Paris' hilly Montmartre neighborhood. Some achieved enduring fame, while others faded into history.

Harlem in Montmartre airs as part of PBS' Great Performances series on THIRTEEN Wednesday, August 26th at 8 p.m. EST ( check local listings). The documentary is a co-production of THIRTEEN for WNET.ORG, Vanguard Documentaries, Inc., Ideale Audience SAS, ARTE France and Independent Television Service (ITVS).

Watch a preview of Harlem in Montmartre:

Inspired by the book Harlem in Montmartre: a Paris Jazz Story (University of California Press) by historian William A. Shack and utilizing rare archival material from both France and America, this remarkable performance- driven documentary features the stories and music of such key figures as James Reese Europe, Josephine Baker, Sidney Bechet, Bricktop, Eugene Bullard, Django Reinhardt and more. "The film explores a fascinating, yet often neglected, era in African-American cultural history" says producer Margaret Smilow. "It is a colorful, musical, poignant look at the contributions of a select group of black Americans, without whom the collective voice of jazz music around the world would sound entirely different." Vanguard Documentaries Executive Producer Charles Hobson reveals, "The French were the first people in the world to respect jazz as serious art form, and it all began in Paris with the arrival of the Harlem Hellfighters, a military band." Directed by Dante J. James, with performance sequences directed by Olivier Simmonet, and written by James and Simmonet with Allan Miller, the production was co-produced by Smilow with Hobson and Helene Le Coeur; S. Epatha Merkerson narrates.
GREAT PERFORMANCES is funded by the Irene Diamond Fund, the National Endowment for the Arts, Vivian Milstein, the Corporation for Public Broadcasting, public television viewers and PBS. Harlem in Montmartre has been made possible, in part, by a major grant from the National Endowment for the Humanities: Because democracy demands wisdom. Major funding was also provided by the LuEsther T. Mertz Charitable Trust, Hugh M. Hefner, Rolf and Elizabeth Rosenthal, the Vital Projects Fund, the Grand Marnier Foundation, The Paula Vial Fund, the Price Family Foundation and Ann Phillips.

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Harlem in Montmartre | Preview of Harlem in Montmartre | Great Performances | PBS

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Beloved American jazz singer and bandleader Cab Calloway once said, "You hear about the Duke Ellingtons, the Jimmy Luncefords, the Fletcher Hendersons, but people sometimes forget that jazz was not only built in the minds of the great ones, but on the backs of the ordinary ones."

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25 plans pour manger bien et pas cher à Paris

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The #Vikings are about to wreak HAVOC on the city of love.

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Post by Vikings.

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CULTUREBOXAu terme de dix années de recherches, une chercheuse lyonnaise, archéologue en paysages sonores, a reconstitué les bruits du Paris du XVIIIe siècle.
Qui n'a jamais songé à remonter le temps pour découvrir comment vivaient nos ancêtres ? A défaut d'avoir inventé la machine à remonter le temps, on peut désormais découvrir l'Histoire en s'immergeant dans l'environnement sonore de nos aïeux.

Reportage: M. Boudet / L.Crozat / C.Thomas

https://videos.francetv.fr/video/NI_111813@Culture

Mylène Pardoen est parvenue à recréer l'ambiance du quartier parisien du Châtelet et des bords de Seine au XVIIIe siècle. Le projet Bretez, du nom de l'ingénieur ayant réalisé un plan de Paris dans les années 1730, propose une balade de huit minutes en images et en sons dans les dédales des rues parisiennes. Vous pouvez ainsi vous arrêter à la Grande Triperie pour entendre les cris d'animaux et le bourdonnement des mouches, ou bien devant la boutique d'un artisan au travail pour écouter le tintement de ses outils. Ne manquent que les voix de l'époque...

Pour l'instant, seuls quelques rares privilégiés ont pu déambuler ainsi dans le Paris du XVIIIe siècle. Certains musées parisiens se disent déjà intéressés par ce projet. Cette plongée inédite au cœur de l'Histoire devrait donc bientôt être accessible aux petits comme aux grands.

Le projet Bretez sera présent au salon des Innovatiions 2015, du 16 au 17 juin à la Cité des sciences et de l'industrie de Paris.

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Plongée inédite dans l'ambiance sonore du Paris du 18e siècle

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CULTUREBOXAu terme de dix années de recherches, une chercheuse lyonnaise, archéologue en paysages sonores, a reconstitué les bruits du Paris du XVIIIe siècle.Qui n'a jamais songé à remonter le temps pour découvrir comment vivaient nos ancêtres ? A défaut d'avoir inventé la machine à remonter le temps, on peut désormais découvrir l'Histoire en s'immergeant dans l'environnement sonore de nos aïeux.

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france 24 Europe

© Google Maps | Paris's 20 arrondissements spiral outwards from the centre like a snail's shell

Text by FRANCE 24 Follow france24_en on twitter

Latest update : 2016-01-30

Paris's Socialist mayor Anne Hidalgo wants to wipe four of the city's 20 historic arrondissements off the map in a bid to make the French capital "more democratic and more efficient", according to documents seen by French daily le Monde.

Paris is currently divided into 20 arrondissements (districts), each with its own mayor and town hall. This administrative structure, which has been in place since 1860, spirals outwards from the centre in what is often described in France as being like a snail's shell.

The current setup includes arrondissements of vastly different demographics. The central 1st arrondissement, for example, has just 17,000 residents, while the residential 15th in the south west of the capital has 238,000.

Most people living in Paris identify themselves to a certain degree by which arrondissement they call their home. But that may be about to change.

The plans, due to be debated by the city council in mid-February, would regroup the 1st, 2nd, 3rd and 4th arrondissements into one, to create 17 districts by 2020.

According to the documents seen by Le Monde, "the plan is not to get rid of the arrondissement system but simply to centralise the administration of the less populated areas."

Hidalgo also wants the mayors of the new administrative setup to have greater powers and responsibilities in line with their counterparts responsible for towns and cities across the country.

These added responsibilities would come as a result of a proposed merger between the département (French administrative region) of Paris and the city council, in a bid to end the "muddle of responsibilities" and to make running the city "more efficient".

The city council is due to debate the proposals on February 15. If they are accepted, they will have to be approved by parliament "some time before the end of the year", according to Hidalgo's office.

City councillors of the opposition conservative Les Républicains party, who have a track record of trying to derail any policy proposals put forward by Hidalgo, are not supportive, believing the changes are designed to secure long-term Socialist domination of the French capital by reducing the number of mayors belonging to centrist or conservative parties.

According to an AFP source, Les Républicains leader in Paris Nathalie Kosciusko-Morizet believes the proposed changes "are a smokescreen designed to secure Anne Hidalgo's position".

The centrist UDI-MoDem group is also not convinced: "Nothing justifies redrawing the map of Paris's arrondissements ... it is nothing but a political and electoral manipulation."

Date created : 2016-01-30

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Paris mayor in bid to erase historic city districts - France 24

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Paris's Socialist mayor Anne Hidalgo wants to wipe four of the city's 20 historic arrondissements off the map in a bid to make the French capital "more democratic and more efficient", according to documents seen by French daily le Monde.

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Widad Ketfi is a bold journalist for Bondy Blog, a news outlet set up to give young journalists in Paris' deprived suburbs an opportunity to shape their own narrative and combat negative stereotypes depicted in the mainstream media.

One of the issues Widad feels most strongly about is the social inequalities that begin at school - her next assignment for the blog.

For Widad's investigation, she travels around the suburbs of Paris, where she meets locals, teachers and students, while trying to track down the national education minister for an all-important interview.

In an area where one in five people are out of work - double the national average - Widad sees education as key to empowering so many dispossessed youth, as it did in her own experience.

The blog was started after the 2005 Paris riots, the worst in France for decades.

Against the backdrop of the 10-year anniversary, Widad tries to investigates the deep social issues that exist in France's suburbs today but faces challenges beyond her control.
FILMMAKER'S VIEW
By Horia El Hadad

In October 2005, riots broke out in the Parisian suburb of Clichy-sous-Bois after two boys of African and Arab descent were killed while trying to escape from the police.

The deaths of Bouna Traoré, 15, and Zyed Benna, 17, triggered two days of riots in the impoverished banlieues (suburbs), with the French government forced to declare a state of emergency.

With nearly 3,000 people arrested and more than 120 police officers injured, the violence resulted in the birth of Bondy Blog - a media outlet aimed at giving a voice to the suburbs' dispossessed youths.

People who don't know the suburbs only see what the mainstream media presents, especially in the news. In the minds of people today, the suburbs are full of 'terrorists'.

Widad Ketfi, Journalist, Bondy Blog

I first heard about Bondy Blog in May 2015. The Blog's aim is to dispel negative perceptions of the suburbs and its residents by training citizen journalists to report on issues that affect them, using their local knowledge and connections. In an area where the unemployment rate is over twice the national average and more than half the residents are of Arab and sub-Saharan African origin, many of the bloggers reflect the area's working class and immigrant backgrounds.

This is something that makes the Blog quite extraordinary, Nordine Nabili, the Editor-in-Chief, explains. "Bondy Blog is unique because it was born out of tragedy. Nobody expected to see people from these areas doing this work," he says. "The fact that these young people are able to write and present TV shows, is almost a provocation for the French elite. The Bondy Blog is the revenge of these working class kids."

With 220,000 visitors a month, the blog has won awards for its work and, over the years, become a respected media outlet and the go-to resource for anything relating to Paris's notorious banlieues.

Initially, the idea for this film was to document the Blog's work during the 10th year anniversary of the riots, through the eyes of one journalist, as they investigated a story relating to the area. We wanted to see whether anything had changed in the suburbs a decade after the unrest and, more importantly, to see whether the Bondy Blog had achieved what it set out to do; change people's perceptions of Paris's suburbs through the work of its local journalists.

But then, mid-shoot, the Paris attacks of November 2015 happened. In a series of coordinated assaults across the city, 130 people were killed. The Islamic State of Iraq and the Levant (ISIL) claimed responsibility for the attacks, saying it was in retaliation for French strikes on ISIL targets in Syria and Iraq. But the link between the suburbs and the attackers was quickly made in the media, and once again, the spotlight was firmly on the banlieues.

According to 30-year-old Widad Ketfi, a journalist at the Blog and our main protagonist, French society sees the suburbs as a no-go zone. "People who don't know the suburbs only see what the mainstream media presents, especially in the news. In the minds of people today, the suburbs are full of 'terrorists'."

We followed Widad as she investigated a story into social diversity in schools, while trying to track down Najat Vallaud-Belkacem, the National Education Minister, for an important interview.

Through her journey, we got an insight into these so-called "no go" areas. What we saw was a community that was suspicious and tired of the media.

Nawufal Mohamed, a youth worker in Clichy-sous-Bois, told us stories of television crews being chased out or robbed of their equipment by local gangs. He explained that locals were simply fed up by the endless stream of journalists coming to report on the state of the suburbs, only for no real change to materialise for local residents. "Since the riots, some homes have been renovated and some big high rises have been knocked down. But just because you move people from one building to another, it doesn't mean the problems disappear."

We did not know it at the time but the focus of the film would shift from being an empowering story about a deprived community finding its voice, to an unsettling story about the institutional and psychological challenges they continue to face amid increasing suspicion from wider French society.

"The attacks of November 13 were a shock for all of us, especially the Bondy bloggers. But we knew that when the gunmen fired those bullets we would also be hit," Nabili explains. "If we don't have a political class that takes measure of what happened, attacks like this will only continue."

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Widad Ketfi is a bold journalist for Bondy Blog, a news outlet set up to give young journalists in Paris' deprived suburbs an opportunity to shape their own narrative and combat negative stereotypes depicted in the mainstream media. One of the issues Widad feels most strongly about is the social inequalities that begin at school - her next assignment for the blog.

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History vs. Napoleon Bonaparte - Alex Gendler

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44 Classic French Meals You Need To Try Before You Die

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Everything you wanted to know about French food but were afraid to ask.

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Les Parisiens de tous bords en ont rêvé, StreetPress et Rentswatch l'ont fait ! Une carte des prix des loyers pour chaque station de métro. A Cadet par exemple, on paye en moyenne 990 euros pour un 35 m2. Ça vous parle ?
Rentswatch, le site qui révèle si votre loyer est adapté aux prix du marché ou non (les résultats font parfois froid dans le dos), a donc récolté toutes les données pour réaliser cette carte, qui reflète les prix sur les 6 derniers mois. Grâce à ces infos, StreetPress a pu mettre en forme une carte qui en dit long sur les irrégularités de prix dans la capitale : il y a 1620 euros d'écart entre le loyer le plus et le moins élevé de Paris ! D'ailleurs, la station de métro où le loyer est le plus cher pour un 35 m2 nous a un peu surpris...
Cliquez sur la carte pour la voir en grand !

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La carte des métros selon le prix des loyers

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Les Parisiens de tous bords en ont rêvé, StreetPress et Rentswatch l'ont fait ! Une carte des prix des loyers pour chaque station de métro. A Cadet par exemple, on paye en moyenne 990 euros pour un 35 m2. Ça vous parle ?

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"Between the World and Me" came out in French while you were there. How was the reception there different from its reception in the United States?
I didn't want to hustle anybody and pose as this big-time intellectual, which is something I'm uncomfortable with, even here. But the book became an organizing place for talking about their own issues, and I was happy to allow for that. Americans are always saying, "We need to have a national conversation about race!" But we have no idea - France doesn't even acknowledge race.
The festival's brochure cites as a jumping-off point a passage from Baldwin's book "No Name in the Street," in which he draws a comparison between himself and Algerians he met in Paris, who "spoke French and had been, in a sense, produced by France" and yet "were not at home in Paris, no more at home than I." How did you build the festival up from that idea?

I got a lot of help, but thematically it was me. Given the influence of Baldwin on my work, given this being the year of Donald Trump, coming off the first black president, and Baldwin having a renaissance, I wanted to reach back and use him as a framing device. This is an arts festival, so then we went through all the different art forms and figured out how they would fit in.
There are panels on film, art, dance, literature and popular culture, as well as politics. Is there one you're particularly excited about?
I'm maybe most excited about the dance panel, with Benjamin Millepied. I really don't know anything about ballet. I do know about the flak that he got at the Paris Ballet, and that there's debate around race in ballet, but I don't know anything about the history. With the exception of two panels I'm moderating, I chose things I'm not an expert on. I just asked myself, what would I like to know?
Are many of the speakers people you met in Paris?
In Paris I was lucky enough to sit a few times with Nacira Guénif-Souilamas [a sociologist who has written about structural racism and Islamophobia in France]. She's a dual citizen of both France and Algeria, and just listening to her talk about that experience showed me why it was dangerous to make a one-on-one comparison between black folks there and black folks here. Her experience sounded a lot more similar to African-Americans, with the Algerian war being a rupture, in the same way the Civil War was a rupture. Maboula Soumahoro [a scholar who has tried to establish an offshoot of Black History Month in France] is someone else who is going to be really brilliant. When I came to these people, I felt like a 5-year-old, with all my dumb and silly questions.
You're moderating the opening panel, "When Will France Have Its Barack Obama?," which features Jelani Cobb from The New Yorker, along with three French scholars, including Pap Ndiaye, the author of "La Condition Noire" and a founder of black studies in France. What's your answer to that question?
I'm going to let the folks on the panel talk. But I'd say that Barack Obama, to an extent that is not fully understood, is really a product of black institutions. It's not like he ran from Hawaii. He went to the South Side of Chicago, which has a long, long political tradition. There was a community to root himself in. How does that happen in France? There you had the lack of a trenchant Jim Crow system, the lack of slavery on the mainland. The things that made racism so severe here actually gave black institutions much of their vigor. And there is a strong sense of community held together by those institutions. I could be dead wrong about this, but it would be tough to look for a Harlem in Paris. There are black neighborhoods, don't get me wrong. But that's not all Harlem is.
The Albertine bookstore, which is co-organizing the festival, is sort of like a gorgeous dream version of a French bookshop. Did you have a favorite bookstore in Paris?
It's horrible to say, but my favorite was the English-language bookstore Shakespeare & Company. They have a really quiet reading room where you can just sit and look at the river. People always asked me if I got in touch with my inner Baldwin. I didn't feel too much of that, but in that room I felt deeply connected.
Did you follow the Baldwin trail when you were there?
I really didn't. I love his work, but I don't want to fetishize him. I avoided Les Deux Magots. The last thing I wanted to do was look like some poseur.
You've been back for a few months. How did your year in Paris change your view of America?
We get into this very simplistic analysis of which country is more racist. But it's more productive to look at the history of a country. Racism certainly exists in France, but it's not the same. Is it better? I don't know. But I like it here. It feels like home.

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Ta-Nehisi Coates Asks: Who's French? Who's American?

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"Between the World and Me" came out in French while you were there. How was the reception there different from its reception in the United States? I didn't want to hustle anybody and pose as this big-time intellectual, which is something I'm uncomfortable with, even here.

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Ce qui frappe le plus le visiteur quand il se promène à Paris, c'est l'architecture toute particulière de la ville : un mélange riche d'époques et de styles, variant des bâtisses de l'Ancien Régime aux immeubles haussmanniens, en passant par les tours des années 1970 et les nouvelles constructions éco-responsables. Qui n'a jamais rêvé de connaître l'âge de ce bâti parisien unique ? C'est désormais chose possible grâce à une carte interactive pour se balader dans Paris et en apprendre un peu plus sur l'histoire des murs de la capitale. Sur la droite du plan, un code couleur permet de savoir de quelle période date tel ou tel immeuble. Vous avez aussi le loisir de cliquer sur cette légende pour filtrer et ne voir que les années qui vous intéressent.

Un quartier du Marais bien bâti pour les années 1800...

...et les derniers arrivés du XXe siècle, qui comblent les trous.

Pour plus d'infos, on zoome sur les monuments historiques et en deux roulements de molette, on connaît le ou les architectes à l'origine de la construction. On peut remercier Hector Guimard pour la place de la République :

Un travail de dingue donc, que l'on doit à Etienne Côme, chercheur à l'Institut Français des Sciences et Technologies des Transports de l'Aménagement et des Réseaux ( IFSTTAR), créateur notamment de " la France en pixels ", une carte interactive passionnante. Ici, il s'est fondé sur les données de l'APUR et du ministère de la Culture et de la Communication pour réaliser ce site incroyable. Prêt à découvrir la date de construction de votre immeuble ou à connaître le nom de l'architecte du monument à côté de chez vous ? Le jeu qui vous raconte " l'histoire du bâti parisien ", c'est ici !

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Découvrez l'âge des immeubles et bâtiments de Paris grâce à une carte unique

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Ce qui frappe le plus le visiteur quand il se promène à Paris, c'est l'architecture toute particulière de la ville : un mélange riche d'époques et de styles, variant des bâtisses de l'Ancien Régime aux immeubles haussmanniens, en passant par les tours des années 1970 et les nouvelles constructions éco-responsables.

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St.-Mihiel was a great victory and important for many reasons, not least of which is that it marked the first time in that war that American divisions fought together as a unified army under American command. Still, there wasn't much time to savor it: Almost immediately after the battle ended, hundreds of thousands of surviving troops had to be transported hours away to the Argonne, at night and over roads that still aren't much good 96 years later. That they all made it there, on time and without the Germans finding out, is a tribute to Col. George C. Marshall, who planned and oversaw the operation.

As it turned out, that was the only part of the American-led Meuse-Argonne Offensive that went nearly so smoothly. From the moment it started, at 5 a.m. on Sept. 26, 1918, everyone knew it was unlike any challenge American troops had faced in that war. Or, perhaps, ever.

Make your way around the Argonne, and you can readily discern why. To start, there's the natural terrain - rocky ridges, steep hills and narrow valleys, all of them densely wooded, and, sprinkled throughout, open meadows easily swept clean by the machine guns the Germans always mounted on the surrounding heights. The Germans had four years to set up their defenses in the area, and they didn't waste a single day of it: Everywhere you go in the Argonne, you'll find German trenchworks, pillboxes, blockhouses, artillery pits.

All of it was linked by a vast network of narrow-gauge rail; you'll still find a lot of that, too. They dug vast networks of tunnels, also, and underground towns, complete with barracks, armories, kitchens, hospitals and even cable cars to connect it all. They built some 60 rest camps for their soldiers in the Argonne, a few of which volunteers have recently started restoring. And they electrified all of it; you can still find their resistors - little white porcelain toadstools - scattered on the forest floor.

You'll find a lot of things just sitting on the ground if you walk through forests - and over freshly plowed fields - in this area: bullets and cartridges; spherical iron stars with sharp points to pierce horses' hooves; shrapnel; combs and uniform buttons; bayonets and sabers; tangles of barbed wire; keys and tins; grenade jackets; shell casings; live shells. And, more than all the rest combined: bottles. So many that collectors don't even notice them anymore, much less pick them up. The Germans, who had been on the defensive steadily since mid-July, when the Americans and French pushed back a German offensive and launched one of their own, were every day edging closer to the point where they would no longer have any ground left to give. They fought as men with rapidly diminishing options do: Desperately. Ferociously. With everything they had at their disposal, and anything else they could find along the way. And at night, they drank.

American doughboys were forbidden to, at least officially. What they did with the unopened bottles they liberated is yours to imagine. All I'll say is that every bottle I ever came across in the Argonne - hundreds, perhaps thousands - was empty.

Although history buffs know it primarily as a place of slaughter, the Argonne is also a place of great natural beauty, popular with European tourists. Go to an area like the Haute Chevauchée, less than an hour from Ste. Menehould and a few other larger towns, and you'll spot license plates from Luxembourg, and Belgium, and the Netherlands, and Germany, none of which are too far away.

You'll hear conversations in a half-dozen languages (none of them English), and if you listen carefully, maybe a cuckoo bird or two. You'll find lovely walking trails that meander off in every direction through the woods; these are what draw a great many of those tourists, and not the trenches and shell holes that pock the ground on either side. Regular visitors probably don't even notice them anymore. It's hard, though, to miss the local ossuary, which rests beneath an impressive monument - "To the Dead of the Argonne" - and contains the bones of an untold number of those dead, as well as some truly poignant memorial plaques on the walls of its antechamber. (A quick look at some of their dates and you come to understand that there was no Christmas truce up here.) No one knows how many men were killed trying to take or retake the Argonne between 1914 and 1918; hundreds of thousands, at least. Among them were 26,277 Americans who died here between 5 a.m. on Sept. 26, 1918, and 11 a.m. on Nov. 11, 1918, the 47 days of the Meuse-Argonne Offensive. It remains, to this day, the deadliest battle in American history.

Its terrible magnitude is apparent everywhere: In the 180-foot-tall memorial pillar atop Montfaucon, and the countless other monuments that range in size from a city block to a knapsack, and the Meuse-Argonne American Cemetery in Romagne-sous-Montfaucon, the largest one in Europe, with 14,246 dead. A knowledgeable guide - and if you're going to hire one anywhere in France, this is the place to do it - can direct you to particular sites where this American division or that took important ground, or heavy losses, or, often, both.

I had great luck one day finding sites linked to the 91st Division, known as the "Wild West" Division because it was composed of draftees from the Pacific Northwest; they saw some of the heaviest fighting in the earliest stages of the offensive, and took a great many casualties. But they inflicted a great many, too; the Argonne is full of German cemeteries, thousands of men in each. "I saw a lot of dead ones and a lot of wounded," Private William J. Lake, the division's last survivor, told me on Oct. 20, 2003, 10 days shy of his 108th birthday. (He died in June 2004.) "And that's what ended the war."

You could forgive a man that age such a statement; but you might not need to. In the Argonne, and to the east around St.-Mihiel, and to the west around Château-Thierry, you will meet any number of French people - guides and farmers, engineers and construction workers, soldiers and environmental scientists, bakers and bikers - who know much more about the war than you ever will. They grew up with it, surrounded by it; they have spent their entire lives looking at those old German fortifications that have decayed hardly at all over the last century, the ones that make you stare in wonder and ask yourself: How did the Germans lose that war?

Ask them that same question and, if your experience is anything like mine, they will always - always - give you the same succinct answer.

Les Américains.

One Sunday evening this summer, I stopped in the tiny village of Chaumont-devant-Damvillers to see a monument I had visited on another trip five years earlier. I had found it then only with directions from someone I'd asked in town, who just happened to know where it is - atop a hill accessible only by a tractor road. This time, though, no one I asked there, including an entire family reunion, seemed to know what I was talking about.

At the end of one street I spotted a tractor road that went up into the hills and took it, trying my best to ignore the sounds of rocks and tall grass scraping the underside of my rental car. Ten minutes later, I realized I had chosen the wrong path - and that, narrow as it was, I had no choice but to keep going until this one, or some other, took me back to a town. That, it turned out, meant another half-hour and several turns, until, finally, I descended into an unfamiliar village.

Chaumont-devant-Damvillers

bel.

ger.

switz.

There wasn't much to the place, but eventually I spotted a tavern, and approached several people on their way in or out, asking first where I was (the village of Azannes, I was told), and then how I might get to what I wanted to find. No one seemed to be able to answer that one, until a little woman in her 70s came out. At first she shook her head, too, but then she changed her mind. "Follow me," she said in French (like everyone else I had approached that evening, she spoke no English at all), and got into her car.

Fifteen minutes later she pulled up outside a little house in the village of Romagne-sous-les-Côtes (nowhere near Romagne-sous-Montfaucon) and, without a word of explanation, scurried inside. She emerged after a few minutes, having changed into sneakers, and got into my car. "Straight," she directed. "Left." After a few more turns we were at the base of yet another farm road. "Now, slow," she said, and pointed straight ahead. I hesitated for a moment - the grass here was much taller than my hood - but proceeded. Discomfiting noises emanated from under the car. "Slow, slow."

There were turns; a couple of times it seemed as if we were going to get stuck in the mud. I wondered how I might explain that to the rental car company on the phone, then noticed I had no signal. "Slow, slow." After a half-hour, I started to worry, but her gaze remained set. Finally, 10 minutes later, we spotted it. "There," she said, and faintly smiled.

It's an unassuming marker, a stone just a few feet high. Someone had placed a bench next to it since the last time I'd visited, but she didn't sit; perhaps she felt that would be irreverent. This, after all, was the very spot where the very last man was killed in the Great War: Pvt. Henry Nicholas Gunther of Baltimore, 23 years old, shot through the head at 10:59 a.m. on Nov. 11, 1918.

The spot looks out over a perfect pastel meadow, a view as lovely as any in France; but my guide - we knew nothing about each other, not even names - looked only at the monument, and me. "There," she said, nodding. "There."

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In France, Vestiges of the Great War's Bloody End

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St.-Mihiel was a great victory and important for many reasons, not least of which is that it marked the first time in that war that American divisions fought together as a unified army under American command.