Chanson Du Jour: T’es Beau

English Translation by Frenchlations

You’re beautiful,
You’re beautiful because you’re brave
To look deep into the eyes
Of the one who challenges you to be happy

You’re beautiful,
You’re beautiful as a silent scream,
Strong as a precious metal,
who fights to heal its bruises,
It is like an old tune,
A few notes in torment,
That force my heart,
That force my joy,
When I think of you,
Now.

It is no good,
It is no good saying to myself that it is better this way,
Even if it still hurts,
I don’t have any silent refuge.

It is beautiful,
It is beautiful because it is stormy,
With this weather I know very little,
The words that stay at the corner of my eyes.
It is like an old tune,
A few notes in torment,
That force my heart,
That force my joy,
When I think of you.

You, you’re leaving the stage
Without a weapon and without hatred
I’m afraid to forget,
I’m afraid to accept,
I’m afraid of the living,
Now.

You’re beautiful…

How World War Two changed how France eats

More than 80 years after D-Day, the recipes and ingredients introduced during France’s wartime occupation are slowly making a comeback.

By June 1940, German forces had blitzed through France in just six weeks, leading more than half of the country to be occupied. As a result, French staples like cheese, bread and meat were soon rationed, and by 1942 some citizens were living on as few as 1,110 calories per day. Even after World War Two ended in 1945, access to food in France would continue to be regulated by the government until 1949.

Such austerity certainly had an impact on how the French ate during and just after the war. Yet, more than 80 years after Allied forces landed in Normandy to begin liberating the nation on D-Day (6 June 1944), few visitors realise that France’s wartime occupation still echoes across the nation’s culinary landscape.

In the decades following WW2, the French abandoned the staples that had got them through the tough times of occupation; familiar ingredients like root vegetables and even hearty pain de campagne (country bread) were so eschewed they were nearly forgottenBut as wartime associations have slowly faded from memory, a bevy of younger chefs and tastemakers are reviving the foods that once kept the French alive.

There aren’t many French residents old enough to vividly recall life in wartime France today, and fewer still would deign to discuss it. Author Kitty Morse only discovered her great-grandparents’ “Occupation diary and recipe book” after her own mother’s death. Morse released them in 2022 in her book Bitter Sweet: A Wartime Journal and Heirloom Recipes from Occupied France.

“My mother never said any of this to me,” she said.

Aline Pla was just nine years old in 1945 but, raised by small-town grocers in the south of France, she remembers more than others might. “You were only allowed a few grams of bread a day,” she recalled. “Some [people] stopped smoking – especially those with kids. They preferred trading for food.”

Such widespread lack gave rise to ersatz replacements: saccharine stood in for sugar; butter was supplanted by lard or margarine; and instead of coffee, people brewed roots or grains, like acorns, chickpeas or the barley Pla recalls villagers roasting at home. While many of these wartime brews faded from fashion, chicory coffee remained a staple, at least in northern France. Ricoré – a blend of chicory and instant coffee – has been on supermarket shelves since the 1950s. More recently, brands like Cherico are reimagining it for a new generation, marketing it as a climate-conscious, healthful alternative traditional coffee.

 

Alamy When France was occupied, staples like cheese, bread and meat rationed (Credit: Alamy)
When France was occupied, staples like cheese, bread and meat rationed (Credit: Alamy)

According to Patrick Rambourg, French culinary historian and author of Histoire de la Cuisine et de la Gastronomie Françaises, if chicory never wholly disappeared in France, it’s in large part thanks to its flavour. “Chicory tastes good,” he explained. “It doesn’t necessarily make you think of periods of austerity.”

Other products did, however, such as swedes and Jerusalem artichokes, which WW2 historian Fabrice Grenard asserted “were more reserved for animals before the war.” The French were nevertheless forced to rely heavily on them once potato rationing began in November 1940, and after the war, these vegetables became almost “taboo”, according to Rambourg. “My mother never cooked a swede in her life,” added Morse.

Two generations later, however, Jerusalem artichokes, in particular, have surged to near-omnipresence in Paris, from the trendy small plates at Belleville wine bar Paloma to the classic chalkboard menu at bistro Le Bon Georges. Alongside parsnips, turnips and swedes, they’re often self-awarely called “les legumes oubliés“(“the forgotten vegetables”) and, according to Léo Giorgis, chef-owner of L’Almanach Montmartre, French chefs have been remembering them for about 15 years.

“Now you see Jerusalem artichokes everywhere, [as well as] swedes [and] golden turnips,” he said. As a chef dedicated to seasonal produce, Giorgis finds their return inspiring, especially in winter. “Without them, we’re kind of stuck with cabbages and butternut squash.”

According to Apollonia Poilâne, the third generation of her family to run the eponymous bakery Poilâne, founded in 1932, a similar shift took place with French bread. Before the war, she explained, white baguettes, which weren’t subject to the same imposed prices as sourdough, surged to popularity on a marketplace rife with competition.  But in August 1940, bread was one of the first products to be rationed, and soon, white bread was supplanted by darker-crumbed iterations bulked out with bran, chestnut, potato or buckwheat. The sale of fresh bread was forbidden by law, which some say was implemented specifically to reduce bread’s palatability.

“I never knew white bread!” said Pla. When one went to eat at a friend’s home during wartime, she recalled, “You brought your bread – your bread ration. Your own piece of bread.”

Hunger for white bread surged post-war – so much so that while Poilâne’s founder, Pierre Poilâne, persisted in producing the sourdoughs he so loved, his refusal to bake more modern loaves saw him ejected from bakery syndicates, according to his granddaughter, Apollonia. These days, however, the trend has come full circle: Baguette consumption fell 25% from 2015 to 2025, but the popularity of so-called “special” breads made with whole or heirloom grains is on the rise. “It’s not bad that we’re getting back to breads that are a bit less white,” said Pla.

For Grenard, however, the most lasting impact the war left on French food culture was a no-waste mindset. “What remains after the war is more of a state of mind than culinary practices,” he said. Rambourg agreed: “You know the value of food when you don’t have any.” Continue reading “How World War Two changed how France eats”

French wine production falls to lowest level since 1950s


Wine consumption in France reaches lowest point since 1961

The French wine industry endured one of its most challenging years in recent memory in 2024, marked by a dramatic drop in production, persistent decline in domestic consumption, and an increasingly volatile export landscape. According to the annual report published June 6, 2025, by Vinetur, the sector suffered a 23% decrease in wine output compared to 2023, producing only 37 million hectoliters — the lowest volume since the 1950s.

This collapse was driven by severe climatic conditions that impacted nearly all major wine regions. Persistent spring rains, late frosts, and an aggressive spread of mildew decimated yields. Key producing areas such as Charentes, Jura, and the Loire Valley reported losses exceeding 30%. Even Champagne and Bordeaux experienced double-digit declines. The downturn in volumes was mirrored by a 21.7% fall in the total production value, as per INSEE estimates [ . . . ]

Read full article at source: French wine production falls to lowest level since 1950s

Barbara “Nantes”

Monique Serf, dite Barbara (ou Barbara Brodi à ses débuts), est un auteur-compositeur-interprète français, née le 9 juin 1930 à Paris 17e et morte le 24 novembre 1997 à l’hôpital américain de Neuilly-sur-Seine (Hauts-de-Seine).

Sa poésie engagée, la beauté mélodique de ses compositions et la profondeur de l’émotion que dégageait sa voix lui assurèrent un public qui la suivit pendant quarante ans. Nombre de ses chansons sont devenues des classiques de la chanson française, notamment : Dis, quand reviendras-tu ?, Nantes, Göttingen, La Dame brune, L’Aigle noir, Marienbad ou encore Ma plus belle histoire d’amour.

Elle joua également dans nombre de films et de pièces de théâtre.

Juliette Gréco “Les feuilles mortes”

Juliette Gréco beautifully performs “Les Feuilles Mortes,” which was composed by Joseph Kosma in 1945, and recorded by Yves Montand in 1949, and later retitled “The Autumn Leaves” with English lyrics by Johnny Mercer. Mercer’s friend and former bandmate Jo Stafford to made the first English-language recording in July, 1950.

A half-French half-English version was released by Édith Piaf in 1951.

Monsieur Pas de Merde also recommends the brilliant version of “Autumn Leaves” recorded by Eva Cassady

Joyeux anniversaire! Read Whitman’s “Crossing Brooklyn Ferry” on the poet’s birthday

Crossing Brooklyn Ferry

“Walt Whitman, poète, philosophe et ‘rowdy.'” – La Revue Européenne (November 1, 1861)
 
 
1
Flood-tide below me! I see you face to face!
Clouds of the west—sun there half an hour high—I see you also face to face.
 
Crowds of men and women attired in the usual costumes, how curious you are to me!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.
 
2
The impalpable sustenance of me from all things at all hours of the day,
The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme,
The similitudes of the past and those of the future,
The glories strung like beads on my smallest sights and hearings, on the walk in the street and the passage over the river,
The current rushing so swiftly and swimming with me far away,
The others that are to follow me, the ties between me and them,
The certainty of others, the life, love, sight, hearing of others.
 
Others will enter the gates of the ferry and cross from shore to shore,
Others will watch the run of the flood-tide,
Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east,
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an hour high,
A hundred years hence, or ever so many hundred years hence, others will see them,
Will enjoy the sunset, the pouring-in of the flood-tide, the falling-back to the sea of the ebb-tide.
 
3
It avails not, time nor place—distance avails not,
I am with you, you men and women of a generation, or ever so many generations hence,
Just as you feel when you look on the river and sky, so I felt,
Just as any of you is one of a living crowd, I was one of a crowd,
Just as you are refresh’d by the gladness of the river and the bright flow, I was refresh’d,
Just as you stand and lean on the rail, yet hurry with the swift current, I stood yet was hurried,
Just as you look on the numberless masts of ships and the thick-stemm’d pipes of steamboats, I look’d.
 
I too many and many a time cross’d the river of old,
Watched the Twelfth-month sea-gulls, saw them high in the air floating with motionless wings, oscillating their bodies,
Saw how the glistening yellow lit up parts of their bodies and left the rest in strong shadow,
Saw the slow-wheeling circles and the gradual edging toward the south,
Saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams,
Look’d at the fine centrifugal spokes of light round the shape of my head in the sunlit water,
Look’d on the haze on the hills southward and south-westward,
Look’d on the vapor as it flew in fleeces tinged with violet,
Look’d toward the lower bay to notice the vessels arriving,
Saw their approach, saw aboard those that were near me,
Saw the white sails of schooners and sloops, saw the ships at anchor,
The sailors at work in the rigging or out astride the spars,
The round masts, the swinging motion of the hulls, the slender serpentine pennants,
The large and small steamers in motion, the pilots in their pilot-houses,
The white wake left by the passage, the quick tremulous whirl of the wheels,
The flags of all nations, the falling of them at sunset,
The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests and glistening,
The stretch afar growing dimmer and dimmer, the gray walls of the granite storehouses by the docks,
On the river the shadowy group, the big steam-tug closely flank’d on each side by the barges, the hay-boat, the belated lighter,
On the neighboring shore the fires from the foundry chimneys burning high and glaringly into the night,
Casting their flicker of black contrasted with wild red and yellow light over the tops of houses, and down into the clefts of streets.
 
4
These and all else were to me the same as they are to you,
I loved well those cities, loved well the stately and rapid river,
The men and women I saw were all near to me,
Others the same—others who look back on me because I look’d forward to them,
(The time will come, though I stop here to-day and to-night.)
 
5
What is it then between us?
What is the count of the scores or hundreds of years between us?
 
Whatever it is, it avails not—distance avails not, and place avails not,
I too lived, Brooklyn of ample hills was mine,
I too walk’d the streets of Manhattan island, and bathed in the waters around it,
I too felt the curious abrupt questionings stir within me,
In the day among crowds of people sometimes they came upon me,
In my walks home late at night or as I lay in my bed they came upon me,
I too had been struck from the float forever held in solution,
I too had receiv’d identity by my body,
That I was I knew was of my body, and what I should be I knew I should be of my body.
 
6
It is not upon you alone the dark patches fall,
The dark threw its patches down upon me also,
The best I had done seem’d to me blank and suspicious,
My great thoughts as I supposed them, were they not in reality meagre?
Nor is it you alone who know what it is to be evil,
I am he who knew what it was to be evil,
I too knitted the old knot of contrariety,
Blabb’d, blush’d, resented, lied, stole, grudg’d,
Had guile, anger, lust, hot wishes I dared not speak,
Was wayward, vain, greedy, shallow, sly, cowardly, malignant,
The wolf, the snake, the hog, not wanting in me,
The cheating look, the frivolous word, the adulterous wish, not wanting,
Refusals, hates, postponements, meanness, laziness, none of these wanting,
Was one with the rest, the days and haps of the rest,
Was call’d by my nighest name by clear loud voices of young men as they saw me approaching or passing,
Felt their arms on my neck as I stood, or the negligent leaning of their flesh against me as I sat,
Saw many I loved in the street or ferry-boat or public assembly, yet never told them a word,
Lived the same life with the rest, the same old laughing, gnawing, sleeping,
 
Play’d the part that still looks back on the actor or actress,
The same old role, the role that is what we make it, as great as we like,
Or as small as we like, or both great and small.
 
7
Closer yet I approach you,
What thought you have of me now, I had as much of you—I laid in my stores in advance,
I consider’d long and seriously of you before you were born.
 
Who was to know what should come home to me?
Who knows but I am enjoying this?
Who knows, for all the distance, but I am as good as looking at you now, for all you cannot see me?
 
8
Ah, what can ever be more stately and admirable to me than mast-hemm’d Manhattan?
River and sunset and scallop-edg’d waves of flood-tide?
The sea-gulls oscillating their bodies, the hay-boat in the twilight, and the belated lighter?
 
What gods can exceed these that clasp me by the hand, and with voices I love call me promptly and loudly by my nighest name as I approach?
What is more subtle than this which ties me to the woman or man that looks in my face?
Which fuses me into you now, and pours my meaning into you?
 
We understand then do we not?
What I promis’d without mentioning it, have you not accepted?
What the study could not teach—what the preaching could not accomplish is accomplish’d, is it not?
 
9
Flow on, river! flow with the flood-tide, and ebb with the ebb-tide!
Frolic on, crested and scallop-edg’d waves!
Gorgeous clouds of the sunset! drench with your splendor me, or the men and women generations after me!
Cross from shore to shore, countless crowds of passengers!
Stand up, tall masts of Mannahatta! stand up, beautiful hills of Brooklyn!
Throb, baffled and curious brain! throw out questions and answers!
Suspend here and everywhere, eternal float of solution!
Gaze, loving and thirsting eyes, in the house or street or public assembly!
 
Sound out, voices of young men! loudly and musically call me by my nighest name!
Live, old life! play the part that looks back on the actor or actress!
Play the old role, the role that is great or small according as one makes it!
Consider, you who peruse me, whether I may not in unknown ways be looking upon you;
Be firm, rail over the river, to support those who lean idly, yet haste with the hasting current;
Fly on, sea-birds! fly sideways, or wheel in large circles high in the air;
Receive the summer sky, you water, and faithfully hold it till all downcast eyes have time to take it from you!
Diverge, fine spokes of light, from the shape of my head, or any one’s head, in the sunlit water!
Come on, ships from the lower bay! pass up or down, white-sail’d schooners, sloops, lighters!
Flaunt away, flags of all nations! be duly lower’d at sunset!
Burn high your fires, foundry chimneys! cast black shadows at nightfall! cast red and yellow light over the tops of the houses!
 
Appearances, now or henceforth, indicate what you are,
You necessary film, continue to envelop the soul,
About my body for me, and your body for you, be hung out divinest aromas,
Thrive, cities—bring your freight, bring your shows, ample and sufficient rivers,
Expand, being than which none else is perhaps more spiritual,
Keep your places, objects than which none else is more lasting.
 
You have waited, you always wait, you dumb, beautiful ministers,
We receive you with free sense at last, and are insatiate henceforward,
Not you any more shall be able to foil us, or withhold yourselves from us,
We use you, and do not cast you aside—we plant you permanently within us,
We fathom you not—we love you—there is perfection in you also,
You furnish your parts toward eternity,
Great or small, you furnish your parts toward the soul.

Source: Crossing Brooklyn Ferry | The Poetry Foundation