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Where Do Most Of The Americans In France Live?

France and the United States have a long history and mostly friendly history – France is, after all, America’s ‘oldest ally’.

From the country’s francophile founding fathers like Benjamin Franklin to the scores of American writers including Ernest Hemingway, who made France their home during the 1920s, moving to France is a popular option.

According to recent census data, there were at least 29,491 US nationals officially living in France as of 2020. However, the American embassy has even estimated that this number could rise up to 100,000 when taking into account those visiting for short stays, like study abroad students and posted workers.

During the summer months, the number of US nationals in France is known to increase significantly, with the country being ranked second among Americans for the most popular place to visit, just after Italy.

As of 2022, American tourists were among the biggest spenders, having spent an average of €400 per day in France – with a 10-day budget rising to €7,687, according to Geo FR.

Paris is by far the most popular place for Americans to visit, with 72 percent telling Le Figaro this was their primary trip destination. After that, American tourists prioritised Marseille (28 percent), Disneyland Paris (27 percent), Nice (26 percent), and then Versailles and Lyon tied for fifth place at 22 percent.

And there are many more Americans looking to make their visit to France permanent, with a dream of moving to France.

So if you are an American thinking of coming to l’Hexagone, there are the French regions where you can find (or avoid) your fellow countrymen.


Based on 2020 data from the French national statistic agency INSEE, the Paris region was home to over 40 percent of the Americans living in France with 13,903 Americans in the greater Paris region of Île-de-France.

As for the city of Paris itself, 8,491 Americans live here. Around one-fifth of the second-home owners in Paris live abroad, according to 2020 data from INSEE. While the majority of these second-home owners are other Europeans, particularly people from Italy, Switzerland and the UK, there are two Paris arrondissements where American second-home owners are most prevalent: the 13th and 16th.

The Emily in Paris Netflix show has been a recent factor in making more Americans dream of living in the capital. An Ifop poll for US Francophile travel site Bonjour New York found that 73 percent of US citizens have a good opinion of the country and its people, up from just 39 percent in 2007, four years after the political stand-off over the invasion of Iraq.

Of the respondents, about a third said they would like to live in France, and three-quarters (75 percent) said they would like to spend a short stay in Paris. For almost half (44 percent), the prospect of following in Emily’s footsteps by spending a year in the city of light was particularly appealing, especially among the younger age group, notably progressive urbanites.

Another benefit to living in Paris for Americans may be English-proficiency – according to global scores for the Education First English Language Proficiency test in 2022, even though France came in last place out of the EU countries for English levels, Paris as a city scored higher than other European ones, such as Madrid and Rome.

The Alps

After Paris, the Auvergne-Rhône-Alpes region came in second place with 3,163 Americans living there. With proximity to several urban areas, as well as the Alps mountains which are a coveted holiday location, particularly for skiing and winter sports, this region was a very well-liked destination amongst Americans living in France.

The largest group of US nationals (864 people) in Auvergne-Rhône-Alpes can be found in the Rhône département, which includes the city of Lyon, known as the gastronomic capital of France.

After that, the Ain département (651 people), which is not far from Geneva on the border with Switzerland, as well as Haute-Savoie (517 people), and Isère, home to Grenoble, (457 people) were all popular spots for Americans.

As for Allier, Cantal, Ardeche, Haute-Loire, and Savoie, together they accounted for 287 Americans, but these individual départements did not specify exactly how many US nationals they were home to.

The Mediterranean

Provence-Alpes Côtes-d’Azur (PACA) followed in third place, with 2,722 Americans making the region of the French Riviera their home.

With its irresistible combination of sun, sea, mountains and rosé wine, it’s not hard to see why so many Americans have chosen to live in the sunny south.

In the PACA region, almost half of the Americans (1,008) were located in the Alpes-Maritimes département, with 493 living in the city of Nice.

The large bulk of the other half of Americans in PACA (934 of them) were living in the Bouches du Rhône département, which is home to Marseille. The Var (335 Americans) and Vaucluse (290) followed, with Hautes Alpes and Alpes-de-Haute-Provence combined only having 155 Americans in total.

The region of Occitanie, the location of the Pyrenees mountains, as well as Toulouse and Montpellier, follows PACA with 2,470 Americans calling it home.

The off-the-beaten track areas

Both the Nouvelle-Aquitaine region and the Grand-Est region welcome over 1,000 Americans respectively.

Nouvelle-Aquitaine is known for its wine country and long coastline, as well as the city of Bordeaux and for the Americans living in France, it is slightly more popular than Grand-Est with 1,878 American inhabitants.

In comparison, Grand-Est, located along the border with Germany, and it counts 1,264 Americans.

The regions in western France – like Brittany, Normandy and Pays-de-la-Loire together counted a little over 2,000 Americans, but individually, they were only home to a few hundred US nationals.

Northern France (Hauts-de-France) and Central France (Centre-Val-de-Loire) seem less appealing, with 806 and 641 Americans respectively.

Burgundy, known for its rural landscapes, is the mainland French region with the lowest number of Americans – only 553 US nationals lived there, as of 2020.

However, Corsica takes the cake – as the Mediterranean island had no specific 2020 data for the amount of Americans living there, but in 2014, Corsica only had about 61 Americans.

Though the Mediterranean island is often nicknamed the “Island of beauty”, and it is hot travel spot among the French, there are no large urban centres for jobs and transport links to the mainland make it a more expensive choice.


Welcome back, Samuel Beckett | Culture

The 20th century brought us Stalin, Mao, two world wars, the Holocaust, atomic bombs and a couple more carnages that I would rather not recall. Several million people died as a result, according to the most conservative calculations. Logically, the soul of Europeans was shaken, and it is admirable that we have survived as a species. A Martian would have expected us to commit suicide once and for all with a big nuclear bash.

The battered world conscience led to several new outcomes in terms of human representation. Living with the constant threat of extinction affected artists, who are the ones that truly represent us and not politicians. So the artists began to represent us as they saw us: strange, deformed, shapeless, anomalous, invisible, crippled, stuttering, or simply mute.

We have been more temperate for several years now, and it seems that we are now able to analyze that past, which was called “the avant-garde,” with some calm. Not everywhere, of course, but it is possible in a West that is fading, but which is no longer massacring its slaves. And the effect that this awareness of destruction had on literature was the emergence of a group of immense writers who could no longer represent humans in a luminous and heroic way, so to speak. However, it would be a very bad idea to leave them for dead. Joyce, Proust, Kafka, Faulkner, Bernhard, Manganelli, Benet, Rulfo — throughout the West, a literature took shape during the 20th century in which only the bare form remained with a capacity to simply be. And one of its main writers was Samuel Beckett.

It is a source of joy that this difficult, harsh, dark, but wise literature’s ability to fascinate, moralize and illuminate us has not run dry. And reading these artists is a very convenient way to understand that everything could go dark at any moment. I am currently celebrating the release of a new Spanish translation of Watt, Beckett’s last novel in English, by an affordable publishing house that can reach many students (Cátedra).

The story behind this novel is another novel in itself, well told by the translator José Francisco Fernández in his extensive foreword to the new Spanish version. Beckett wrote it while fleeing from one hideout to another as a member of the Resistance, pursued by the Nazis who were occupying France. In those absurd conditions, Beckett carried his notebooks, in which he was writing and annotating what would finally become the novel Watt, which is the name of the main character, who is as non-existent as Godot, the most famous of Beckett’s characters. Watt has a partner, Mr. Knott, whom he serves in a parody of the old novels of masters and servants that have been immortalized thanks to television series like Upstairs, Downstairs.

Rejected by the publishing world

Although he finished it in 1945, Watt was not published until 1953 after being rejected by almost all English and American publishers, who were very reluctant to recognize that this convulsive and sarcastic prose was a faithful portrait of 20th-century civilization. And once it was published it barely made an impact. It was not until 1968 (what a year!), when it was published in French by the Minuit publishing house, in the author’s version and with the help of the Janvier couple, that enthusiasm for the novel would begin to get some traction. The French powers-that-be recognized themselves in the portrait of the warped, disintegrated human race, described with a lacerating irony that the Irishman created out of nothing.

There were other effects that fascinated those who dominated literary opinion at the time. One of them was the obvious caricature of Descartes, a philosopher whom Beckett always counted among his favorites, and the reference to whom was immediately picked up by the masters of structuralism and deconstruction.

Welcome back, then, to our Beckett, a precise portraitist of terrifying years that could return at any moment.

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The Hat Worn By Napoleon Bonaparte Sold For $2.1 Million At The Auction

A faded felt bicorne hat worn by Napoleon Bonaparte sold for $2.1 million at an auction on of the French emperor’s belongings.

Yes, that’s $2.1 million!!

The signature broad, black hat, one of a handful still in existence that Napoleon wore when he ruled 19th-century France and waged war in Europe, was initially valued at 600,000 to 800,000 euros ($650,000-870,000). It was the centerpiece of Sunday’s auction collected by a French industrialist who died last year.

The Hat Worn By Napoleon Bonaparte Sold For $2.1 Million At The Auction

But the bidding quickly jumped higher and higher until Jean Pierre Osenat, president of the Osenat auction house, designated the winner.

‘’We are at 1.5 million (Euros) for Napoleon’s hat … for this major symbol of the Napoleonic epoch,” he said, as applause rang out in the auction hall. The buyer, whose identity was not released, must pay 28.8% in commissions according to Osenat, bringing the overall cost to 1.9 million euros ($2.1 million).

While other officers customarily wore their bicorne hats with the wings facing front to back, Napoleon wore his with the ends pointing toward his shoulders. The style, known as “en bataille,” or in battle, made it easier for his troops to spot their leader in combat.

The hat on sale was first recovered by Col. Pierre Baillon, a quartermaster under Napoleon, according to the auctioneers. The hat then passed through many hands before industrialist Jean-Louis Noisiez acquired it.

The entrepreneur spent more than a half-century assembling his collection of Napoleonic memorabilia, firearms, swords and coins before his death in 2022.

The sale came days before the release of Ridley Scott’s film Napoleon with Joaquin Phoenix, which is rekindling interest in the controversial French ruler.

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The Call for AI Regulation in Creative Industries

THE VOICE OF EU | Widespread concerns have surged among artists and creatives in various domains – country singers, authors, television showrunners, and musicians – voicing apprehension about the disruptive impact of artificial intelligence (AI) on their professions.

These worries have prompted an urgent plea to the U.S. government for regulatory action to protect their livelihoods from the encroaching threat posed by AI technology.

The Artists’ Plea

A notable rise in appeals to regulate AI has emerged, drawing attention to the potential risks AI poses to creative industries.

Thousands of letters, including those from renowned personalities like Justine Bateman and Lilla Zuckerman, underscore the peril AI models represent to the traditional structure of entertainment businesses.

The alarm extends to the music industry, expressed by acclaimed songwriter Marc Beeson, highlighting AI’s potential to both enhance and jeopardize an essential facet of American artistry.

The Call for AI Regulation in Creative Industries

Copyright Infringement Concerns

The primary contention arises from the unsanctioned use of copyrighted human works as fodder to train AI systems. The concerns about AI ingesting content from the internet without permission or compensation have sparked significant distress among artists and their representative entities.

While copyright laws explicitly protect works of human authorship, the influx of AI-generated content questions the boundaries of human contribution and authorship in an AI-influenced creative process.

The Fair Use Debate

Leading technology entities like Google, Microsoft, and Meta Platforms argue that their utilization of copyrighted materials in AI training aligns with the “fair use” doctrine—a limited use of copyrighted material for transformative purposes.

They claim that AI training isn’t aimed at reproducing individual works but rather discerning patterns across a vast corpus of content, citing precedents like Google’s legal victories in the digitization of books.

The Conflict and Seeking Resolution

Despite court rulings favoring tech companies in interpreting copyright laws regarding AI, voices like Heidi Bond, a former law professor and author, critique this comparison, emphasizing that AI developers often obtain content through unauthorized means.

Shira Perlmutter, the U.S. Register of Copyrights, acknowledges the Copyright Office’s pivotal role in navigating this complex landscape and determining the legitimacy of the fair use defense in the AI context.

The Road Ahead

The outpouring of concern from creative professionals and industry stakeholders emphasizes the urgency for regulatory frameworks to safeguard creative works while acknowledging the evolving role of AI in content creation.

The Copyright Office’s meticulous review of over 9,700 public comments seeks to strike a balance between innovation and the protection of creative rights in an AI-driven era. As the discussion continues, the convergence of legal precedents and ethical considerations remains a focal point for shaping the future landscape of AI in creative industries.

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