logo
World's longest-standing Michelin-starred restaurant loses a star

World's longest-standing Michelin-starred restaurant loses a star

CNN21-03-2025

A French restaurant that has held a Michelin star for longer than any other establishment in the world has lost one of its stars.
Georges Blanc, in the eastern French commune of Vonnas, was first awarded a star almost a century ago and has boasted three stars continuously since 1981, a spokeswoman for the 153-year-old establishment told CNN.
The Michelin Guide confirmed the loss of Georges Blanc's third star to CNN on Friday.
'Our evaluation criteria have been the same for 125 years. They are focused solely on the dish,' a Michelin spokeswoman said. 'It's about five key criteria: the quality of the ingredients, the cooking technique, the harmony of flavors, the personality of the chef as expressed in their menu, and the consistency and regularity between different inspector visits.'
'Michelin inspectors visit the restaurant several times a year, with different inspectors visiting each time. The process is collegial—it's not a decision made by a single inspector; it's a decision made after multiple visits with different inspectors,' she added.
Reacting to the news, 82-year-old chef Georges Blanc told French news agency AFP: 'We didn't expect it. One star will be missing, fading away, so we will manage with two stars. It's not an issue.'
CNN has reached out to Blanc for further comment.
The restaurant, founded in 1872 with the name 'La Mère Blanc,' earned its first Michelin star in 1929—only three years after the Michelin Guide started awarding stars to fine dining establishments.
It was awarded to Blanc's grandmother, Élisa, who also accepted the second star in 1931, the restaurant's spokeswoman told CNN.
Three generations of women were chefs at the family restaurant before Blanc joined his mom in the kitchen. He took the helm in 1968 at age 25 and later went on to earn the restaurant its third star, according to the website of Relais & Châteaux, the company that owns it.
Georges Blanc is open for just 1 hour and 15 minutes for dinner on Thursday and for lunch and dinner from Friday to Sunday, according to its site. Diners choose their meals in advance, and an à la carte menu competes with two six- and seven-course tasting menus.
Diners can feast on a creative take on Bresse chicken, lobster and local-style crepes—to be paired with wine from a cellar of 140,000 bottles, according to the restaurant.
The Michelin Guide, which will hold a ceremony to mark this year's France selection on March 31, has at times faced a backlash over its decision to award or take stars away from popular chefs.
In January, French chef Marc Veyrat banned Michelin inspectors from his new restaurant, Le Restaurant Marc Veyrat, five years after taking the guide to court—and losing the case— over an unfavorable review of his cheese soufflé.
However, anonymous Michelin inspectors could still turn up to assess the restaurant, as South Korean chef Eo Yun-gwon found out in 2019, when he sued the guide for awarding his restaurant a star after he asked it not to.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

6 people killed in crash of small aircraft off San Diego, FAA says
6 people killed in crash of small aircraft off San Diego, FAA says

Yahoo

time8 hours ago

  • Yahoo

6 people killed in crash of small aircraft off San Diego, FAA says

Six people were killed when a small plane crashed into the ocean off San Diego on Sunday afternoon, the Federal Aviation Administration said Monday. The final moments before the twin-engine Cessna crash – which triggered a major search of the Pacific Ocean near San Diego – are captured in an air traffic control audio recording from 'Mayday! Mayday! Mayday!' the pilot of the Cessna 414 can be heard shouting on the recording only five minutes after taking off from San Diego International Airport. The pilot and five passengers were killed when the plane crashed into the water 'under unknown circumstances,' the FAA told CNN. The Coast Guard is searching a debris field. An urgent exchange is heard on the audiotape as the pilot tells an air traffic controller he is struggling to maintain a heading. 'What seems to be the issue?' the air traffic controller can be heard asking 'Just struggling right now to maintain heading … and climb,' the pilot replied. The controller from the Southern California Terminal Radar Approach Control advised the pilot to land at nearby Naval Air Station North Island. Flight tracking data shows the plane taking off at 12:25 p.m. local time bound for Phoenix. In the five minutes that followed, the plane reached a maximum altitude of only 2,100 feet before making two turns to the left, according to open-source data from ADS-B Exchange. The National Transportation Safety Board is investigating the cause of the crash. Weather conditions at the time of the crash were not particularly poor. Visibility was 10 miles and winds were at about 8 mph from the west-northwest, with no gusts. There was a thick, overcast cloud layer at around 1500 feet, according to data from nearby airports analyzed by CNN meteorologists. This is a developing story and will be updated.

13 Reasons Gen X Feels Like The Forgotten Generation
13 Reasons Gen X Feels Like The Forgotten Generation

Yahoo

time9 hours ago

  • Yahoo

13 Reasons Gen X Feels Like The Forgotten Generation

Sandwiched between the loud idealism of the Boomers and the digital dominance of Millennials, Gen X often gets sidelined in the cultural conversation. They were latchkey kids turned quiet revolutionaries, carrying the weight of change without demanding a spotlight. But beneath that detached coolness lies a generation that feels distinctly overlooked—and not without reason. Here are 13 unexpected and quietly powerful reasons Gen X often feels like the invisible middle child of modern society. Gen X helped build the digital world we live in, adapting to the rise of email, dial-up, and early social media while holding down traditional jobs. Yet, today's tech culture largely belongs to younger generations, who are assumed to be the digital natives. Gen Xers are often viewed as 'too old' for new platforms but 'too young' to be nostalgic relics as this article in Forbes highlights. That weird digital no-man's-land leaves them out of both the innovation narrative and the retro appreciation era. Their contributions get erased because they were transitional—not flashy. It's hard to be remembered when you were always expected to quietly adapt. Gen X grew up with sky-high divorce rates, minimal emotional validation, and the 'figure it out yourself' parenting philosophy. That upbringing forged a hyper-independent generation praised for grit and stoicism. But that same resilience often gets mistaken for not needing support. Because they're not openly struggling or demanding change, their pain doesn't register. They become background characters in the social dialogue. Quiet endurance is noble—but it's also easily ignored. From grunge and hip-hop to indie cinema and the alt movement, Gen X was behind some of the most transformative shifts in culture as Psychology Today highlights. But those aesthetics and ideas have been co-opted, rebranded, and credited to newer generations. Think flannel and vinyl coming back without a nod to their original architects. The trend cycle skips the origin story and just slaps on a Gen Z filter. What was once revolutionary for Gen X now gets sold back to them like a lifestyle brand. That erasure stings. Boomers still dominate leadership roles while Millennials are treated as the innovation engine. Gen X? They're the dependable in-between, expected to manage everyone else's chaos. But rarely are they spotlighted, mentored upward, or included in big-picture strategy. They keep the corporate world running without ever being acknowledged for it. It's workplace invisibility in its most polished form. No drama, no thanks. As this CNN article points out, Gen X was supposed to be the first generation to do worse financially than their parents—and that forecast became all too real. They've weathered the dot-com crash, the 2008 recession, and now inflation during peak midlife expenses. Yet, financial narratives often skip over them entirely in favor of Boomer wealth or Millennial struggle. Gen X is left holding student debt and college bills at the same time. They're caring for both kids and aging parents with little structural support. But no one's putting their economic crisis on magazine covers. Unlike Millennials or Gen Z, Gen X wasn't raised with language for emotional health. Vulnerability wasn't modeled—it was avoided. Now in midlife, many are learning to process trauma or set boundaries for the first time. But the mental health conversation tends to spotlight younger generations. Gen X feels emotionally underdeveloped and out of sync in today's therapeutic age. They're healing in private while others heal in public. Gen X parents rejected the lax parenting style of Boomers and chose to raise emotionally intelligent, autonomous kids as points out. They were the first to talk about feelings at the dinner table and embrace co-parenting models. But they rarely get credit for that seismic shift. Millennial parenting is now seen as progressive and evolved, while Gen X quietly pioneered that entire playbook. They're the beta version no one credits. It's legacy without recognition. Media, tech, fashion, even wellness brands rarely cater to Gen X. The messaging always skews either older ('retire with confidence!') or younger ('here's how to go viral!'). Gen X is stuck in a demographic black hole where nothing is *for* them. They're left adapting products and narratives that weren't designed with their reality in mind. When you're never the customer, you're also never the priority. That absence is loud. Gen X rejected corporate conformity and the American Dream quietly but firmly. They turned to minimalism, DIY, and creative careers long before it was cool. But because they didn't post about it, no one noticed. Their rebellion was internal, philosophical. And that's why history forgets them—they didn't ask to be remembered. They just lived differently. Gen X is simultaneously parenting teens and supporting elderly parents. That dual pressure leaves them burnt out, with no clear place to vent or receive help. Boomers are aging out, Millennials are parenting young kids—but Gen X is stuck doing both. They're caregivers without a care system. It's unpaid labor that rarely gets acknowledged. And that sense of isolation runs deep. '90s nostalgia is everywhere, but Gen Xers are notably missing from the cast of characters being celebrated. Shows, memes, and fashion pull from their youth, but the people themselves are erased. It's as if the era mattered—but the generation didn't. Gen X is watching their memories get mined for content while they themselves remain on mute. It's a cultural extraction without a human face. And it adds to the invisibility. Gen X doesn't overshare or self-promote online the way Millennials and Gen Z do. Their core identity is built on irony, detachment, and distrust of authority. So they often sit out the viral discourse entirely. That silence gets misread as apathy or irrelevance. But it's actually a survival mechanism rooted in hard-earned skepticism. Unfortunately, algorithms don't reward restraint. Gen X doesn't crave the spotlight, but they do want to be acknowledged. They built, raised, repaired, and adapted without applause. But even quiet strength deserves recognition. Being overlooked isn't a badge of honor—it's a wound. And it's time we start seeing Gen X not just as a bridge—but as a generation with its own identity worth celebrating.

African prisoners made sound recordings in German camps in WW1: this is what they had to say
African prisoners made sound recordings in German camps in WW1: this is what they had to say

Yahoo

time11 hours ago

  • Yahoo

African prisoners made sound recordings in German camps in WW1: this is what they had to say

During the first world war (1914-1918) thousands of African men enlisted to fight for France and Britain were captured and held as prisoners in Germany. Their stories and songs were recorded and archived by German linguists, who often didn't understand a thing they were saying. Now a recent book called Knowing by Ear listens to these recordings alongside written sources, photographs and artworks to reveal the lives and political views of these colonised Africans from present-day Senegal, Somalia, Togo and Congo. Anette Hoffmann is a historian whose research and curatorial work engages with historical sound archives. We asked her about her book. About 450 recordings with African speakers were made with linguists of the so-called Royal Prussian Phonographic Commission. Their project was opportunistic. They made use of the presence of prisoners of war to further their research. In many cases these researchers didn't understand what was being said. The recordings were archived as language samples, yet most were never used, translated, or even listened to for decades. The many wonderful translators I have worked with over the years are often the first listeners who actually understood what was being said by these men a century before. The European prisoners the linguists recorded were often asked to tell the same Bible story (the parable of the prodigal son). But because of language barriers, African prisoners were often simply asked to speak, tell a story or sing a song. We can hear some men repeating monotonous word lists or counting, but mostly they spoke of the war, of imprisonment and of the families they hadn't seen for years. Abdoulaye Niang from Senegal sings in Wolof. Courtesy Lautarchiv, Berlin275 KB (download) In the process we hear speakers offer commentary. Senegalese prisoner Abdoulaye Niang, for example, calls Europe's battlefields an abattoir for the soldiers from Africa. Others sang of the war of the whites, or speak of other forms of colonial exploitation. When I began working on colonial-era sound archives about 20 years ago, I was stunned by what I heard from African speakers, especially the critique and the alternative versions of colonial history. Often aired during times of duress, such accounts seldom surface in written sources. Joseph Ntwanumbi from South Africa speaks in isiXhosa. Courtesy Lautarchiv, Berlin673 KB (download) Clearly, many speakers felt safe to say things because they knew that researchers couldn't understand them. The words and songs have travelled decades through time yet still sound fresh and provocative. The book is arranged around the speakers. Many of them fought in the French army in Europe after being conscripted or recruited in former French colonies, like Abdoulaye Niang. Other African men got caught up in the war and were interned as civilian prisoners, like Mohamed Nur from Somalia, who had lived in Germany from 1911. Joseph Ntwanumbi from South Africa was a stoker on a ship that had docked in Hamburg soon after the war started. In chapter one Niang sings a song about the French army's recruitment campaign in Dakar and also informs the linguists that the inmates of the camp in Wünsdorf, near Berlin, do not wish to be deported to another camp. An archive search reveals he was later deported and also that Austrian anthropologists measured his body for racial studies. His recorded voice speaking in Wolof travelled back home in 2024, as a sound installation I created for the Théodore Monod African Art Museum in Dakar. Chapter two listens to Mohamed Nur from Somalia. In 1910 he went to Germany to work as a teacher to the children of performers in a so-called Völkerschau (an ethnic show; sometimes called a human zoo, where 'primitive' cultures were displayed). After refusing to perform on stage, he found himself stranded in Germany without a passport or money. He worked as a model for a German artist and later as a teacher of Somali at the University of Hamburg. Nur left a rich audio-visual trace in Germany, which speaks of the exploitation of men of colour in German academia as well as by artists. One of his songs comments on the poor treatment of travellers and gives a plea for more hospitality to strangers. Stephan Bischoff, who grew up in a German mission station in Togo and was working in a shoe shop in Berlin when the war began, appears in the third chapter. His recordings criticise the practices of the Christian colonial evangelising mission. He recalls the destruction of an indigenous shrine in Ghana by German military in 1913. Also in chapter three is Albert Kudjabo, who fought in the Belgian army before he was imprisoned in Germany. He mainly recorded drum language, a drummed code based on a tonal language from the Democratic Republic of Congo that German linguists were keen to study. He speaks of the massive socio-cultural changes that mining brought to his home region, which may have caused him to migrate. Together these songs, stories and accounts speak of a practice of extracting knowledge in prisoner of war camps. But they offer insights and commentary far beyond the 'example sentences' that the recordings were meant to be. As sources of colonial history, the majority of the collections in European sound archives are still untapped, despite the growing scholarly and artistic interest in them in the last decade. This interest is led by decolonial approaches to archives and knowledge production. Sound collections diversify what's available as historical texts, they increase the variety of languages and genres that speak of the histories of colonisation. They present alternative accounts and interpretations of history to offer a more balanced view of the past. This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Anette Hoffmann, University of Cologne Read more: Rashid Lombard: the photographer who documented both resistance and celebration in South Africa 3 things Ngũgĩ wa Thiong'o taught me: language matters, stories are universal, Africa can thrive Mbare Art Space: a colonial beer hall in Zimbabwe has become a vibrant arts centre Anette Hoffmann does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store