Cannes is done with huge cruise ships. The French city is joining the overtourism backlash
PARIS (AP) — The French Riviera resort of Cannes is imposing what its city council calls 'drastic regulation' on cruise ships, banning any vessels carrying more than 1,000 people from its harbor starting next year.
The home of the world's premier film festival is joining a growing global backlash against overtourism, which recently saw uproar over Jeff Bezos' and Lauren Sanchez' Venice wedding this weekend, water-gun protests in Spain and a surprise strike at the Louvre Museum.
'Less numerous, less big, less polluting and more esthetic' — that's the aim of Cannes city councilors who voted Friday to introduce new limits on cruise ships in its ports starting Jan. 1. Only ships with fewer than 1,000 passengers will be allowed in the port, with a maximum of 6,000 passengers disembarking per day. Larger ships will be expected to transfer passengers to smaller boats to enter Cannes.
France — which drew in some 100 million visitors last year, more than any other European country and more than the country's population — is on the front line of efforts to balance economic benefits of tourism with environmental concerns while managing ever-growing crowds.
'Cannes has become a major cruise ship destination, with real economic benefits. It's not about banning cruise ships, but about regulating, organizing, setting guidelines for their navigation,' Mayor David Lisnard said in a statement.
Cruise operators have called such restrictions damaging for destinations and for passengers.
Two cruise ships were scheduled to dock in Cannes on Sunday, each bigger than the upcoming 1,000-passenger limit and with a combined capacity of more than 7,000 people. Their owners did not immediately respond to requests for comment on the new restrictions.
The nearby Mediterranean city of Nice announced limits on cruise ships earlier this year, as have some other European cities.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
17 minutes ago
- Yahoo
Olivia Rodrigo leaves Glastonbury on a high
Glastonbury saved the best 'til last, with a triumphant set by American star Olivia Rodrigo to close the festival's Pyramid Stage. After the artifice and intensity of previous headliners The 1975 and Neil Young, the 22-year-old stomped her way through a series of crisp, punk-pop anthems and heartfelt ballads about the injustices of young love. She charmed her English fans by professing her love for Marks and Spencers' Colin The Caterpillar sweets; and won over Glastonbury veterans by duetting with The Cure's Robert Smith ("perhaps the best songwriter to come out of England"). "Glastonbury's been my dream festival forever and I can't believe today's the day," she beamed. The set was a crowning moment for the singer, who only released her first single, Drivers License, five years ago. A desperate cry of loneliness, the ballad broke Spotify streaming records in just 24 hours. Then it broke them again. Seven days later, it entered the UK and the US charts at number one, instantly catapulting the singer from Disney actress to fully-fledged pop star. Drivers License cast her as "the sad piano girl" in the public imagination - but she quickly deconstructed that image with a flurry of dynamic, guitar-heavy pop anthems that built on the templates established by Joan Jett, Alanis Morisette and Avril Lavigne. It was those sounds that opened her Glastonbury set, with the crunchy riffs of Obsessed, a self-mocking song about her jealousy; and the semi-autobiographical Diary Of A Homeschooled Girl. Dressed in a white lace corset and knee-high bovver boots, she high-kicked across the stage, whipping the crowd into a frenzy. "How are we doing tonight Glastonbury," she screamed. "I don't think I've ever seen so many people in my life. "Guys, it's the last night of the festival. Are you ready to have some fun?" She undercut the question slightly by launching into Drivers License - but watching the army of young fans holler those lyrics back at her, there was a communal sense of catharsis, at least. The rest of the set balanced her competing impulses: rock chick, singer-songwriter, rabble rouser, strident feminist, heartfelt balladeer. But above all else, she's a music fan. Her decision to duet with Glastonbury veteran Robert Smith, rather than a pop contemporary like Harry Styles or Lorde, flowed directly from her love of 80s British pop. As they played The Cure classics Friday I'm in Love and Just Like Heaven, Rodrigo kept glancing over at Smith, beaming from ear to ear, like she couldn't believe her luck. She added little harmonies to the songs, embellishing without being disrespectful – and Smith seemed to be just as enamoured with Rodrigo as she was with him, watching the rest of her set from the wings of the Pyramid Stage. "He's the nicest, most wonderful man ever and I'm so honoured to play with him tonight," she gushed. That guilelessness worked in her favour. For the audience, it often felt like watching your cool older sister (or your precocious young daughter) up on stage, rather than some untouchable pop star. What's more, Rodrigo needed none of the usual pop star props. There was no choreography. Until the encore, there was only one costume. All she required were the songs and her pin-sharp, all-female band. She charmed the audience even more as she introduced the new wavey So American – a song about the inside jokes she shared with an English boyfriend. "I love England so much," she said. "I love how nobody judges you for having a pint at noon. I love English sweets, all the sweets from M&S, Colin the Caterpillar specifically. "True story: I have had three sticky toffee puddings since coming to Glastonbury. And as luck would have it, I love English boys." England loved her right back, saving their biggest reaction for her encore – a headlong rush through Brutal, All American Bitch, Good 4 U and Get Him Back. She left the stage under a downpour of fireworks, as inflatable balls bounced around the audience and our ears rang with feedback. It was, hands down, the best (and best-attended) headline set of the weekend. Olivia Rodrigo had understood the brief: Bring the hits. Make it unique. And make it personal. Perhaps she'd learned that from Jarvis Cocker, whom she'd watched from her boyfriend's shoulders on Saturday. "To enjoy Glastonbury, you have to submit to it," he advised. Rodrigo channeled that spirit innately. She's welcome back any time. Earlier on Sunday, The Selecter opened up the final day of music on the Pyramid Stage, with an energetic set of punchy ska anthems. Singer Pauline Black, a former NHS worker, dedicated Frontline to her colleagues, saying we'd thank them when we needed their help for "all those knees and all those hips in the not-so-distant future". And the crowd carried her through the band's biggest hit, On The Radio, as her voice cracked on the trilling high notes. "As you can tell, my voice is hurting," she explained. "Are you going to help me?" They didn't need asking twice. Celeste took our breath away with a grungier, angrier sound than the floaty jazz-soul of her debut. The singer, who won the BBC's Sound Of 2020, has taken five years to follow up her chart topping album, Not Your Muse, but told the audience "everything happens when it's supposed to". On the basis of Everyday - an excoriating, paranoid track built around Death In Vegas's 1999 dance hit Dirge - the new material has been worth the wait. Also previewing new material was London soul-pop singer Joy Crookes. Dressed in a striking pink and green sari, she sauntered through the bassy grooves of recent singles Pass The Salt and Carmen, coming across like a latter-day Amy Winehouse. The highlight of her set was the new single Perfect Crime - with a chorus so immaculate that the crowd had picked it up after one refrain. After an unexpectedly nostalgic set from The Libertines, Rod Stewart took to the Pyramid Stage in the prestigious "legend slot". In full lounge lizard style, he played big band arrangements of hits like Do Ya Think I'm Sexy, Maggie May and The First Cut Is The Deepest, full of bubbly blonde backing vocals and endless saxophone solos. Despite promising to "get in as many hits as I can", the set had a wobbly start, with a couple of lesser-known numbers. But he found his groove with 1984's Some Guys Have All The Luck, after which the jukebox served up hit after hit. Ronnie Wood came out for a chummy duet on the Faces' Stay With Me (an obvious highlight) before Stewart closed his set with a maritime singalong on We Are Sailing. He was followed by Nile Rodgers and Chic who, it has to be said, drew an even bigger crowd for their feel-good disco anthems. The song choices were faultless, ranging from Chic's Le Freak and Good Times, to the songs Rodgers produced for Bowie (Let's Dance, Modern Love) and Madonna (Like A Virgin, Material Girl) in the 80s. As they played, a biplane flew over the Pyramid Stage and drew a smiley face and a love heart in the sky. It couldn't have come at a better time. Over at the Woodsies stage, AJ Tracey gave a masterclass in crowd work. "I asked you for a mosh pit and I'm not gonna lie to you, it was weak," he scolded, promising to give the crowd something to really get their teeth into. At that point, Aitch burst onto the stage for the pair's 2020 collaboration, Rain. To say the energy ramped up would be an understatement on par with saying the surface of the sun is a little warm to the touch. The set continued with a clutch of UK rap anthems - Ladbroke Grove, Thiago Silva, Kiss and Tell - turning it into one of the weekend's sweatiest shows. Other standout sets on the festivals' final day included The Prodigy, who dedicated their set on The Other Stage to late frontman Keith Flint; and Jorja Smith, who provided a soothing set of British soul for the festival's more weary revellers. Wolf Alice delivered a crowd-pleasing cover of Fleetwood Mac's Dreams on The Other Stage, but it was their ode to friendship, Bros, that sent the audience into rapture. Old friends, best mates and new-found companions hugged each other and swayed deliriously to the song's "me and you" refrain. The band only played two songs from their highly-anticipated fourth album, The Clearing - but lead single Bloom Baby Bloom was treated like an old friend. The new material is more angular, more face-forward than their previous work; and lead singer Ellie Rowsell seemed to be enjoying her newfound confidence as a frontwoman. After the delicious love song The Sofa, she poured a bottle of water over her head, shook off the droplets, grabbed a megaphone and screamed out the lyrics to the band's two loudest, punkiest songs, Yuk Foo and Greatest Hits. Expect to see them at the top of the bill when Glastonbury returns in 2027. Rod Stewart at Glastonbury: Old school charm from another era What a night in Glasto's 'Naughty Corner' looks like Charli XCX, Neil Young and Scissor Sisters give Glastonbury goosebumps Glastonbury: The 1975 deliver a polished, but safe headline slot
Forbes
35 minutes ago
- Forbes
How Paris Continues To Conquer Olympics Fans A Year After The Games
The reinstalled cauldron from the Paris 2024 Games Olympic Cauldron rises above the Louvre and River ... More Seine during the Fete De La Musique 2025, on June 21, 2025 in Paris, France. The basin designed by Mathieu Lehanneur will lift off into the sky of the French capital each summer evening from June 21 to September 14 for the next three years. (Photo by) The balloon has gone up and Paris is once again enchanted. The elegant spherical creation that housed the Olympic flame during last summer's Paris Games has returned to its floating perch above the Tuileries garden between the Louvre Museum and the Champs-Elysées, a central spot visible from many of the city's grandest monuments and bateaux-mouches floating down the bref, Paris has mastered post-Olympic fusion tourism. Come for the, well, everything, and stay to check out the spot that has made for some of the most spectacular Olympic imagery this coup de ballon, Paris has pulled off the kind of pivot most Olympic host cities have not been able to manage once the Games have ended. 1992 made a tourist destination of Barcelona and 2012 transformed London's formerly downtrodden East End. In the shadow of these successes, there have also been some dismal failures: see de Janeiro, Rio, where the Olympic Park seemed to fall to pieces only months after the Games ended, and Sarajevo, where disused venues from the 1984 Winter Olympics are greatly in need of refurbishment following the Bosnian the Paris Olympics to the past The helium-powered Olympic cauldron was imagined as a balloon in homage to the Montgolfier brothers Joseph-Michel and Jacques-Étienne. (The French word for hot air balloon is in fact montgolfier.) Jacques-Étienne piloted the first recorded balloon ascent by humans in 1783, setting the stage for Charles and Orville Wright 120 years later. Jacques-Étienne happened to launch his balloon in the middle of the Tuileries, and by no coincidence, the Olympic cauldron has been placed exactly where he took off for his fateful rebranded as the 'Paris cauldron,' the balloon's rise over the city will be a nightly occurrence on summer evenings for the next three years. Though it appears to house a flame, the whole contraption is really trompe l'oeil: its golden glow comes from a combination of LED lights, mist-squirting jets, and high-pressure fans. LED lights, fans, and high-powered jets provide the cauldron's flame-like effect. (Photo by Ezra ...) According to city estimates, Paris's newest iconic attraction drew more than 250,000 admirers last summer alone. Less popular so far are the 'baignades en Seine,' or sites where you can swim in the Seine River, an activity banned 100 years ago due to poor water quality but recently brought back in select areas and trumpeted as of the Games's great legacies. (Daily quality testing determines whether the water is actually sanitary enough for bathers to dip into.)More intriguing for the less adventurous may be the planned flotilla procession down the Seine set for July 27, a year and a day after the magically rainy Opening Ceremony that featured Lady Gaga, Celine Dion, and a bevy of small boats ferrying soaked and thrilled Olympic athletes down the river. New IOC President Kirsty Coventry will be among those in attendance. Olympians from Croatia wave flags aboard a boat in the floating parade on the Seine at the start of ... More the Olympic Opening Ceremony in Paris. (Photo by Clodagh Kilcoyne - Pool/Getty Images) Nor does Paris plan to stop at just the cauldron. Plans for a 'Monument of Champions' with the names of the 2024 Olympians and Paralympians will also be revealed, while the half-submerged statues of ten extraordinary Frenchwomen that made up part of the river decor during the Opening Ceremony will be unveiled in their new residence near the Adidas Arena, which held rhythmic gymnastics and badminton and was one of only two new build venues at the Games. As the Olympics expands its reach, Paris of all places certainly knows how to prolong the magic of the past.
Yahoo
43 minutes ago
- Yahoo
Simon Wiesenthal Center Slams Glastonbury's 'Bland Response' To Bob Vylan's 'Death To The IDF' Chant
Although Glastonbury and the BBC have condemned Bob Vylan's onstage comments at the England music festival, at least one Jewish human rights organization is not satisfied with the response. Jim Berk, CEO of the Simon Wiesenthal Center, called out both the festival and the network for providing a platform for the 'disgraceful' performance, in which Vylan led the crowd in chants of 'death to the IDF' and 'free Palestine.' More from Deadline Glastonbury Officials 'Appalled' By Bob Vylan's Anti-Israel 'Hate Speech' Chant From Stage BBC Slams 'Deeply Offensive' Glastonbury Set: 'We Have No Plans To Make It Available On Demand' BBC Avoids Kneecap But Live Streams Another Act Leading Crowd Chants Of "Death To The IDF" & "Free Palestine" 'It was sickening, dangerous and chillingly reminiscent of a modern-day Nazi rally,' said Berk, adding: 'It was public incitement, not performance. The explicit calls for violence against Jews, broadcast live by the BBC without interruption, literally gave hate a stage, a microphone, and the stamp of legitimacy of one of Britain's most respected public institutions.' Berk continued, 'And Glastonbury's bland response? Saying the chants merely 'crossed a line' and offering vague 'reminders' to artists is not accountability—it's cowardice. When confronted with explicit calls for violence against Jews, anything short of absolute condemnation and corrective action is complicity.' Referencing Hamas' October 2023 invasion of Israel's Nova music festival, where 378 were killed and 44 hostages were taken, Berk called the chants 'deeply re-traumatizing and terrifying.' 'This is a moment of reckoning. Festival organizers, media outlets, and artists must choose: will they be platforms for peace, or enablers of hate? Because silence is not neutrality, it is a green light for bigotry,' added Berk. 'Festivals must be prepared to halt performances that invoke hate; broadcasters must air festivals on deferred live and use their kill switch to take hate speech immediately off the air. Never again is not a slogan: It's a responsibility. And it's being betrayed on the world's biggest stages.' Following the performance, the BBC has decried the 'deeply offensive' set, which a spokesperson said they have 'no plans to make the performance available on demand.' A Glastonbury rep has said that organizers are 'appalled' by the chants, which 'very much crossed a line and we are urgently reminding everyone involved in the production of the Festival that there is no place at Glastonbury for antisemitism, hate speech or incitement to violence.' Best of Deadline 2025 TV Cancellations: Photo Gallery 2025 TV Series Renewals: Photo Gallery 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More
