The Paris Residences of James Joyce

Portable record player – the Oscar goes to Teppaz

Portable record player – the Oscar goes to Teppaz.

For only one day in my life, 50 years ago, I saw, touched, and heard the most incredible music machine of my life. I saw it for the second time yesterday, in April 2025, and I was just as mesmerized. But it was behind a glass exhibition case – untouchable and silent – with a 1963 Paul Anka record on the turntable.

The Oscar for Best French Export Company in 1962 goes to Marcel Teppaz and his manufacturing business, called Teppaz. His most successful product was the “Oscar” model of his innovative portable record player, the medium for listening to vinyl microgroove records. It was a small briefcase with a turntable – the “Portable Teppaz” – which became an icon of postwar innovation and pop culture. In the 1950s and 1960s, few objects captured the spirit of youthful freedom and musical exploration in France like the Portable Teppaz Oscar.

The Portable Teppaz Oscar was one of the first truly portable record players, allowing music lovers across France to bring their records into parks, onto riverbanks, or to gatherings in cafés and apartments. It democratized music listening at a time when access to records was becoming more affordable.

Marcel Teppaz, born on 26 May 1908 in Serrières-de-Briord, France, came from a family that manufactured spinning mill mechanisms. Marcel established his own radio and amplifier equipment assembly company in 1931 on Rue Jarente in Lyon. In 1937, he launched a new amplifier business with 30 people, moving into larger premises.

During the Second World War (1939-1945), the company closed and Teppaz entered the army. He was captured as a prisoner-of-war until his escape, although I couldn’t find details of this. In 1941, he had the idea of replacing the hand-cranked phonograph drive with a small electric motor which led to the assembly of the record player from 1952. In 1952, approximately 600 employees on the assembly lines on Boulevard de la Croix-Rousse in Lyon put together the 1,500 parts, selling 600,000 devices.

The Portable Teppaz Oscar was manufactured from 1958 to 1964, with the Oscar II model manufactured from 1964 to 1968.

The first compact, lightweight Portable Teppaz Oscar was a creamy-white Bakelite base and turntable with built-in speakers in a small briefcase with rounded corners, a domed lid, and a handle. The Oscar II was square-shaped. It had a tube amplifier consisting of a UCL 82 and a UY 85 – standard and reliable for the time. The electric motor operated at 220V so no transformer was needed.

It played three types of black, pressed vinyl records based on the revolutions per minute (rpm) – the speed that the record turned – but could play all record speeds: 16, 33, 45, and 78 rpms (78 rpm records ceased manufacture in 1959).

45 rpm records (with a single song on each side): 7 inches (18 centimetres).
EP extended play records (with two or three songs on each side but up to eight tracks at 45 rpm): 7 inches (18 centimetres).
LP long plays (a full album at 33 rpm): 12 inches (30 centimetres).

To be accurate, the Teppaz portable record player could be carried like a briefcase but did not work while you were walking down the street with it. It was portable in the sense that it could be easily moved from place to place — to a friend’s house, a park, a picnic, etc.

To play a record, the device needed to be placed on a stable surface like a table, bench, or the ground. Records are sensitive to vibration and movement. If you tried to walk while playing the record, the needle (stylus) would skip or scratch the disc — or even damage both the needle and the vinyl. So, it was portable to carry but stationary to play.

The Oscar model sold millions of units locally and internationally, a true success until 1970.

Marcel Teppaz died on 15 August 1964 in Saint-Alban, France, from a heart attack. After his death, his wife and son-in-law continued the company’s operations until 1974.

Today, the Teppaz Oscar remains a piece of vintage French design — a charming symbol of how music moved from the concert hall and cabaret to become a personal, portable companion.

There is now a resurrection of the portable record player due to the “vinyl revival.” The new models are cheap and convenient but the sound fidelity is not high – but neither were the original Teppaz models. Many companies are reproducing the concept – mainly for fun – and most still re-create the briefcase design, while some are retro 70s-style models, or more creative.

Although it took me 50 years to re-see the innovative French Portable Teppaz Oscar record player, after living in France, I had never forgotten its charm. It was the sound of freedom. And for me, it was modern, so excitingly modern.

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Left Bank in Song: Parisian history through lyrics and music

Left Bank in Song: Parisian history through lyrics and music.

La rive gauche en chansons – The Left Bank in Song – was an evocative exhibition held in Paris from 10-28 April 2025. It offered a visual and artistic journey through the districts of the Left Bank – the Luxembourg Gardens, Montparnasse, Saint-Sulpice, Saint-Germain-des-Prés, and more.

Each neighbourhood was brought to life, not just through historic images, but through the songs that once filled their cafés, theatres, churches, and dance halls. The exhibition presented a musical history from the 19^th century to the 1960s, through rare song sheets, records, posters, illustrated advertisements, and personal memorabilia.

Organized by Les Nautes de Paris, the exhibition reimagined the city’s quartiers through their popular music – linking each place to the songs, lyrics, and artists that defined it.

Romantic ballads and poetic serenades captured the leafy Luxembourg Gardens. They tell stories of students, artists, and lovers strolling through the park in all seasons.

The lyrics of the songs about Montparnasse, known for its wild artists, reveal chansonniers (songwriters) and cabaret singers in its cafés and streets. The songs tell tales of freedom, rebellion, love, and existential musings.

Songs of Saint-Sulpice, defined by its cathedral, demonstrate spirituality and the arts. Church music told of daily life of the religious while other songs from this district blend a sense of reverence with the simple, poignant emotions of the working class and the clergy.

By the mid-20th century, Saint-Germain-des-Prés had become the epicentre of intellectual and artistic life. Its jazz clubs and existential cafés created a new era of French songs combining traditional melodies with jazz influences. In this district, songs reflected melancholy, post-war freedom, and the promise of new beginnings.

Highlights from the exhibition included beautifully preserved vintage vinyl records from the early 20^th century, historic posters advertising performances in iconic Parisian venues, hand-written song lyrics and sheet music that reveal the creative process of Parisian composers, early record players and phonographs as part of Parisian households, and displays tracing the evolution of songs from cabaret ballads to Parisian jazz in the 1940s and 1950s.

The exhibition showed how the printed materials have become visual representations of the music.

The interesting facet of The Left Bank in Song exhibition was that the music mirrored the times and all their social changes, political protests, loves lost and won, and the dream of living a free, poetic life.

Through song, the history of Paris was preserved. It reminds visitors and locals that to understand Paris, they only need to listen to songs over the centuries.

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Ozanam Square in spring: small, serene, and so Parisian

Ozanam Square in spring: small, serene, and so Parisian.

Small, serene, and so Parisian is an apt description of the Ozanam Square garden in the 6th arrondissement of Paris.

Ozanam Square (Place Ozanam) is named after Frédéric Ozanam, a 19th-century French scholar and social reformer who co-founded the Society of Saint Vincent de Paul, a charitable organization still active today. The garden space was officially opened in 2006 and designed to be tranquil yet community oriented.

Though modest in size, Ozanam Square has character, especially in spring. The flowering trees and seasonal blooms include cherry blossoms, magnolias, irises, and daffodils. It includes a play area, water fountain, benches, lamps, pathways, and raised community vegetable beds.

The garden was built on a previous parking lot, and an example of Paris’s efforts to reclaim urban space for green use. City Hall manages it, maintained by the Direction des Espaces Verts et de l’Environnement (DEVE), the city’s department responsible for Paris’s green spaces.

It is located near landmark cafés like La Rotonde, La Coupole, Le Select, and Le Dôme, frequented by writers and artists of the 20th century, including Ernest Hemingway. The square has become popular with photographers and artists sketching the spring time flowers or the autumn leaves.

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Museum about the French mail – Le Musée de La Poste

Museum about the French mail – Le Musée de La Poste.

This is my love letter to you hoo hoo …

Far from the Eiffel Tower and Notre-Dame, is one of Paris’s most surprisingly engaging museums: Le Musée de La Poste – a museum about the French mail.

France’s postal history started in the 15^th century with Louis XI (1423-1483) – “Louis the Prudent” – establishing a royal postal service for official use. By the 19th century, the postal service became a vital connection across France’s countryside and colonies. What began as a state-controlled service of kings evolved into a government service for ordinary people.

France’s first public postal service was founded in 1576 – 449 years ago. The famous yellow La Poste mail vans and mopeds are now iconic symbols of French daily life. The symbol for La Poste is the horn, or bugle, which is the historic symbol of the post rider—hence the classic logo of La Poste.

The museum was originally opened in 1946 and completely renovated and reimagined in 2019. It is dedicated to chronicling the quirky and astonishing history of postal communication in France, from animals to airmail and all things in between and beyond – from horseback couriers and pigeon post to telegraphs and digital messaging.

The museum in Montparnasse in the 14^th arrondissement has three floors, telling the story of three journeys: mail in motion, the human connection, and the world of stamps. There is also a gift shop with stamp-themed items and retro stationery.

Visitors start on the top floor, on the 4^th floor accessed by an elevator, and work their way down to the ground floor.

Floor 4 has the mail in motion exhibits called The Conquest of the Territory – Everywhere and Ever Faster. It shows the evolution of delivery: horse-drawn mail coaches, pigeons, uniformed couriers, post boxes, and even a deconstructed mail plane wing suspended from the ceiling. Some pigeons were awarded official medals for their service in wartime communication.

Floor 3 has the human connection exhibits called Women, Men, and Professions – Ever Closer. The focus is on the people behind the post – the mail rooms and sorting machines, the letter writers, and those who waited for the post. There is a Braille typewriter and materials for visually impaired letter writers, and hand-written letters from soldiers, artists, and citizens across time. There is also a wall of anonymous love letters — short, emotional notes – and confessions.

Floor 2 has the world of stamps exhibits called The Post, Art, and the Stamp – Philately and Postal Art. Even if philately isn’t your thing, this floor is filled with miniature art with rare and beautiful French stamps, some dating over a century, reflecting history, politics, and the French identity. There are many creative art installations that reinterpret envelopes, mailboxes, and the human connection.

Floor 1 is the gift store; the ground floor is the entrance; and the basement has the bathrooms.

This museum is not about French royalty or military battles, or the French revolution. It is about the ordinary and extraordinary world of the effort and evolution of mail delivery. It’s fascinating!

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New Sidewalks of Paris: smoother, safer, and more accessible

New Sidewalks of Paris: smoother, safer, and more accessible.

Have you noticed the sidewalks in Paris getting … better? You’re not imagining it. Across the city, sidewalks are being widened, flattened, and beautified and it’s one of the most pedestrian-friendly urban updates happening quietly, yet profoundly, across the French capital.

Paris has long been known for its charming (but often challenging) pavements. Traditional Parisian sidewalks slope steeply toward the street, a design originally meant for efficient rainwater runoff. While picturesque, this steep curvature has posed issues for wheelchair users, people pushing strollers, elderly pedestrians, and even distracted tourists.

But things are changing. Recent years have seen a municipal push for walkability, accessibility, and urban sustainability. Sidewalks – street pavements – are a key part of that strategy.

Before (left) and after (right) the restoration

Driven by both European Union accessibility mandates and local initiatives under Paris Mayor Anne Hidalgo’s administration, the city has been transforming its public spaces to prioritize “people over cars” which includes:

Barrier-free crossings, with curb cuts and tactile paving to assist people with visual impairments and mobility aids.

Wider sidewalks, giving more space to pedestrians, street cafés, and shared mobility, such as for scooters.

Flatter, more even paving, significantly reducing trip hazards and the stress on ankles, knees, and wheels.

This renovation project is great news for travelers, whether you’re strolling with luggage, pushing a pram, walking with limited mobility, or simply wearing your most stylish shoes. The new sidewalks make exploring Paris smoother, safer, and more enjoyable. For many people, the ability to navigate a city with dignity and independence is fundamental. These changes show that Paris is slowly, but steadily, becoming a more inclusive destination.

You’ll notice these upgraded sidewalks in central arrondissements like the Marais, parts of the Latin Quarter, around République, and increasingly in outer districts like the 14^th, 15^th and 18^th. They often appear alongside the city’s eco-street efforts: more greenery, fewer parked cars, and expanded bike lanes. The ongoing sidewalk upgrades are just one piece of a larger vision: a greener, safer, and more accessible Paris for all.

For example, in the photo, taken in the 14th arrondissement, you can see how the newly leveled surface benefits everyone, especially wheelchair users.

Top 5 Paris Arrondissements with the Best New Sidewalks

Looking for smooth, wide, walkable streets in Paris? These districts are leading the way in sidewalk renovations — perfect for relaxed strolling, accessible travel, or café-hopping without dodging cobblestones.

3rd and 4th Arrondissements (Le Marais): widened sidewalks, plenty of benches, and improved surfaces, especially around rue des Archives and Place des Vosges.

10th Arrondissement (Canal Saint-Martin and République): an urban renewal hub with leveled pavements, more greenery, and easy wheelchair and stroller navigation.

13th (Bibliothèque and Butte-aux-Cailles): major sidewalk projects near the Seine and François Mitterrand Library. Great for long riverside walks.

15th (Vaugirard and Convention): family-friendly and flat underfoot, the 15th boasts some of the widest and smoothest sidewalks in the city.

11th (Oberkampf and Bastille): buzzing with life but newly renovated for better flow, and ideal for nightlife and street markets without tripping hazards.

These districts also feature upgraded crossings and café terraces with more room. Whether you’re walking, rolling, or exploring with children, these are the most accessible and pedestrian-friendly arrondissements in Paris.

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PARIS BOOK IN 2025: BOOK TITLE – IS IT BAD GRAMMAR?– Blog  36

PARIS BOOK IN 2025: BOOK TITLE – IS IT BAD GRAMMAR? – Blog # 36.

My Paris book – If Paris Were My Lover – was released last month, in March 2025, with encouraging reviews, and one big question.

First – the reviews. Here is one posted on Amazon:

5 out of 5 stars: A Poetic Love Affair with Paris – Reviewed in the United States on March 19, 2025 – Kelly P

If Paris Were My Lover is not just a book—it’s an experience. Martina Nicolls weaves an intimate, lyrical narrative that explores Paris as both a city and a lover, capturing the essence of its beauty, contradictions, and irresistible pull. This is not your typical travel memoir or romance novel; it’s a deeply personal reflection on love, loss, self-discovery, and the passage of time.

Nicolls’ writing is elegant and evocative, rich with sensory details that transport you straight into the cobblestone streets, cafés, and rain-soaked mornings of Paris. She explores her nomadic life, relationships, and identity, using the city as both a backdrop and a metaphor for love—passionate, fleeting, and often elusive. Each chapter feels like a whispered conversation, filled with philosophical musings and poetic prose that make you stop and reflect.

This book is perfect for dreamers, romantics, and anyone who has ever felt a deep connection to a place. I’m giving it 5 stars because it’s beautifully written, emotionally resonant, and unlike anything I’ve read before. If you’ve ever loved a city—or a person—you’ll find a piece of yourself in these pages.

Now, the big burning question that my readers have is: Is the title of the book, If Paris Were My Lover, bad grammar?

Readers point out that Paris is singular (one) and therefore the title should be If Paris Was My Lover. Yet the title uses the plural (many) form – If Paris Were My Lover.

I’ve been asked to shed some light on this grammatically incorrect title.

The grammatically correct title is: If Paris Were My Lover.

It is grammatically correct because the title is in the subjunctive mood, which is used to express hypothetical, unreal, or contrary-to-fact situations. In other words, the title and story are based on a hypothesis – something that is supposed but not necessarily real or true.

As a reminder – there are three grammatical moods in English: indicative, imperative, and subjunctive. The indicative mood states facts. The imperative mood gives an order or instruction. The subjunctive mood expresses wishes, demands, commands, proposals, and hypothetical situations.

The subjunctive mood is a verb form used to refer to a hypothetical scenario to express a wish, emotion, or possibility of something happening that has not yet occurred.

If Paris Were My Lover suggests that Paris is not actually the author’s lover but is being imagined as a lover – indicated by the word ‘if’ which introduces a conditional clause. For example, on the condition that, or supposed that, or in the event that … Paris would be my lover.

If Paris Was My Lover, using the singular verb ‘was’, would imply that this was a real possibility in the past or that the author is uncertain about whether it was true. In my case – as the author – my intention was that it is imagined, not real. It is my wish that Paris would be my lover.

Paris is My Lover, using the singular ‘is’ and not the plural ‘are’ expresses something that is categorically true, and happening in the present time – right now. This was not my intention while writing the novel.

Paris is a singular city – he, she, or it is single. A single lady – so, as Beyoncé wrote and sang in 2008: “I cried my tears, gave ya three good years, you can’t be mad at me, ‘cause if you like it then you shoulda put a ring on it, if you like it then you shoulda put a ring on it … whoa-oh-oh …”

Now that I reflect after the book’s publication, Beyoncé’s song Single Ladies (Put a Ring On It)could be the sub-plot, the sub-text, the theme song of my novel If Paris Were My Lover.

My book presents a hypothetical, poetic imagining of Paris as a lover. Therefore, If Paris Were My Lover is grammatically correct – despite Paris being single. Not only is it grammatically correct; it is stylistically fitting.

If Paris Were My Lover is out now.

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Sailing Dreams: Toy Yachts of the Paris Luxembourg Garden

Sailing Dreams: Toy Yachts of the Paris Luxembourg Garden.

In the Paris Jardin du Luxembourg – the Luxembourg Garden – is a simple spectacle that has delighted children for generations — toy yachts in the water of the park’s historic pond. This man-made pond, known as the Grand Bassin, is more than just a water feature; it is a tradition.

Since the late 19th century, the Grand Bassin has served as a playground for young sailors to set their miniature vessels adrift. These small wooden yachts, adorned with bright sails, have long been a fixture of the garden. While modern battery-powered boats exist, many visitors still opt for the traditional handcrafted sailboats, which local vendors rent out by the hour. Each boat is wind-driven, and children chase their craft along the pond’s edge, often with wooden sticks, nudging them back into the breeze when needed.

Situated in the middle of the Luxembourg Garden, the Grand Bassin is surrounded by manicured lawns, flowering terraces, and statues. The pond is shallow, making it safe for play, yet expansive enough to allow the boats to drift and glide naturally.

Architect Jean-Francis-Thérèse Chalgrin designed the Luxembourg Garden’s octagonal Grand Bassin in 1813 during the First French Empire. Chalgrin also worked on the Arc de Triomphe. The inspiration for the Grand Bassin can be traced back to Queen Marie de’ Medici’s original plans to have a pond in her own garden when she lived in the Luxembourg Palace. In 1612 she began the creation of the Luxembourg Palace garden with the aim of replicating the Italian Renaissance landscapes.

In 1792, during the French Revolution (1789-1799), the private royal Luxembourg Palace garden became a public garden. After the monarchy was overthrown, the revolutionary government seized the palace and its garden, opening the grounds to the public. Over the following years, the garden was modified with additions in Engish-style and French-style landscaping, sculptures, foundations, and the Grand Bassin pond.

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Portraits of booksellers by Alain Cornu, Paris

Portraits of booksellers by Alain Cornu, Paris.

French photographer Alain Cornu photographed nearly 170 booksellers in Paris between 2021 and 2024 – mostly the bouquinistes along the river Seine and their distinctive green boxes.

The Paris Booksellers’ Cultural Association is holding an exhibition of the first photographs of their guild, taken by photographer Alain Cornu. The exhibition, “Portraits of Booksellers” – “Portraits de Bouquinistes” – is in the Town Hall of the 6^th arrondissement from 14 March to 2 April 2025.

The exhibition was organized in partnership with the Festival Committee, Cultural and Social Action of the 6th arrondissement of Paris.

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Place de l’Odéon: A Cultural Gem in Paris

Place de l’Odéon: A Cultural Gem in Paris.

Nestled in the heart of the 6th arrondissement, just steps from the Luxembourg Gardens, Place de l’Odéon (Odeon Square) and Le Théâtre de l’Odéon (Odeon Theatre) form one of the most historic and charming corners of Paris.

Marie-Antoinette commissioned the Odeon Theatre in 1779. Architects Charles De Wailly and Marie-Joseph Peyre designed it, completing it in 1782. Built to also house the Comédie-Française (French Comedy), it is one of the oldest still-functioning theatres in France.

The theatre survived two major fires (1799 and 1818) and numerous political changes. During the French Revolution, it was a hotspot for political debates and revolutionary plays. In 1818, itwas rebuilt with its now-iconic neoclassical façade after being destroyed by fire. Throughout the 19th and 20th centuries, it evolved into a leading space for modern and experimentaldrama.

Now officially known as the Odéon-Théâtre de l’Europe (Odeon Theatre of Europe), it is one of France’s six national theatres, dedicated to contemporary and international drama. The greatest actors of French theatre, from Sarah Bernhardt to Jean-Louis Barrault, have performed on this stage. Napoleon Bonaparte also attended performances here before becoming emperor.

It was the first theatre in France to have a round auditorium, offering better acoustics and visibility for the audience. It was also the centre of resistance during World War II, as the theatre was a meeting place for intellectuals. In 1968, during student protests, the theatre was occupied by activists, turning it into a space for political debate.

The Odeon Theatre is situated at Odeon Square. The Square has an artistic, quieter ambience unlike the grand boulevards of the Right Bank. The beautiful 18th-century architecture surrounds the square, giving it a timeless feel and both a peaceful yet lively atmosphere, filled with students, intellectuals, and artists.

Nearby are cafés and bookshops, perfect for a relaxed afternoon. A favourite spot for writers and artists is the Café de l’Odéon with bookshops like the famous Librairie Compagnie. Victor Hugo, Jean-Paul Sartre, and Simone de Beauvoir were frequent visitors to Place de l’Odéon’s cafés. Or stroll through the Luxembourg Gardens less than a 5-minute walk from the Square.

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Ode to the Poets of Paris

Ode to the Poets of Paris.

A poem for the pigeons of Paris … an excerpt from my latest book If Paris Were My Lover.

Ode to the Poets of Paris

They say the poets of Paris are found

In attic rooms with slanted light,

Scratching words into yellowed pages,

Drunk on absinthe, lost at night.

But I know better. I have seen them,

Winged and weightless, grey and free,

Perched on statues, cooing sonnets,

Dancing on the cobblestones in front of me.

No ink-stained hands, no velvet jackets,

No tortured sighs in candle’s glow,

Just iridescent throats that shimmer,

With verses only pigeons know.

They do not wait for love nor fortune,

Nor critics’ praise or poets’ fame,

They whisper poems into courtyards,

Unwritten lines, as if a game.

They wander where the people wander,

Tracing steps of years gone past,

Pecking at the dust of dreamers,

Loving slow life, not the fast.

They murmur love songs to the river,

To the rooftops, to the dawn,

To every half-lit, lonely morning

Where a poet’s heart was born.

Oh, Paris scoffs at them, dismisses,

Calls them common, calls them small,

Yet who remains when lovers vanish,

When poets fade and dreamers fall?

Not the muses, not the painters,

Not the fleeting hand of men,

Only pigeons, Paris poets,

Cooing love without a pen.

So let them linger, let them claim it,

Feathered ghosts on every stage,

For if Paris is a story,

They are the ink upon the page.

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