VIDEO. Fight between Orlando Bloom and Justin Bieber in Ibiza

PEOPLE – We must not piss off Legolas. A fight broke out Wednesday, July 30 in Ibiza between Orlando Bloom and Justin Bieber, because of an insulting sentence from the singer.

The scene took place in the early morning at the exit of the Cipriani restaurant. Justin Bieber would have shown himself very familiar with the interpreter of Legolas in The Lord of the Rings, who obviously did not appreciate. According to the site TMZ, the singer would have launched a charming “what’s up bitch” (how are you bitch). Orlando Bloom would then have tried to hit Justin Bieber who would have dodged the blow.

But not everything turned out like this according to a source in the Daily Mail. “Justin was cordial, and everything was fine. Then Orlando got pissed off when he saw Justin, and started it off by throwing a punch at him,” he explained. The two stars were quickly separated by those present during the altercation.

Then, according to TMZ, Justin Bieber would have “fled” immediately after the incident, in front of a panel of stars present in the restaurant, Paris Hilton and P. Diddy in the lead.

Justin Bieber, who is no longer a provocation, would have subsequently posted on his Instagram account a photo of model Miranda Kerr, ex-wife of Orlando Bloom, in underwear, before deleting it.

The singer thus fueled a rumor dating from 2012. That year, he would have found Miranda Kerr backstage after a Victoria’s Secret parade. The two are said to have been more than close after the show, while the model was still married to Orlando Bloom. Who had been surprised to him alongside Selena Gomez, ex of Bieber, in April during a party …

READ ALSO

• Orlando Bloom and Miranda Kerr go their separate ways

• Justin Bieber greets his fans on his release from prison

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Corporate cities: Detroit, kingdom of the American Ford

The nervous growl of the Mustang engine is not often heard in the streets of Detroit. Rather, they welcome the quiet meow of the more economical Ford Fiesta. The American capital of the automobile, where Ford has set up its first factory, has been strongly affected by the crisis which has shaken the sector since 2008. The heart of “Motor City” beats at the same rate as that of the factories which inhabit it, in particular those of Ford, which deeply marked the history of the city.

This industrial empire was created by Henry Ford. This farmer’s son galloped as a child on the family farm in Dearborn, in the heart of present-day Detroit suburbs, which he helped develop. He left the farm at 16 to settle in the nascent metropolis, where he successively set up two businesses. The first goes bankrupt and the second is redeemed after a year of existence.

First assembly line

The third time will be the good one for this serial entrepreneur: on June 16, 1903, he founded the Ford Motor Company, with the support of 12 investors. He rents a studio on rue Mack, in Detroit, which he quickly leaves for a larger building on rue Piquette. It is there that he imagines in August 1908, the car which will make his fortune, the Ford T. It will be sold to more than 15 million specimens.

In 1913, he created his first large-scale factory in Highland Park (on the border of the city). In this large parallelepiped of red bricks, now condemned, he set up a production method in force in Chicago slaughterhouses: assembly line work, which would later be called Fordism. On October 7, the company’s engineers set up the first assembly line in the building, where the Ford T’s were pulled by a winch. The first 140 workers no longer need to travel, their tasks are simplified as much as possible.

Merit bonus

Result: it takes no longer 12 hours and a half, but only 93 minutes to build the car. Its price drops from 850 to 260 dollars. Ford hired to meet the growing success of its star vehicle: in 1914, the company had more than 13,000 workers. The tasks were arduous in the factories and the pace of work sustained. To avoid too much turnover, Henry Ford decided to pay his employees 2.34 dollars per day, plus a bonus of 2.66 dollars, a significant sum at the time.

But this bonus was attributed to merit: the workers had to be married men, to maintain their homes and their gardens perfectly. They were not to smoke or drink … These requirements had a strong influence on the lives of the people of Detroit and on the local culture. Employees, better paid, were able to settle in small pavilions, with a square of lawn carefully mowed in front.

A ghost town

Ford-branded automobiles reigned supreme on the streets of the city for several decades, because the workers of the group were sufficiently well paid to afford (after several years of savings anyway), the king vehicle of the company , the famous Ford T. Detroit’s road infrastructure has been adapted accordingly.

But Ford was not just a cornucopia for Motor City: when the group began to relocate its factories on a massive scale abroad, in the 1980s, unemployment set in. This movement accelerated with the financial crisis of 2008, which brought the main American automobile groups into virtual bankruptcy. The city had 1.9 million inhabitants in 1950. In 2014, they were only 700,000. The unemployed workers left their homes, for which they could no longer pay their drafts for lack of wages. In the residential district of East of Hamtramck, brambles have invaded the grounds of abandoned houses.

But Ford had sensed the storm coming: the group borrowed in 2005, two years before the crisis, 20 billion dollars from the banks to revive its activity. Driven by heavy state investment, activity is picking up again in Detroit and the surrounding area. Today, 500 people work in the assembly line in the Ford plant in Michigan, from which several hundred Focus and C-Max are produced every day.

Lélia de Matharel

WHO advises gay people to take antiretrovirals as a preventative

Gottfried Hirnschall, who heads the WHO HIV department, says the organization is seeing “explosion of the epidemic”. He explains this by the fact that there is a relaxation of prevention and worry.

According to the WHO report, gay men today are 19 times more likely than the average population to be infected with the virus.

And to counter this data, the WHO estimates that taking a daily pill combining two antiretrovirals, in addition to the use of condoms, could reduce the risks by 20 to 25%, and avoid “one million new infections in this group in ten years”.

As a reminder, more than 35.3 million people are living with HIV worldwide, and 71% are concentrated in sub-Saharan Africa.

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a concentrate of Py, for the worst and (especially) the best

Avignon, special correspondent

He could not do less, Olivier Py: no less than to offer, for his opening show as the new director of the Festival d’Avignon, a quintessence of his theater, his obsessions and his fantasies. So be it, with Orlando or impatience, the premiere of which went off without a hitch, Saturday July 5, at the FabricA, the new venue of the Festival.

Before the performance itself, the entire technical and artistic team of the show climbed onto the set while, in voiceover, the actors said a text that carried high art like “Civilizing institution”, and its need for “Bring light into the minds of the people”. This was of course the famous speech (“Du peril de l’ignorance”) delivered by Victor Hugo to the National Assembly on November 10, 1848, and it was a rich idea to have this founding text heard again, which is the origin of the whole edifice of French public culture, at a time when this edifice seems weakened on all sides.

Then, up to the comedy, because it is one that this Orlando, or at least a joyous and macabre farce as Olivier Py likes them. Joy, grace, death, desire, God, theater and handsome boys play the main roles, as they should in this partly autobiographical play where Py concentrates – and recycles – all his leitmotifs.

Where it is question, therefore, of a young hero named Orlando (in reference in particular to the character of Virginia Woolf, incarnation par excellence of the powers offered by the art of living all human potentialities), whose way of the cross consists of find out who his father is. Old story, in our theater. From station to station, launched on successive true-false tracks by his mother, an extremely theatrical actress, he crosses the road of a cursed poet and exalted or cynical directors (or both at the same time), emblematic of a certain French decentralization …

Olivier Py no doubt also makes fun of himself, in this play where he put a little of himself in all the characters, whether it is the impatient and hampered youth of Orlando and his friends, or even – yes – of his character as minister of masochistic culture. The comedy of power, in which one mask only hides another, is one of the play’s most successful dimensions. All the more so since one cannot help but think that Py evokes, in a roundabout way, a good part of his adventures with Frédéric Mitterrand, during the episode, in 2012, of his ousting from the Théâtre de l ‘Odéon and his appointment as head of the Festival d’Avignon.

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