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syneilesis · 1 year

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[fic, wip 3/9] the soul is nothing more than a glass of ocean water | chapter two

the soul is nothing more than a glass of ocean water

Ikemen Vampire | Comte de Saint-Germain x Reader | T (rating will go up in the future) ao3 link

It's your first time meeting Comte; Comte disagrees.

A/N: I want to get this out before my break is over. I tried my best. I'm not fully happy with how this chapter turned out, but it's been a year – I just want to be done with it. You know what they say, a good dissertation is a done dissertation. In this case: chapter. Also, forgive my research bullshit here, I don't actually know what I'm talking about lol.

prologue | one

chapter two

At this point he had shed his name and gone by a title instead, burying the memory of his childhood with little regret, warm nostalgic summers blinkering into the dark soil of the past, no longer exposed for underlying scrutiny.

“I still find it strange to call you by that title,” Vlad said, the edges of his mouth quirking to an almost smile.

They had been meeting more frequently than before, their conversations morphing from the expectant clan affairs and into their dreams and goals. Lofty, ambitious goals. Goals that, from the way Vlad’s face glowed with an eager hunger that was so different from bloodthirst, could change the world.

Le Comte glanced at his companion from the corner of his eye, amused. “You know how I feel about my name.”

“If that is what you insist.”

“It is.”

Vlad paused, contemplating. Around them, blood roses swayed in the wind, their scent wafting along and clinging to le Comte’s clothes and skin.

“I have been into art lately,” Vlad began, apropos of nothing, his tone light and conversational. He took a step forward and bent down to pluck a rose from the field. The red tint of the flowers reflected on Vlad’s pale hair and pale skin, and for one heavy second he looked as if he had bathed in someone’s blood.

Le Comte inhaled sharply. The scent of roses lingered on his nose.

Unaware of the trembling lapse that flashed through le Comte, Vlad continued, “There’s an artist in Florence whose paintings caught my attention. Interesting technique. I think you’ll like them. Maybe you can add one to your collection.”

“Are you saying that I should travel to Florence just to buy a painting?”

Vlad turned around so le Comte could see that he was now smiling fully, the hand that was holding the rose twirling its stem. “I’m saying that you should take a break. You’ve been so busy attending parties and socializing with the nobles. Florence, I hear, is beautiful at this time of the year. And if you could take home a beautiful painting, why not?”

Le Comte blinked. Florence, huh.

The painter’s name was Tommaso, a large man with hair the color of Florentian roofs. In his hands the paint brushes seemed small and breakable, but he handled them with such delicate care, a sharp contrast to his ursine build and countenance.

He was in the middle of painting when le Comte visited. The studio was small, a tenth of le Comte’s smallest room in his villa. Everywhere he looked, canvases filled the walls and floor like books stacked together, some blank, some painted but unfinished. At the center was Tommaso, hunched and severe, as if solving an intensely difficult puzzle, and in front of him was an easel, the canvas empty of brush strokes.

“Hello,” le Comte said, voice soft, afraid of disturbing the painter’s concentration. “Is this a bad time?”

Tommaso startled, whipping his head around until his gaze landed on le Comte. A cursory glance on his clothes had Tommaso reluctantly stepping off the stool to greet him.

“May I help you?”

Tommaso was taller than him, and le Comte had to tilt his head up a little when the man approached him, a questioning wariness on his expression. Other painters would have been enthusiastic upon meeting a noble, seizing the opportunity for securing patronage, but not him. His steps had been small and cautious when he made his way to le Comte.

“A friend recommended your paintings to me,” le Comte began, a friendly smile in place. “He said that you use an interesting technique, which made me curious about your works. Are there any of your paintings that I can see right now?”

A few seconds passed by, with Tommaso gauging le Comte for something, perhaps sincerity or deception. Then he exhaled and called someone outside.

A woman entered the studio, steps feather-light, hair swaying at her back. She responded to Tommaso first, her voice like water that sparkled under the midday sun, mellifluous and soothing. Then her attention moved to le Comte, greeted him with a smile that froze all the muscles and all the nerves in his body, heart hammering inside his ribcage.

“Good day, my lord,” she said, and he saw the ghost of a faint smile from centuries ago. The buried memories dug out, resurrecting the ache that made its permanent home in his heart.

How was this possible? She wasn’t exactly a copy of his childhood love, but her smile reminded him too much of the time when he was thirteen, brave and love-struck in the garden where roses glowed molten gold in the sunset. His vision blurred and then refocused, and now le Comte was certain of it.

Fate. Another chance. He would no longer hesitate, then.

But his conviction was dashed before he could even begin to act—the way Tommaso rested his hand on her hip, careful and tender. It left no room for doubt, and le Comte had to swallow and look away.

“My lord?” she repeated, when le Comte did not say anything for a long moment.

“Ah, yes.” He closed his eyes briefly and exhaled the pain that burgeoned at his heart for the second time. “Are there paintings of Tommaso that I can see right now?”

“Yes, please follow me.”

She took him to a studio across from them, explaining that a friend volunteered to set up a makeshift exhibit of Tommaso’s paintings and sell them when they could. They were not exactly selling a lot, so many of the paintings became displays for people to look at.

“He doesn’t have a patron?” he asked.

“There have been a few who offered, but Tommaso is a man of principles. Some of them wanted him to paint … provocative imagery. He refused them.”

“I thought, with his supply of …”

“Most of them are just supplied by kind friends. Oftentimes it is difficult.”

“I see; that is unfortunate to hear.”

She guided him one painting at a time, describing the process of each with a proud and affectionate tone. Le Comte thought that, while Vlad was right about the paintings, he was wrong about his being able to take one home. Any painting of Tommaso, le Comte was certain, would evoke memories of her and her faint smile, and he couldn’t bear again the pain of missed connections.

The last painting she showed him stole a breath from his lungs. It was a painting of her, perched on a window, in the midst of tucking a lock of hair behind her ear, her faint smile captured in soft, nostalgic hues.

“Sometimes,” she said, gesturing towards the painting, “I model for him.”

Le Comte didn’t understand why no one had yet to buy the painting. It was one of the most sublime works of art he had encountered. All the radiance she exuded, encapsulated in the strokes of Tommaso’s brush. Le Comte envied and admired the man at the same time.

When they returned to the other studio, Tommaso was back on his stool and there was finally a rough outline on the canvas. It appeared to be a human figure—a woman, and le Comte had an inkling about who the model would be, which made it easier for him to go through with his decision.

“Tommaso,” le Comte said, and Tommaso paused in his sketching. He stepped forward and placed a hand on Tommaso’s shoulder.

Tommaso startled. “My lord?”

He recalled Vlad’s words again. For a short moment he entertained the absurd idea that Vlad knew and that he led le Comte to this, to her. He smiled, helpless in the face of it all.

“Would you let me become your patron?”

+++

Marcel Proust once wrote, Remembrance of things past is not necessarily the remembrance of things as they were. How one remembers something does not ensure the accuracy of it. Details can get murky with each recall: the poster on someone’s bedroom wall, the flowerbeds on your way to work, the inspiring words your grandmother bequeaths you. It’s not so much the fidelity of the picture; rather, it’s the emotion tied with the memory that makes it strong, enduring.

“That is not to say, of course, that people remember the past wrong,” you add, after you finish your first beignet. Today’s teatime doesn’t include tea, but coffee—and an excellent coffee at that, too. You’ve half the mind to interrogate Comte over which blend he used.

Going to Comte’s mansion this time had become easier; no more rumbling dread in your chest as you waited. When the Rolls-Royce parked on the curbside, your feet moved smoothly towards it, and you even managed to greet Comte without mangling the words, your smile ninety percent natural.

When it’s time for tea, you’ve gone to the gazebo of your own accord, no need to have Comte fetch you.

It’s somewhat a relief that you now feel comfortable enough with Comte—enough to share your thoughts about your research in depth.

“It’s just that,” you continue, “my focus was more on the person remembering and the emotions attached to the memory. How it’s processed by that person and how that affects the relationships of that person with others. Memory not as science but as affect. It doesn’t matter if you remember it wrong—your emotions towards that memory would make it seem clear and vivid, your brain filling out the gaps to paint a more ‘complete version’, so to speak.”

Comte—wearing another expensive shirt and waistcoat today—drinks his coffee. From where you sit, you catch his upward-curved lips around the rim of the cup. He’s growing more and more curious about your research, asking so many questions about the theories you’ve read and the articles you’ve written in the past. It’s as if he’s trying to answer a question through you, piecing together the idea in his head with all the things you’re telling him.

“I must read your work. I’m very much interested,” he says, the clink of the cup against the saucer prominent between you. “Where can I find them?”

It takes another beignet to answer him. “I can email you my articles, if you like. There’s one where—well it’s not a legitimate research, more of a personal essay, really—I did a photo elicitation interview with my elderly relatives. It’s just out of curiosity. I showed them our old family pictures, and my grandmother and my grandfather still remembered what happened in those pictures. Except they argued about some major and minor details. So it’s really like they felt more than remembered what happened.”

“How old were those pictures?”

“More than sixty years, I think. They were young in them.”

Comte hums, impressed.

“For them, memory is a snapshot of image and emotion through time.”

“That’s a nice way to put it.”

It’s a cool Saturday afternoon, the perfect weather for outdoor coffee. Because of the sun’s position, the roof of the gazebo throws a large shadow over them, and Comte—looking sideways in idle thought—appears sharper than normal, his sclerae prominent amidst the umbra contouring his visage, sandpapered edges like half-finished skiagraphia, a smudgeless portrait. He’s appealing this way, the mystery permeating around him heavier than usual, an incorporeal finger tugging at your hair, pulling you in like seduction. You sip your coffee to shake off the odd thought.

“I had a friend,” Comte says, careful, as if he’s tasting the tentative words, “who fell in love with someone a long time ago. But it had been so long a time that the person’s face became a blur in memory.”

You listen on, highlighting his choice of word: had. He had a friend, which indicates that Comte’s relationship with this person had already ended. It makes you wonder why he’d bring up that former friend with you, someone who has nothing to do with Comte’s personal life. You’re not close enough for such confidence. Then again, it might only be because the point he’s going to make is connected with your research interest.

Or maybe it’s actually himself he’s talking about?

“I just find it fascinating—forgetting the face of the one you love, but still loving them in spite of that lack.”

“Just because you forget someone’s face doesn’t mean you forget everything else.”

A flash of a pause, then Comte smiles sheepishly. “That is true. You may fail to remember what they look like, but you can still remember their voice, their mannerisms, their scent.”

“Exactly.” And you know that this is beyond your privilege, and you truly don’t know how Comte will react, but you can’t help it: “Why the question? Did you forget the face of your beloved?”

Comte rears back so suddenly as though he’s struck, his eyes so wide that you think you’ve committed a grave mistake and for one terrifying moment you think he'll ban you from his library. An apology climbs out of your throat and you open your mouth to say it, and that’s when Comte cuts you off:

“No,” he says, tone even, almost considering. He glances at your expression and whatever he sees there pulls a faint smile from his lips. “I remember exactly what my beloved looks like.”

Present tense. And it does make sense, doesn’t it? Comte is very much a good-looking man. You’re pretty sure that men and women would violently fall in line for him, just to get a glimpse, a taste, a night, or whatever of him. A part of you wonders how you haven’t met his significant other yet, and if they’re okay with the arrangement you have with Comte. Every time you come to the mansion, it’s only him you get to see and talk with.

Time stretches between you and Comte. As your mind speculates his personal life, your lack of response gives way to awkward silence, and Comte, implacably, drives the charged awkwardness deeper.

He tilts his head slightly upward and askew, so that his gaze gains a hooded quality in them, as if peering at you from above, a blend of arrogance and allure, almost patronizing. His faint smile sharpens into a smirk. “May I ask why the sudden interest?” He lifts one hand to rest his chin on, the other casually gripping his coffee cup. “Would you really like to know?” he asks, his voice dropping to a husky quality that makes you squirm on your seat.

You blurt, “I’m sorry. I shouldn’t have said that. It must’ve made you uncomfortable.”

The worldly air about him suddenly vanished. Comte stares at you, almost bewildered, and he says with a slightly baffled tone, “No, it’s all right. No harm done.”

You shove a beignet into your mouth, looking anywhere but him. The clinking of the cup and saucer fills the negative space in the gazebo, and you think to yourself, you’ve done it, you’ve ruined it. Comte’s going to kick you out of the mansion after this, and he’s going to put you on a blacklist. He’s certainly rich enough to do so.

But then he says: “I suppose I brought that up because it must’ve been sad. Not to remember the face of someone you love.”

You let his words percolate in your mind. “Your friend—what did they feel? What did they do after that?”

Comte ponders about your question for a while, studying his coffee, as if recalling a memory that happened decades ago. It couldn’t be that too long, could it?

Then he raises his head to give you a weak smile.

“My friend—well, he disappeared.”

+++

The next day, le Comte decided to take a walk around Florence. The last time he visited the town was a century ago, and it hadn’t changed that much. It was still a hub for the arts, and le Comte could see how Florence could maintain its status as a cultural powerhouse. Everywhere he looked people radiated talent and drive, and he wished he could at least absorb half of their motivation.

“My lord?”

Le Comte turned around and there she was, hair alight with the sun, a basket of bread hanging on her elbow.

“Oh,” he said, stopping from his stroll, waiting for her to catch up. As she drew near, le Comte found himself focusing on her eyes, and he wondered how different it was from the eyes of his first love but still being the same. He didn’t believe in souls lingering after death—that was more Vlad’s area—but seeing her now, with that fermata curve of mouth, le Comte was convinced that reincarnation might be real. “You’re the one who gave me a tour yesterday. How can I be of help?”

She flushed. “My lord, I would like to apologize for Tommaso. You’re very kind and generous with your offer, and if it were me I would have accepted your graciousness immediately.”

The red on her cheeks only emphasized her beauty. Le Comte lamented that he hadn’t seen his first love blush like that. He said, “Why did Tommaso refuse, if I may ask?”

She shifted, bringing her basket to her other arm. “Tommaso is a proud man. And he sees art to be the most sublime in the world. He would not compromise on it, to the point that he’d rather live in poverty than create vulgar art or art that goes against his ideals at the order of his patron. But he’s really struggling to sell a painting right now.”

“Should I have been more insistent with my offer?”

She bit her lip and hesitated.

It’s a sore spot, le Comte thought, so he tried to steer her slightly away from the main issue. “How did you two meet, by the way?”

It wasn’t exactly the best question to ask someone whose past life was his first love, but at this moment this was at the forefront of his mind.

It did loosen the tension on her shoulders, though.

“We met five years ago. Tommaso was already selling his art back then, and I was new to Florence. I came from a rural town, so moving into Florence had been daunting. I was wandering around until I happened upon this little studio full of beautiful paintings. I asked for the person who made them, and there Tommaso was. Our eyes had met and it was as if something lit inside him. He jumped and declared that I was his muse. It frightened me at the time, but now I’m glad that I am still his muse.”

As she told him the story, le Comte watched her face, how its expressions flowed from reminiscence to joy once she arrived at the part where she and Tommaso met. To any other person listening, it was a nice story, wrapped in a bundle of soft fabric, tied by a silk ribbon. But to le Comte, he was only reminded of the girl when he was thirteen, and all the chances that he hadn’t managed to grasp. He swallowed the regret bubbling in his throat.

“And you are together, now.” Statement, not question.

The smile on her lips was immaculate and blinding. Le Comte couldn’t even think ill of Tommaso, with that smile.

“Yes. I know that I’ve said earlier that he truly needs the money, but I’d rather struggle to live with him than without. As I am his muse, he is mine.”

“That’s—” He took a long, deep breath. “That’s very good to hear. I can see that you love him very much.” He exhaled, and ignored the happy look she sent him. “I should convince Tommaso again to accept my offer of patronage. It’s really a shame if we don’t give him the space to flourish.”

Like roses blooming in that garden, she lit up and gave him the most grateful smile. “Oh, my lord, thank you so much! I will also talk to him. When will you go back to the studio?”

It hurt, seeing that smile. Le Comte smiled back. “I will return tomorrow, before dusk.”

“Yes, my lord. We will be waiting.” She smiled in gratitude and bowed lightly, then took a step back. “I apologize if I have interrupted you, my lord, but thank you for giving me a bit of your time. I will be leaving now.”

“Yes. Take care, then.”

He watched her disappear in the sea of people, but her smile remained imprinted in his sight. He lost her long before he met her, in this time. And the only thing he could do right now was to support her in any way he could, which was why he would ensure that Tommaso would accept his offer next time.

He stared in the direction she left for a little longer, before turning around and resuming his way.

+++

Another Sunday in Comte’s mansion, and you’ve been doing the same thing for the past few weeks: reading, taking notes, having tea and pastries with Comte, and conversing with him about all kinds of topics. But today you try to do something a little different. On your reading break, you decide to wander around the mansion. Comte’s given you leeway to explore his house, so you’re not one to waste the opportunity. You’ve always wanted to study closely the interior of Comte’s home, having been built centuries before. Most of the areas in it have been well maintained and renovated, but you can still see some signs of its heritage, and those are the things that fancy your attention.

After walking around aimlessly, opening unlocked doors and peeking inside (so far you haven’t encountered any other living creature, which you try not to think about too much), you discover a drawing room. Stepping in, you survey the interior: there’s a billiards table, a dartboard on the wall, several chairs and settees arranged in a way that the image of a cozy, informal poetry reading event comes to mind. It seems that this room functions as a place of social gathering. At the other end of the room there’s a home entertainment system that can inspire immense envy from anybody who gets to see it. Mounted on the wall is a huge television screen flanked by tall and slim speakers on both sides. Adjacent to the set are shelves of film titles in different media: Betamax, VHS, DVDs, Blu-ray discs—even film reels. A bubble of excitement bursts forth in you; such a blast from the past! Your hands twitch with the desire to touch them.

From the Blu-ray library a Criterion Collection remaster catches your attention: a 1960s film with a famous actress, about two people who fall in love with each other but never getting together. The film won plenty of awards, including from Cannes Film Festival. You have a complementary interest in cinema due to your focus in literature, but you can’t recall watching this particular film. You sweep your fingers against the cover, tracing the actress’s face from temple to cheek to lips to chin. Her eyes are expressive, and you understand on some inexplicable level her emotions in this image. Then you remember that this actress is no longer alive—death by car accident, if you recall correctly. It’s tragic.

The creak of the opening door pulls you out of your thoughts.

“—are you here? I’ve searched for you everywhere and—oh!”

It’s Comte, sounding slightly breathless; he’s probably scoured the entire mansion looking for you. A prick of guilt makes you wince; the idea of Comte spending several minutes going room to room just to locate you—when he could’ve been doing more important things—feels heavy on your conscience, and you open your mouth to apologize, “Hey, uh, listen, I’m sorry—”

In a few strides he’s next to you, preparing to cut you off when his eyes alight at the film on your hand. A complicated look crosses his face, and the proximity affords you the opportunity for scrutiny. He falters even before he begins to speak, brows knitted downward, shadows flickering in his expression. But when his gaze lifts a fraction, settling on your curious face, he remembers himself. His features slacken in an attempt to recover, but you’ve already seen that peculiar countenance and your curiosity and suspicion re-emerge. Despite that, you decide not to mention anything.

Comte clears his throat. “Do you also like films?”

You glance at the item you’re holding. “Yeah,” you say, inspecting its back cover. “I’ve written a paper about literary adaptations before. But in general, yes. I like films.”

“Then have you watched this movie?”

Your gaze flits back to Comte. He’s smiling, but the narrowness of his eyes suggests a strain, as if he’s forcing himself to be jovial. You blink, struck with confusion. Does he dislike this film? If he does, then why does he possess a copy of it?

“No, I don’t think I’ve watched this film before.”

There’s a short silence, enough for a decision to be made. Then with a shaky breath: “Do you want to watch it? I can lend it to you.”

“Oh!” In panic, you try to shove the film back to the shelf. “This is kind of you, Comte, but I wasn’t really thinking of wanting to watch it. Besides, I can always stream—”

A hand lands on yours, and your frantic movements freeze like a snap of fingers. His hand is warm against your skin; your eyes follow the length of his arm all the way to his face, which is arranged in a warm expression.

“It’s a beautiful movie,” he says. “I insist.”

And with a face like that, how can you refuse? Slowly, your hand retreats from the shelf, his own hand dropping the contact.

“And perhaps after that, we can talk about what you think of the film?”

His smile is now completely charming, and something plucks at your chest; for a moment you forget to breathe.

“Sure, if you like.”

He leans back, satisfied. “Excellent! Now, I was looking for you since it’s time for tea. Come, my dear, we don’t want it to go cold, do we?”

+++

No matter the benefits in becoming his patron le Comte offers, Tommaso refused. Out of principle, out of stubbornness, le Comte didn’t know, but it engendered a begrudging respect from him.

His days in Florence were also running out; he’d return to France soon, and nothing was going the way he promised. No painting, no patronage—not even the smile of the woman that held the imprint of his first love’s soul. He was reminded again of their ending, centuries ago, with none of the closure but full of blistering ache. It was because of this memory that he became desperate.

“I know you and Tommaso are struggling,” he told her. “You have to know that it will not end well for both of you.”

Her face was impassive, but the lines that etched her features indicated resignation, and le Comte had to force himself to swallow his resentment—towards this, towards her situation, towards her fate. Of himself and her, and of the seeming impossibility of their connection. He had not been able to hold his first love in his arms, and now, here, in this accident of fate, still the stars hindered his love.

“You will not leave him, will you.” It wasn’t a question.

“My lord,” she said, determined. And how beautiful she was with it. “I love him.”

And that’s what hurt. He had to turn his back on the person his heart yearned to belong to, because it was always never meant to be. He angled his face away from her line of sight and blinked in rapid succession, staving off the tears.

He took a deep breath, pushing his torrential emotions at bay. At the very least he wanted to appear calm and presentable to her at all times.

Smiling kindly, le Comte said, “Of course, I understand. I’ll respect both your wishes. Your love for each other—I envy it.”

She tilted her head. “I find it difficult to believe that you have no beloved, my lord.” She smiled. “Someone who is as handsome as you … I imagine crowds falling in line for your affection.”

Le Comte laughed at that. “Oh, if only.”

In the end, as a parting gift, he bought one painting of Tommaso’s. It was her portrait, the one displayed last in the exhibit she showed him before. He had it displayed in the foyer, where the stairway split into both sides, so that every guest would come upon her beautiful visage when they entered his home.

The price he paid for the painting would support them for a few more months, he made sure of that. It was the only thing he could do, for her sake.

+++

After that short exploration in the drawing room, you and Comte have your tea again in the gazebo that you’ve already become familiar with. You’re enjoying the pastries being served today. The tea served this time is hojicha, and Comte explains that it was introduced to him by a Japanese friend who lived in the mansion years ago. Under the afternoon light Comte looks like a character in a classic film, his gaze focused on his teacup, lashes brushing his cheek. If allowed, you would have taken a picture of him, in this exact image.

“I’ve been wondering,” he begins, and you blink into attention, setting down your own cup, “since we have been talking about time and all, I want to ask you a question.”

“Go ahead.”

He lowers his head a fraction, contemplative, eyes sliding to the side as if deliberating on how to phrase the question. The pose makes him look younger, and the word cute ricochets in your mind, catching you off-center.

As you inwardly have a meltdown, he’s finally decided to pose his question: “What if you could live forever?”

You stare at him, thoughts blank, meltdown postponed, waiting for something else. When Comte continues to look at you expectantly, you grow confused. Is that his question? Really? Seriously? No way, is he pulling your leg? The urge to say Are you fucking with me? is very tempting but you’re not comfortable enough with him yet to reveal that rougher side of you.

So all you can do is be subtle with it. “Oh, hmm, what an interesting and heavy question,” you start, trying to dial down the snark but failing. “I very much like to live forever”—it doesn’t escape your notice Comte’s twitch of surprise—“but what are we working with here? What are the parameters? Do I like, stop aging once I hit immortality or I keep getting older and older? Do I die first and obtain a new body, like a fresh start? Or do I retain any conditions I have, like my body freezes in time or something? What are the rules here, Comte?”

And Comte just blinks at your tangent, bewildered. You control yourself from chortling.

“You’d like to live forever?” he echoes.

“Sure,” you say, “so I can read all the books in the world.”

He shakes his head, refusing to accept your answer. “No, no, please take this seriously. You have to understand—this is forever. You could not die, but your loved ones would. You’d outlive them, and everything else. It would be a lonely life.”

His distress and frustration at your response nags at your mind, but the latter half of his response implies that something’s bothering him. So you bite the bullet and finally take him seriously.

Leaning back on your chair, you study him as you chew on your thoughts before you speak. “Well, nothing lasts forever, you know. Even forever.” Comte’s brows dip as though disagreeing with that statement, but you won’t let him refute you right away, so you continue. “We can go full philosophical about eternity if that’s what you want, but personally eternity is such a heavy concept to comprehend that I really think you need parameters in order to define it. But since you focused on outliving your loved ones, well … isn’t that just part of living? People come and go, they live and they die. Your grandparents may die before you; your parents may die before you; your siblings or your friends may die before you do. That’s life. There will be grief, there will be sadness, there will be regrets, yes. That too is part of living. It doesn’t matter if you live for decades, centuries, millennia—you’ll love, you’ll cry, you’ll forget, you’ll remember. That’s life. I learned that it’s easier to accept that it’s the way it is. Which is why I love when I can. Didn’t I tell you before: no regrets, just move forward?”

He’s watching you all the while, an intensity in his gaze that brightens and brightens as you’re answering his question. It burns like an otherworldly thing, and it seizes your breath for a second time. He’s reflecting on your words, and you can almost see the thoughts whirling in his mind, but ultimately he remains a mystery.

“You speak as if you’ve experienced something before, to have developed that kind of worldview.”

You plaster a smile for him. “Oh, it’s nothing tragic, if that’s what you’re thinking. It’s more like a bunch of small experiences and observations culminating into a realization. Introspection’s useful every now and then.”

He returns the gesture. “Of course, you’re right about that.”

You move on to lighter topics after that. When the sun dips behind the cityline, signaling the end of your stay at Comte’s for the day, Comte walks you to the entrance, as your ritual. The car is waiting outside, and before you descend the stairs you turn back to Comte to thank him again.

“It is nothing, my dear,” he says, smiling a charming smile that has you zeroing in at a point above his eyebrow. “It is always a pleasure to help you, as is having our teatime conversations.”

Then he does something he hasn’t done in your previous proceedings: he takes your hand and brings it to his lips, a gentleman’s gesture.

You sputter.

Comte continues smiling, now with a hint of smugness. “I’ll see you next week then.”

You don’t remember what happens after that. Everything’s a daze. It’s only when you’re in your apartment that things become clear once again, and you find yourself clutching the film Comte’s lent you.

+++

“So this is the painting you bought from the skillful painter.”

Vlad stood in the middle of the foyer, observing the newly mounted artwork in le Comte’s house.

“Every time I look at it, I’m overcome with admiration,” he continued, glancing at le Comte with a quirk of a smile. “What talent, don’t you agree?”

He fell into step with his friend, and directed his attention to the painting as well. “Indeed,” le Comte agreed, trying not to remember the events that led to his purchase of the painting.

This time, it’s he whom Vlad studied, his prolonged stare like a lance piercing armor, piercing flesh.

“Something happened during your visit,” Vlad ventured. “Did you meet the painter’s lady?”

And it’s like being dunked in cold water. Le Comte whipped his head to throw a disbelieving look at Vlad, who seemed to figure everything out behind that bland, kind smile.

“You knew.”

“I had my suspicions, but it’s your reaction that confirmed it for me.”

Le Comte gritted his teeth. “Vlad, I—” Then he stopped himself. Vlad really didn’t do anything; he just nudged him in this direction; in the end it’s le Comte who had to arrive at a decision. “How did you figure out?”

“There’s something in the air around her,” Vlad mused, “that reminded me strongly of your little lady in our childhood. It is a fascinating phenomenon, regardless. Does this mean humans can achieve eternity like us?”

She didn’t remember le Comte when they had crossed paths. “I don’t think so, Vlad. She seems to have no memory of her past life.”

Vlad’s features morphed into sympathy. “I see. I’m sorry to hear that, Comte. Shall we move on to brighter matters? I’ve found a breakthrough for our time travel project, you must want to hear it right now.”

Months later, Comte would receive word that Tommaso died of poverty. His lover followed him soon after. And it was that ache all over again. Would it always be like this—death as fate for the people le Comte had given his heart to? If only she had left Tommaso, then perhaps she would have delayed her death. But even so, it still wasn’t in his arms that she would have fallen into.

Everything hurt. Everything reminded him of her. What else could he do? The more he caught glimpses of the painting, the wider the pain in his heart could reach. With nothing left but despair, he asked Vlad to get rid of the painting, refusing to look at it again.

+++

A relatively productive week passes: attending seminars to strengthen your research ideas but also taking a break from your dissertation writing by hanging out at bookstores, searching for your next leisure read. You’ve outlined your chapter with enough points and references to start on it. You only hope that you can sustain the motivation and energy enough to accomplish at least seventy-five percent of it before your patience runs out and you find yourself binge-watching a K-drama about comics characters gaining meta-awareness.

Maybe you need a new environment for writing. Somewhere spacious and cozy, with generous natural light, full of things you love: books, coffee, flowers …

Your eyes fall on the film Comte lent you. He insisted you watch it, his hand on yours warm and soft, a subtle nudge that beseech you to capitulate to him. You have half a mind to ignore it, but you remember the flicker of emotion of his upon sighting the film, and that makes you curious.

You have nothing else to do—your consultation with Vollant over—so you may as well bite.

Nearly two hours later, you’re bawling your eyes out as the credits roll on your laptop screen, the soft piano melody washing over your tiny studio apartment. The story ended on a poignant note, the main characters missing each other by mere seconds, thus failing to reunite after decades of trying to love other people. Stories like this portray love as not above everything else, that it’s just as fallible as human actions. It’s not a lofty thing; it’s like everything else. You’ve never figured Comte to like films like this—sad, lonely, and yearnful. It’s given you further insight to him, though, so you vaguely formulate your statements about the movie in case he brings it up the next time you have your tea.

But—as you swipe your snot off with tissue paper—recalling his expression before he told you that it’s a beautiful film makes you wonder: what could have happened to Comte for him to beget such a sorrowful face?

#fic #Ikemen Vampire #Comte de Saint-Germain x Reader #Comte x Reader #the soul is nothing more than a glass of ocean water #ocean water fic #ikemen vampire comte x reader #ikevamp comte #my fic #ikevamp fic #ikemen vampire fic #see you next year for the next chapter lmao

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redwineconversation · 7 months

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Le Havre - Olympique Lyonnais OLPlay Postgame Interviews

Standard disclaimers apply; @OL Comms Dept there is so much you can chip in for including but not limited to a PSL or an apple cinnamon scented candle; don't do invasive shit it drives me NUTS; y'all know the speech by now.

Why Liana Joseph got interviewed over Eugenie Le Sommer and/or Danielle van de Donk is beyond me, but this is what happens when Timothee isn't there.

SONIA BOMPASTOR INTERVIEW

Journalist: Our coach, Sonia Bompastor. Good evening, Sonia. I imagine we have a satisfied coach this evening.

Bompastor: Yes, yes, a lot of satisfaction indeed. Our start of the season has been almost perfect even if in terms of expectations there are still things we can improve on. But in case in terms of the result, between last week with the first title and today with the beginning of the league, I'm really satisfied, and I'm happy with what we showed in the game today. It's a good foundation to have to build on, and obviously there are still things we need to work on. But in terms of progression we know what we can do, and the foundations are in place.

Journalist: We saw a starting eleven which was almost identical to what we saw against Paris Saint-Germain in the Trophee des Championnes. But we also saw a lot of substitutions, some interesting substitutions, some substitutions which clearly brought something to the team in the second half. There was obviously a preseason element for some of the players in the team [Carpenter had only been back with the team for about 10 days], that was pretty logical. In the end, it's pretty encouraging to see the team already performing well.

Bompastor: Yeah. It was a good performance. I'm lucky to have at my disposal a group of players who have a lot of quality but also a quantity as well, which will allow us to be in play for all the competitions. So that's good. And what's important is that I can count on everybody. There's a lot of quality, I'm repeating myself. But with all the games we will be playing this season, it's important to count on everyone. And especially to be able to tell yourself that when you're calling upon players who weren't in the starting lineup, they're in the right state of mind. They can make a difference off the bench. And for the team, for the coach, for the staff, those are good things.

Ivan Martin: Good evening, Sonia. I'm replacing Timothee in the studio this evening. I wanted to ask you a question regarding the importance of starting the season well, knowing that as soon as the second day of the league, we're playing Paris Saint-Germain and that could already be one of the defining parts of the season.

Bompastor: Yeah. Before the start of the game, I told my players during the pregame speech that we're starting a new season but also with a new format, with these play-offs [Bompastor and Precheur are both super opposed to the playoffs] but that shouldn't change anything in terms of our ambitions, both personal and our objectives. This means we wanted to start the season off by a win obviously, have positive talking points. And mainly we wanted to be in the first place from the first day. We don't want to let it go. We want to be top of the table from the beginning to the end. So yeah. And obviously it gives us a big advantage at the end with the playoffs [top ranked team hosts the dumb playoffs]. But we all have those ambitions and we wanted to stay top of the table from the beginning to the end. Of course there will be teams who will come along and want to mess up those plans. But for us in terms of ambitions we're focused on precisely that.

Journalist: A quick word, Sonia, on Liana Joseph, who became the 166th player to play for Lyon in an official competition. I'm also talking to you as the former director of the youth academy. You must be happy to see a player come up from the youth academy and is also showing a lot of quality.

Bompastor: Yes, Liana [Joseph] is a player who is showing a lot of potential [so send her out on loan instead of forcing Lyon to be the one trying her out!!!!] We know her really well. Since the beginning of the preseason she's done some really good things. It was an opportunity for her today to come on, play her first minutes in the D1 Arkema [French league], in terms of experience it's really important for her. For us, it was deserved. She puts in a lot of good work, a lot of hard work. For me it was the chance to reward her for all the work she's done.

Journalist: And Sonia, before coming back to Lyon, we're going to enter a period you're not super fond of, the return of a majority of your players to their national teams. We're going to cross our fingers and hope everything goes as well as possible.

Bompastor: Yeah. I've said all along that the players will have an extremely packed calendar. We know that. That's also why I'm trying to manage the load of my players. The substitutions are both about performance and also managing tiredness. It's important to play the game, to communicate with the national teams to try and keep the players on the field as much as possible and as safely as possible.

Journalist: Thank you, Sonia, and congratulations once again for this great win, 4-0 at Le Havre.

Bompastor: Thank you, have a good night.

LIANA JOSEPH INTERVIEW

@OL Comms PLEASE get her some media training this is one of the most painful interviews I have translated, though to be fair the questions were really shit too.

Linguistic lesson: in French, there are two forms of "you" - formal (vous) and informal (tu). I find it interesting that the journalist uses the informal "you" with Joseph because he doesn't with any of the other players or with Bompastor.

Journalist: I'm here with Liana Joseph. Liana, congratulations. I want to use the informal "you" with you, if that's okay with you. First official game tonight with Lyon. I imagine there were quite a few emotions.

Joseph: Yeah, it was emotional for sure. I'm really happy to have had my first minutes in front of my parents and my family who have supported me. And I want to continue like this, to get some minutes and eventually be able to play a full game.

Journalist: Get some minutes when we see the roster and especially in Lyon's attack, you find yourself in practice next to Ada Hegerberg, Eugenie Le Sommer, Kadidiatou Diani, Melchie Dumornay. A lot of big names. I imagine that having a place next to those big names, it's not easy. How do you handle all that at your young age?

Joseph: It's complicated. But I'd rather play with the top players, because that way - I don't know how to say it - that way the better the players I'm with, the better player I become.

Journalist: Indeed, we know you a little bit at Lyon, but we want to know a bit more about you. You're very composed in front of goal, very powerful. Can you tell us who your role models are? Are there certain players that you've followed for a long time? How would you define yourself as a forward?

Joseph: Delphine Cascarino has been a big inspiration for me. And Melchie Dumornay, because she is powerful, etc. Delphine, I look at her movement, how she positions herself to be able to replicate it myself.

Journalist: We saw a Lyon team tonight who imposed them with a 4-0 win to start the season after having won the Trophee des Championnes. We know we always have to win when we play for Lyon. Have you set any small objectives for yourself for your first season with the pro group?

Joseph: Continue to be part of the group, and once again try and get some minutes. And why not, win some trophies.

Ivan Martin: Good evening, Liana. I have a quick question for you, focusing mainly on your debut this evening with the pro team. What did Sonia [Bompastor] expect from you during the week, and what were her expectations of you when you came on as a substitute?

Joseph: She told me to play like I know how to play and not put pressure on myself, and to do what I do in training. Do what I know how to do, really.

Journalist: Well in any case, congratulations. We're really happy for you this evening, Liana. Now you're off with the [U-17s] National Team, a good generation and good objectives with the French National Team.

Joseph: Yes, thank you.

WENDIE RENARD INTERVIEW

Journalist: A player who has certainly made herself a place on the team, it's obviously the captain, Wendie Renard, whom we're delighted to have with us at the Stade Oceane [where the game was played]. Captain, congratulations on the win, for the goal, and for the start of the season which for the moment is perfect.

Renard: Good evening, thank you. It's always nice, we really wanted our season to be off to a good start. We did that tonight. I think there are still things we need to improve on, but that's normal. But the positives are that we won, we got the three points but mainly we didn't concede any goals, so that's cool.

Journalist: Indeed, if we look at the different statistics, two games, two wins, already a trophy added to the cabinet, six goals scored, zero goals conceded. Defenders who stood out tonight, with the center backs becoming goal scorers. We saw you score a header and Vanessa [Gilles] at the end of the game. Here we really feel that this team, their core players know each other really well. And there are some new elements, we saw Melchie [Dumornay] at the Trophee des Championnes, Kadidiatou Diani who arrived during the transfer window. We also saw Liana Joseph tonight. This team has quite the arsenal to accomplish things, don't they?

Renard: Yeah, obviously. There are players who joined us this summer and for me, I'm welcoming them with open arms because they're world class players with a huge amount of potential. So when we're at Lyon and we are in play in all the competitions, as I've said, it's important to have a deep bench and to have quality players to be able to compete against the other teams. We did that in the first game against Paris [Saint-Germain in the Trophee des Championnes], even if once again there are things we need to improve on. And that's normal. When you talk recruitment, you're obviously talking about a lack of connection, you're talking - well you obviously need more time. But if you're working on it on a daily basis, with the different meetings we can have between all of us, we're going to get better on an individual level and as a team. But we saw the young Liana [Joseph] tonight, I'm happy for her. She's a young player with lots and lots of qualities. So the fact we were able to give her 15 minutes tonight, she'll start to learn a little what it's like at the top level. And that's good for her. And if she came on then it's because she deserved it as well. As with other [teams], there's still a lot of the season left to play. We haven't done anything yet. But as I said, the most important thing is the win and the clean sheet.

Ivan Martin: Good evening, Wendie. I had a question about the last goal Lyon scored this evening. We're used to seeing you putting on a strong defensive performance, we're used to you being good with attacking headers. And then there was that sequence at the end of the game, where you dribbled twice, once on your left foot and once on your right, and then a perfect cross on your weaker foot delivered perfectly to Vanessa [Gilles]. Can you talk a little about it?

Renard: Well right at the beginning I saw that Amel [Majri] received the ball, so I came up [the field] for support so she could play 1-2. She gives me the ball but I saw that the player anticipated the return pass, so I controlled the ball. I wanted to turn away from goal but I could see them trying to close me down, so I did a technical sequence and then I applied myself on the cross. And I delivered a good cross to Vaness[a Gilles]. So, I'm happy. I don't think people are used to seeing me do that. But again the most important thing is that we scored, so it's good that Vaness[a] was able to put the chance away. And on a personal level it's nice to be able to help the team in other ways, so it's cool.

Journalist: Indeed, we're now going to closely follow your assist statistics now. Maybe you'll have something to say in that area. On a more serious note, there's the return of international play again, with a new competition that France will play in, the League of Nations. And the good news as well with the return of Griedge M'Bock with the French National Team. In any case, there's a lot of good things to look forward to with the French National Team.

Renard: Yeah, there's some good games coming up, with a new competition starting up as well. I know everyone is talking about the Olympic Games, but I also want to focus on this new competition. So we'll do everything, starting from next Friday, to start it off really well. And really happy, thank you God as the expression goes, this girl [Griedge M'Bock] is so incredibly strong. She's come from so, so far. I think everyone saw the pictures when she got injured, it was really, really hard for her. But almost exactly a year later she returns to the national team. So yeah, really, really happy and I hope that this time she will be able to play as much as possible with us, and get her rhythm back, because that obviously takes some time but she's working towards that. And she will help the team achieve their objectives, it's as easy as that.

Journalist: Good luck with the national team. But please come back in one piece. There's seven of you [on the French team], come back healthy because there's just that small game on October 1 against Paris Saint-Germain.

Renard: [laughs] Yeah, we know the games will start to add up. But we like that. I think these two games with the national teams will help us get into the rhythm of things on an individual level and as a team. After that, we'll come back and we'll do everything to accomplish our objectives together.

#all good love stories start in the rain #sonia bompastor #liana joseph #wendie renard

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taruntravell · 8 months

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Spend a Marvellous Week in Paris

Spending a marvelous week in Paris sounds like a dream! Here's a suggested itinerary to help you make the most of your time in this beautiful city:

Day 1: Arrival and Eiffel Tower

Arrive in Paris and check into your accommodation.

Start your trip with a visit to the iconic Eiffel Tower. You can choose to go up the tower for breathtaking panoramic views of the city or enjoy a picnic in the nearby Champ de Mars park.

Day 2: Louvre Museum and Seine River Cruise

Begin your day at the Louvre Museum, home to thousands of works of art, including the famous Mona Lisa.

After exploring the museum, take a leisurely stroll along the Seine River and enjoy a scenic river cruise to see Paris from a different perspective.

Day 3: Montmartre and Sacré-Cœur Basilica

Visit Montmartre, a charming artistic neighborhood known for its cobblestone streets and bohemian atmosphere.

Climb up to the Sacré-Cœur Basilica for stunning views of the city and explore the surrounding area with its quaint shops, cafes, and art studios.

Day 4: Palace of Versailles

Take a day trip to the Palace of Versailles, a UNESCO World Heritage site known for its opulent architecture, gardens, and history.

Day 5: Champs-Élysées and Arc de Triomphe

Stroll down the famous Champs-Élysées avenue, lined with shops, cafes, and theaters.

Reach the Arc de Triomphe, a monumental arch at the western end of Champs-Élysées, and admire the grandeur of the city from the top.

Day 6: Notre-Dame Cathedral and Île de la Cité

Explore the Île de la Cité, the historic heart of Paris, and visit the iconic Notre-Dame Cathedral (Note: as of my last update in September 2021, the cathedral was undergoing restoration after the fire in 2019; please check its current status before your trip).

Wander around the charming streets of the Latin Quarter, known for its vibrant atmosphere and student life.

Day 7: Day of Relaxation and Shopping

Dedicate your last day to leisurely activities. Enjoy a relaxing morning in one of Paris's beautiful parks, like Parc des Buttes-Chaumont or Jardin du Luxembourg.

Spend the afternoon shopping in fashionable districts like Le Marais or the Saint-Germain-des-Prés area.

In the evening, savor a farewell dinner at a classic Parisian bistro to savor the city's culinary delights.

Remember that this itinerary is just a suggestion, and Paris offers a plethora of attractions and experiences. Be sure to tailor your activities to your interests and take some time to simply wander the streets, enjoy the local cuisine, and immerse yourself in the enchanting ambiance of the city.

#Versailles #Louvre Museum #paris

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rajotto-blog · 10 months

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12 Luxury Vacation Rentals In Paris, France

New Post has been published on https://betterreview.live/blog/12-luxury-vacation-rentals-in-paris-france-3651/

12 Luxury Vacation Rentals In Paris, France

Paris, France is known for its romantic ambiance and is a favorite destination for travelers seeking luxury vacations. The city offers a wide range of luxurious accommodations, including 12 high-end vacation rentals that cater to sophisticated travelers.

Here’s a table giving a quick overview of these properties:

These vacation rentals offer a range of styles and locations throughout the city, from the historic and artistic Montmartre district to the glamorous Avenue des Champs-Élysées. Each property boasts unique features, like a riverboat on the Seine or a penthouse view of the iconic Arc de Triomphe.

Whether you’re seeking a romantic getaway or a family vacation, Paris has something for everyone when it comes to luxury vacation rentals.

12 Luxury Vacation Rentals in Paris, France

Looking for an amazing trip to Paris, France? Why not indulge in luxury vacation rentals to make your trip a memorable one? Paris has so much to offer, from stunning architecture to unparalleled shopping, and being in luxurious accommodations just adds to the experience.

Here are 12 luxury vacation rentals in Paris that will make your trip unforgettable.

1. Eiffel Tower View Apartment

Located just a stone’s throw away from the iconic Eiffel Tower, this luxurious apartment has a beautiful view of one of the world’s most famous landmarks. It has two bedrooms, each with its own bathroom, and a spacious living room which opens up to a balcony.

2. Champs-Élysées Duplex

This 2-floor apartment is located on the prestigious Champs-Élysées avenue. It has two beautifully decorated bedrooms, two bathrooms, and a modern kitchen. The highlight of this rental is the spacious outdoor terrace, where you can enjoy your breakfast while taking in the breathtaking view of Paris.

3. Louvre Palace Apartment

If you want to be close to the famous Louvre Museum, this spacious apartment is perfect for you. It’s located right next to the museum and has two large bedrooms, a modern kitchen, and a cozy living room. The apartment has been tastefully decorated and offers breathtaking views of the Louvre Palace.

4. Marais Mansion

This grand mansion is located in the trendy Marais district of Paris. It’s steeped in history and has been recently renovated to provide modern amenities. The mansion has 6 bedrooms, each with a private bathroom, and a spacious living room that opens up to a serene garden.

5. Saint-Germain Studio

This chic studio is located in the trendy Saint-Germain district of Paris. It’s perfect for solo travelers or couples. The studio has a comfortable bed, a small kitchen, and a modern bathroom.

6. Opera House Apartment

This luxurious apartment is located just a few steps away from the famous Opera House. It has two bedrooms, each with en-suite bathrooms, and a spacious living room with high ceilings. The apartment has been tastefully decorated with antique furnishings.

7. Montmartre Loft

This loft-style apartment is located in the bohemian Montmartre district of Paris. It’s perfect for those looking for a unique experience. The apartment has a spacious living area, a modern kitchen, and a loft-style bedroom with a comfortable bed.

8. Tuileries Palace Suite

This luxurious suite is located in the Tuileries Palace, which has been restored to its former glory. The suite has a spacious bedroom, a modern bathroom with a Jacuzzi, and a cozy living room. The highlight of this suite is the stunning view of the Tuileries Gardens.

9. Latin Quarter Townhouse

This townhouse is located in the charming Latin Quarter of Paris. It’s perfect for families or groups of friends as it has 4 bedrooms and 3 bathrooms. The townhouse has been tastefully decorated and has a spacious living room with a cozy fireplace.

10. Seine River View Apartment

Located on the banks of the Seine River, this luxurious apartment offers stunning views of the river and Paris. It has two bedrooms, each with en-suite bathrooms, and a spacious living room that opens up to a balcony. The apartment has been tastefully decorated with antique furnishings.

11. Luxury Houseboat

If you want a unique experience, why not stay on a luxury houseboat? This houseboat offers all the comforts of a luxury apartment, including a modern kitchen, a cozy living room, and a spacious deck to enjoy the stunning view of Paris.

12. Palais-Royal Apartment

This luxurious apartment is located in a historic building in the Palais-Royal district of Paris. It’s perfect for those looking for a classy and elegant accommodation. The apartment has two bedrooms, each with en-suite bathrooms, and a cozy living room with a fireplace.

In summary, Paris has an array of luxurious vacation rentals to offer. From apartments with stunning views of the Eiffel Tower to unique experiences like staying on a houseboat, there’s something for everyone in this city of love. So why not indulge in luxury and make your trip to Paris unforgettable?

12 Luxury Vacation Rentals In Paris, France

Property Location Bedrooms Bathrooms Price per night Eiffel Tower Duplex 7th arrondissement 2 2 $500 Pompidou Penthouse 4th arrondissement 3 2 $800 Champs-Élysées Apartment 8th arrondissement 3 3 $1000 Palais Royal Townhouse 1st arrondissement 4 4 $1500 Marais Mansion 3rd arrondissement 5 5 $2000 Montmartre Villa 18th arrondissement 6 6 $2500 Notre Dame Castle 5th arrondissement 7 7 $3000 Tuileries Palace 1st arrondissement 8 8 $3500 Château de Versailles Versailles 10 10 $5000 Le Marais Flat 4th arrondissement 1 1 $200 Rue de Rivoli Studio 1st arrondissement 1 1 $300 Invalides Loft 7th arrondissement 1 1 $400

FAQs

What are the top luxury vacation rentals in Paris, France?

What is the average cost of renting a luxury vacation rental in Paris, France?

What amenities can I expect in a luxury vacation rental in Paris, France?

What is the best time to visit Paris and book a luxury vacation rental?

How do I book a luxury vacation rental in Paris, France?

Paris, France is one of the most sought-out tourist destinations in the world. For those looking to experience the city in luxury, there are several vacation rentals that offer top-notch amenities and services.

1. The top luxury vacation rentals in Paris, France include The Penthouse, Parisian Palace, and Rue de la Paix. 2. The average cost of renting a luxury vacation rental in Paris, France is around $700-$1000 per night. 3. Most luxury vacation rentals in Paris, France offer amenities such as private balconies, concierge services, and fully equipped kitchens. 4. The best time to visit Paris and book a luxury vacation rental is during the spring and fall months, when the crowds are smaller and the weather is milder. 5. To book a luxury vacation rental in Paris, France, you can check for availability and book directly through the rental company’s website or through a trusted travel agency.

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freelance-informatique · 1 year

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Lionel Messi de retour au Barca ? Le club catalan à une solution !

Le retour de Lionel Messi au FC Barcelone est l'un des sujets les plus chauds de l'actualité sportive en ce moment. Après avoir quitté le club l'été dernier pour rejoindre le Paris Saint-Germain, la superstar argentine a été rappelée par son ancien club pour une deuxième chance. Cependant, la décision de Messi de revenir à Barcelone a été rendue impossible à cause des difficultés financières du club catalan. Mais le club à peut-être une solution. Lionel Messi : de retour au FC Barcelone ? Le FC Barcelone, l'un des clubs de football les plus populaires et les plus riches du monde, a connu des difficultés financières ces derniers temps. La pandémie de COVID-19 a eu un impact important sur les finances du club, entraînant une baisse significative des revenus. En conséquence, le club a été contraint de chercher des moyens de lever des fonds pour financer ses opérations. C'est là que Barca Studio entre en jeu. La société de production audiovisuelle du FC Barcelone est une entreprise très prometteuse qui a suscité l'intérêt de nombreuses entreprises du secteur. Le club envisage de vendre une partie de ses actions dans Barca Studio pour lever des fonds. Mais le dilemme est de savoir s'il doit vendre 24% ou 49% des parts. Lire également : - Cristano Ronaldo s'énerve : les supporters scandent Messi VIDEO Le Barca veut vendre Barca Studio pour revoir Lionel Messi Le FC Barcelone a reçu de nombreuses offres d'achat pour ses parts dans Barca Studio, dépassant largement les 100 millions d'euros. Cette somme serait suffisante pour financer le retour de Messi à Barcelone. Cependant, l'Arabie Saoudite s'est également montrée intéressée par le joueur argentin, ce qui complique la donne. Le retour de Messi à Barcelone est une question de fierté pour le club et ses fans. Messi est considéré comme l'un des plus grands joueurs de l'histoire du club et son départ l'été dernier a été un coup dur pour l'équipe. Le club a donc fait tout son possible pour le ramener, même s'il doit vendre une partie de ses parts dans Barca Studio pour le faire. Voir aussi : - Retour de Messi : Xavi prevoit déjà un changement de système ? L'Arabie saoudite sur le coup Le fait que le club ait reçu des offres d'achat pour ses parts dans Barca Studio montre à quel point cette entreprise est prometteuse. De nombreuses entreprises du secteur de la production audiovisuelle ont vu en elle une opportunité d'investissement intéressante. En vendant une partie de ses actions, le club peut non seulement lever des fonds pour financer ses opérations, mais aussi attirer de nouveaux partenaires et investisseurs. Le choix entre vendre 24% ou 49% des parts est crucial. Vendre 24% des parts signifierait que le FC Barcelone garderait le contrôle de Barca Studio, tandis que vendre 49% des parts impliquerait la perte de ce contrôle. Il y a donc un risque pour le club de perdre sa mainmise sur l'entreprise. Mais si le club décide de vendre une plus grande part de ses actions, il peut lever plus de fonds, ce qui pourrait lui donner un avantage financier dans le marché des transferts. Le problème est que l'Arabie Saoudite s'est également montrée intéressée par Messi. Le prince héritier d'Arabie Saoudite, Mohammad bin Salman, serait prêt à payer une somme considérable pour avoir Messi dans son équipe de football, ________ Pour retrouver tous nos pronostics football, rendez-vous sur notre site web ou sur notre page Twitter. Read the full article

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lamilanomagazine · 1 year

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Canale5: un altro weekend in compagnia di Verissimo

Canale5: un altro weekend in compagnia di Verissimo. Torna anche questo weekend Verissimo, nella giornata di sabato alle 16.30 Silvia Toffanin accoglie in studio una grande attrice, Paola Pitagora, impegnata nella seconda stagione della fiction di Canale 5 “Luce dei tuoi occhi”. A Verissimo il ballerino Alessio, ultimo eliminato dal serale di “Amici”, Pamela Camassa pronta a sbarcare su “L’isola dei Famosi” e il racconto di Raffaella Fico. E ancora, ritratto per la modella Jessica Aidi Verratti, moglie del centrocampista del Paris Saint-Germain Marco Verratti e tutte le emozioni di una coppia molto amata di “Uomini e donne”, quella formata da Alessia e Aldo, in attesa del loro terzo figlio. Per quanto riguarda domenica 16 aprile, sempre alle 16.30, per ricordare la figura del Papa emerito (scomparso lo scorso 31 dicembre e che avrebbe compiuto 96 anni) sarà per la prima volta a Verissimo, per un’intensa intervista, don Georg Gänswein. L’arcivescovo, che per vent’anni è stato accanto a Joseph Ratzinger come segretario particolare, è autore del libro “Nient’altro che la verità – La mia vita al fianco di Benedetto XVI”. E ancora, torna in tv Ilary Blasi, in partenza lunedì 17 aprile con la nuova edizione de “L’isola dei famosi”, il talento e il carisma di Patty Pravo e i super professori di “Amici” di Maria De Filippi Alessandra Celentano e Rudy Zerbi.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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hammondcast · 1 year

Text

A Night At Le Bar Bat Jon Hammond Late Rent Session Men

#WATCHMOVIE HERE: A Night At Le Bar Bat Jon Hammond Late Rent Session Men

Jon's archive https://archive.org/details/a-night-at-le-bar-bat-jon-hammond-late-rent-session-men

Youtube https://fb.watch/gC8jmvkSJc/

FB https://fb.watch/gC8jmvkSJc/

A Night At Le Bar Bat Jon Hammond Late Rent Session Men

Jon Hammond

Topics

A night, Le Bar Bat, Mediasound Studios, Jon Hammond, Late Rent Session Men, Jazz, Blues, Hammond Organist

Language

English

A Night At Le Bar Bat Jon Hammond Late Rent Session Men MUSICIANS:Chuggy Carter Barry Finnerty James Preston Alex Foster Jon Hammond Joe Berger - Camera / Mix https://jonhammondband.com Formerly Mediasound Studios NYC - Bob Clearmountain, Godfrey Diamond, Michael Barbiero, Michael Delugg, Harvey Goldberg, Joe Ferla, Jeff Lesser, Alec Head, Bill Stein, Ron Saint Germain, Michael Brauer, Don Wershba, Ed Stasium, Gregg Mann, Carl Beatty, Kol Marshall, Lincoln Clapp, Joe Jorgensen, Alan Varner, Doug Epstein, Liz Saron, Trudy Schroder, Ramona Janquitto, Ron Dante, Charlie Calello, Tony Bongiovi — these are just some of the names that became the nucleus of Mediasound.In New York City, from the close of the ’60s through the birth and death of disco, Mediasound was a hit machine. Founded by Harry Hirsch, with assistance from Bob Walters and financial/business backing from owners Joel Roseman and the late John Roberts, Mediasound opened in June 1969 at 311 West 57th St. in the heart of Manhattan. Once home to the Manhattan Baptist Church, today the site is occupied by Providence (formerly the trendy Le Bar Bat), where you can still see the Gold Records on the wall.#anight #lebarbat #jazz #blues

Addeddate

2022-11-04 10:34:33

Color

color

Identifier

a-night-at-le-bar-bat-jon-hammond-late-rent-session-men

I put Barry Finnerty's old guitar case that came with his Gibson Johnny Smith guitar in front of the AFM Local 6 musicians union on 9th street - it was shot - to see how long it would take 'til somebody walked with it: 5 minutes. Maybe it's still kicking around the Tenderloin in San Francisco, California somewhere ha hah - that g'tar case had seen plenty of action since high school days - Jon Hammond

#gibsonguitarcase

#johnnysmith

#local6musicians

#tenderloinsf

A night, Le Bar Bat, Mediasound Studios, Jon Hammond, Late Rent Session Men, Jazz, Blues, Hammond Organist

#a night #le bar bat #mediasound studios #Jon Hammond #Late Rent Session Men #jazz #Blues #Hammond Organist

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cineastua · 2 years

Video

vimeo

Ouri - Ossature from Derek Branscombe on Vimeo.

Ouri fights a merciless red hand in this K-Hole inspired video, offering a trippy visual feast as a conclusion to her album Frame of a Fauna. The video depicts some of her visions she experienced during a medically-assisted Ketamine therapy last year, aesthetically transmitting the feeling of this very strange healing experience, a heroic battle and retrieving a lost connection with her ancestors. Derek crafted this world using a bold and sometimes chaotic mix of VFX and AI-generated animation.

Director & Animator - Derek Branscombe instagram.com/derekbranscombe/ Concept - Derek & Ouri

Production Company - Le Repertoire Executive Producer - Raphaelle Savoie Producer - Catherine Marsland

Director of Photography - Harley Francis

Hair & Makeup - Maina Militza Stylist - Jessica Thai (Sica) Custom Bodysuit - Alyona Kochetkov

1st AC - William Tétreault Gaffer - Pascal Dulude De Broin Grip - Ludovic Pilon Swing - John Cumberland

Stunt Coordinator - Fred NguyenOn-Set VFX Supervisor - Simran Dewan Props -Lucas Moreau Saint-Germain

Unit Manager - Raphaelle Savoie & Catherine Marsland Set P.A. - Luis Gonzalves & Lucas Moreau Saint Germain Traiteur - Julien Leblanc

Edit, VFX, Comp & Animation - Derek Branscombe Editor (Fight Scene) - Mattias Graham VFX Consultant - Émile Massie-Vanasse - Ouri’s 3D Model - Coeus

Grandmothers - Adanma Onyechekwa, Uzoma Onyechekwa & Kathleen Chambers Nurse - Karine Pronovost

Thank you to Studio du Chateau, Cinepool, DAVAI, Cineground, Simran Dewan, Harley Francis, Karine Pronovost, Émile Massie-Vanasse, Michael Sayegh, Neil Haverty

This video was created thanks to the generous support of the MVP Project, a joint initiative of RBCxMusic and the Prism Prize (administered by the Academy of Canadian Cinema & Television).

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aboutanimation · 2 years

Video

vimeo

Ouri - Ossature from Derek Branscombe on Vimeo.

Director & Animator - Derek Branscombe Concept - Derek & Ouri