Le clip de la semaine : Le Lac.
> Extrait de l'album La République des Meteors (2009).
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Le clip de la semaine : Le Lac.
> Extrait de l'album La République des Meteors (2009).

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Raphaël Say in Le Lac by Stéfanie Renoma.
“Untitled no. 23: ‘On getting off from everything,’ or ‘victory’”
I love my life
And I live it well
It’s the furthest place
From that thing called hell
A paradise full of grace
A hermit in his shell
Here there is no strife
It’s a rather painless case
This life: my own, the world
Wherein I dwell, in a whorl
My wings are given flight by the wind:
I am the Winged Victory of Samothrace
And in the potent light of day, I steep
In the drink of the night: I’ve won, the end
To this raucous fight (with the deep, I contend)
And taken by the fleet feet of a dancer, I twirl
In ecstasy, like a ray of light made radiant
By bar tracery refracted in, as it creeps
Through, a cathedral’s oculus, defiant
Of every will to pretend, I unfurl
My masts, a ship intent on meeting the Grandest —
Its sacerdotal — end and cheating its wanting
To bend back away from banks of life
To retreat from the grace-soaked sands,
Reviled by the fact that no one except
Myself holds the responsibility to accept
His own defeat: my death draws nearer
To me in worrying that deeper water lies ahead of the shore
But when I close my eyes, the beacon of joy,
A jewel in the shrubbery (the light in the trees),
Is beckoning me, “move forward, come closer: explore
My depths and find beauty everpresent therein;
Clearer water lies within,” so in faithful duty I deploy
Myself into the sea, passing beyond the boundary
Of this liminal space called my vessel wherein
My body’s calls to action radiate, long gone, into the void
Silently resonant, vibrations of wind in a bottle, devoid
Of meaning to the mind, and finally I reach the end
Of my swim to the shore, unscathed by the bygone perils
Of doing my duty to this world which I love
So dearly; and love endures on the Isle
Of Samothrace; this, its crowning laurels:
A somatic being emerges (extracted of infinite marbles
By Daedalus) in victory, a white-winged dove
Whose function and form are one in the same while
The beauty of its being, in sync with all,
Can never know the fall: the light of being
Alive is to be the light itself, never once alighting to the call
Of strife; instead, take flight and ascend beyond the clouds
And find yourself diffuse (heavenly body rarified, a being
Whose particles could not ever comprehend the shrouds
We use to protect ourselves, in fear of impending doom);
However, always make room for others to settle themselves
Amidst the glory of your space, and be like the jewel of that beacon
Which beckoned you here to Samothrace, celebratory in joy.
As an angel — a dove — once told me
When she found myself steeped in peril
At the park, “Enjoy yourself always,
You must trust me on this, really, and
All your days will with heaven meet;
If you do this fast, without any thinking,
You are set to gain the fleet feet of
A dancer lost in ecstatic praise
Of her benevolent creator whom (in love)
Gave her the grips to raise herself up
And take a sip from the Lord’s cup,”
And from this moment on life
Was different: devoid of strife; so
I loved it, and I lived it well,
And there wasn’t a soul — no,
Not a one, and still not even
To this day — who could or can
Convince me otherwise: that heaven
Is here and now in the present
And for this I could never resent
My creator: this life is the furthest place from hell;
Rather it is paradise, full of grace,
A veritably painless case: a stately
Pleasure-dome with caves of ice
In which I dwell, my home: this life.
Written by ME, A. Springate II; #ARSJ
LA CHANSON DU MAL-AIMÉ
L.R.C. BREUNIG, LA CHANSON DU MAL-AIMÉ, “Les critiques de notre temps et APOLLINAIRE”, p58: ..Le soleil, devenu une lyre flamboyante qui brûle ses doigts douloureux, symbolise chez le poète le besoin, la volonté de transformer (comme chez LES SYMBOLISTES et PROUST) cette expérience déchirante qu'il a vécue et dont nous avons été témoins d'un bout à l'autre, en une oeuvre d'art, celle précisément qu'il vient d'écrire et que nous venons de lire. Les derniers vers reprennent avec force le contenu d'une strophe précédente qui exprime la connaissance qu'a notre héros des secrets de la chanson: “Moi qui sais..des chansons pour les sirènes.”… p59: ..Il suffit d'évoquer le décor unique et fixe du poème d'amour français le plus célèbre du XIXème siècle, LE LAC de LAMARTINE, pour se rendre compte de l'extraordinaire diversité des matériaux dans LA CHANSON DU MAL-AIMÉ… Le problème pour APOLLINAIRE fut de créer une impression de désordre qui reflète l'agitation éperdue de l'âme de l'amant-poète, tout en introduisant suffisamment d'ordre… ...LA CHANSON DU MAL-AIMÉ doit sa puissance en grande partie à cet équilibre difficile qu'elle réalise entre l’ “Ordre” et l’ “Aventure”, l'Apollonien et le Dionysiaque.

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Lundi 31 février 22h 10,
Il n'y avait plus que ma mère et moi autour de son corps immobile. On a sorti un de ses recueils de poème et comme un dernier hommage on a commencé à lire et réciter. Parce que papa, tu aimais la poésie. On a lu du Verlaine et du Éluard. On a lu Ronsard, Lamartine et Apollinaire. On a pleuré un peu, nos voix on tremblé puis se sont affirmé. C'était une de nos façon de lui dire adieu.
🎼 Le clip de la semaine : Le Lac, Live Putain De Stade au Stade de France (2010).
IndoStory : 18 septembre 2009, sortie du clip Le Lac !, extrait de l'album La République des Meteors (2009).