In some old dark cafe,
Vesuvio San Francisco, 1968.
Jazz is playing,
cigarette smoke fills the air.
This is where the romantics go
to escape the rain.

A man in the back room says to me,
his voice low, crippled with a flicker of conspiracy— 
“Would you sell your soul to discover the secrets of the artists 
to be free?”
There’s a dim tiffany lamp 
casting a bruised light over the piano man
crooning a dirge about the death of all men.

As beatniks pass around their poems,
the artists, the lovers, the loners,
the losers who’re stone cold sober— 
all circle around together
uneasily entertained by society’s ways.

“Break out now! don’t look behind!”
they shout,
“There’s no freedom in a manufactured mind.
Traditions and lies, superstition’s control,
they steal your spirit, 
they sell your soul.

The psychological chains are hidden but they bind us tight,
caught in a system where they convince wrong to feel right.
They say it’s for your own good, but can’t you see?
It’s just a prison,
disguised as being free.

Are you sure it’s your truth that you’re chasing?
Or just a hollow dream society’s placing?
They built these walls and called them schools,
Where we’re all shaped by unwritten rules.

The laws we follow, who made them real?
A life of labor with no joy to feel.
Because in this system, it’s freedom that dies
but the rebellious and questioning nature 
of the new generation
will create new gods, new religion— 
in which only we can save ourselves from these lies.”

It brought back memories of that day in the Chelsea Hotel
when Leonard said to me,
“The way to live is to belong to no one and nothing,
yet be the center of everything.
It’s just the art of existing.”

That was the night my true artistic desires first unfolded—  a bioenergetic command of the soul to create,
to consume, to possess, to escape.
 But there’s a fine line between freedom and addiction, between desire and destruction.
You can take every drug in the world,
become the Warhol you always wanted to be, but in the end, the art of immortality is a choice, not a decree.

My mind drifts back to the café,
the man still watching, a question lingering in his gaze.
Should I take the first step down the artist’s path of uncertainty?
Will a walk on the wild side shatter the big man’s cage of conformity?
And will I become a rebel against the destiny others built for me?

I hold out my hand as a gesture towards his offering 
And he whispers in my ear,
“Welcome to your new world darling— 
It’s time to be free.”

san francisco 1968

COQUETTE

The Most Outrageous Scottish Folk Song Ever? Slapstick Fun Gin a Body Coming Through the Rye 🤣 🎵 Mary Kay delivers her comic version of what very well may be the most outrageous Scottish folk song ever, capturing the youthful" devil may care" attitude of a traditional Scottish lass who loves boys! She sings the bawdy folk song "Gin a Body Coming Through the Rye" from the lassie's point of view. This teasy performance is lovingly done, because we love Scottish music, with a fantastic stage full of musicians for our annual Robert Burns birthday celebration music and dance show in Marquette, Michigan. Featuring:

Maija Niemi, violin
Mary Kay Aufrance, vocals
Warren Hantz, bass
Tom Aufrance, guitar
Pierre Ogea, percussion
Bruce Irving, guitar
Robert Yin, violin
Carol Kasmer Irving, penny whistle
John Kibit, piano

About the song Gin a Body: "Comin' Thro' the Rye" is a poem written in 1784 by Robert Burns (1759–1796). The words were put to the melody of the Scottish minstrel song "Common' Frae The Town". There are many different versions of the song, which Burns collected and published. However, the song was known long before Burns. For this performance, Mary Kay comically sings the song as she learned it as a girl growing up in Ohio. These lyrics are suggestive and fun, and the audience gets the joke. Only upon growing up did mary Kay understand the irreverant and sexually frollicking meaning of the song, an example of the fun of folk music. You can view this performance: https://www.youtube.com/watch?v=2qGUzyZlX5c

Gin a Body (Comin Thro the Rye)

Gin a Body Scottish Folk Song LIVE PERFORMANCE

Omnichord cover of Primadonna Girl by Marina

Primadonna Girl - Omnichord Cover

i lowk improvised this but i decided it sounded like rotting floor boards so lemme post #fiwb!

running around like a love sick doll who needs an owner before she gets herself hurt (again)

one last moment

EMOZI - Slowed

EMOZI

¿Alguna vez pensaste que una silla podía ser una obra de arte? ¿O que un triángulo, un cuadrado y un círculo podían cambiar la historia del diseño?
Bienvenidos a la Bauhaus: Acá no se trataba solo de pintar lindo, sino de pensar distinto. En este episodio te contamos cómo un grupo de arquitectos combinaron lo funcional con lo artístico para inventar algo totalmente nuevo.

Bauhaus: Atrapados en la Bauhaus

REMEMBERME - Slowed

REMEMBERME

YOURLIPS

Which class do you share with your crush? Mine's chemistry. He might be the teacher

Pretty In Pink (boardwalk first date, strawberry ice cream)

LOTUS

LOTUS - Slowed

hope is a dangerous thing for a woman like me to have 

(Lana Del Rey Cover)

hope is a dangerous thing for a woman like me to have

A song to obsess over your summer crush to!

Pretty In Pink (chemistry class, heart flutters like crazy)

𝚜𝚘𝚗𝚐𝚜 𝚝𝚘 𝚝𝚊𝚔𝚎 𝚒𝚗𝚝𝚘 𝚝𝚑𝚎 𝚊𝚋𝚢𝚜𝚜
♡
https://super-capacity.com/thesfaety-eotw.OIS

let's move to the beat like we know that it's over

www.pathwaysinmusic.com

Estudiantes de 3° y 5° de la secundaria, con especialización en informática

SUPER UNKNOWN SOLO ARTIST!!
(formerly carmen cale)

💒 Caity Valentine
Singer, songwriter & music video girl 
Making dark pop and bedroom pop kiss on camera
📼🎂🫦🧃🌩️

New tracks tagged #coquette