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Jas Citrine May 2014
My soul whispered a secret to my heart,
It spoke of spilled blood upon a rose,
Rouged lips within the garden,
Drops of crimson liquid blush.

[CHORUS]
Nature’s beloved colour is green,
So red speaks of originality,
Blood is a passion,
Scarlet bleeding from thy own,
A claret sun dawning beyond,
Sanguine stained skies.

When the little cardinal sings sweetly,
A doorway opens I never chose,
Visions of a bloodshot key,
A lock rusted with dried blood.

A glimpse through the keyhole,
A pale forest awaits on the other side,
Showers of cherry blossoms,
Falling upon the snow.

Red berries bloom under crystal snow,
Glints of sunlight touch down,
Sparks of fire captured within,
Just beyond this rubicund door.

[CHORUS]

The dreams I am allowed,
Burn and scar my will,
When the door swings open,
Of its own accord.

Damask petals on the wind.
How warm and gentle that spray of blood,
Like a hundred tender kisses,
And the golden keys to Heaven.

I glimpsed the gules of true heraldry,
A suffused spirit at the dawn of memory,
Imprisoned by a cage of vermillion frost,
Warmed by a glass of spiced wine.

[CHORUS]

A roseate palace at the end of a long walk,
Painted titian by my tear drops,
Caress a florid complexion,
Carmine not my own.

Roan stones dusted,
By the fall of Angels light,
Make-believe incarnadine carpet of,
A mirrored auburn dusk.

I settle back into the maroon night,
The darkness flushed by concealed art,
Bay canvas touched-up with unreal imagery,
Indifferent to the passing of my former life.

[CHORUS]

Rubies fall from ruddy clouds,
These gems are not for me,
Reddened glass has come to pass,
The moment of my undoing.

[PAUSE (Epilogue)]

Red is not for me,
Red was not meant to be...
[Unedited / Un-extended Version; extracted from unfinished novel manuscript Blood Rococo, by Jas Citrine; Submitted May 24, 2014; Copyright 2014]

[Not finalized; it is written as a song for artistic effect; ten stanzas have been omitted]
Flight of Rococo
The marina was quiet this Sunday afternoon
The horde had gone back to their offices and factories
The pensioners who take vacation in September
And October walks slowly about and eat well they are
Not going dancing, the women will be tiddly and feel
As they did forty years ago, perhaps tonight the hubby
Will be frisky, but having drunk wine he will fall asleep
She has been going in and out of shops I'm outside
Pretending to be elsewhere I think of Goya's women.
Ah, this slimming craze why do so many women think
It is **** to look like freed concentration camp victims
She is tired now sits on a bench I walk around and look
At boats, I could never afford, except for a few ocean
Ship made of wood polished by rough hands by men who
Are not politically correct calling the ship a she that have
Or possess what men like about women
midnight prague Apr 2011
I would like if I could, to venture out
into a baroque cave where the walls are translucent
and all that surrounds it are rivers of coherence
and incoherence
where I can scream, and when my echoes
radiate they bounce off on me and touch
the spaces in between my fingers
bizarre and ornate
rococo chimes lift my spirit
progressive, regressive
subliminal rising, into the sea of whispers
and final decisions  
and crazed hands
and melting lips
and bruised knuckles
and fighting wrists...

I subsist to consist
of the fluid that makes me up
lavender barely breathing
flowers/continue/endure

hang tough, low by lakes of conspiracy
and hate/ block eyes/ shed those ill states

I carry this entity/essence/life gentely
in my arms like a ancestor. mother .
press its head against my skin and give it everything
in my blood filled hands, sinful/blessed/ tiered creatures
I feel beautiful in these worlds.

eyes closed in sleep, palms spread forth
oceans cleansing, I feel like an infant
stomach twists and hearts bat burnt wings
and learn to fly

I radiate.full hearted. eminence spoke to me
through her portal of solid grass and dieing trees
in the outskirts of the vagabond, slowly unraveling
like a child speaking
slowly growing like new love
stricken instantly
I am in
between Cleopatra and Mark
between Orpheus and Eurydice
between Odysseus and Penelope
between Elizabeth Bennett and Darcy
between Salim and Anarkali
I shiver in that love
that breathes in determent
and breathes out fragrance  
  

temperate plasma hooked onto
the grind of my woman I beat like
the robins breast/ trembling in awe
like a living leaf blowing in the winter wind
resisting/giving in/ perishing/ breathing
to the sound of this beautiful life
rebeccalouise Nov 2012
a daunting bolero sends a shiver through a dream
a forlorn melody haunting a hazy delusion
crooning on a whimsical note
and breaking a melancholy tone
an elusive song opens into an abyss
of mambos and rumbas
that thrill like a superfluity of delicious electricity
strumming at our deepest treasures
buried in woebegone memories
seeping into our cellophane heads
and enveloping our entire being
until we heave our way back to reality
and dissolve into a sea of people
who are only twinkles
in the scudded windshields
of a rococo world
Bows N' Arrows Sep 2015
Flushed thoroughly by
The sink, lukewarm
My face a weathered apricot
Pore-scape.
Mirror twisted like a landslide
Hushed glances
I'm bitten by miscellaneous pupils
And iris'
Widen'ed like copulation
Given honeydew twilight hours
Shaken estranged to breath cold and thick like smoke.
Crossing over-incarnated
Begrudgingly.
A longing for Rococo
And VW buses.
judy smith Jan 2017
Two opposing ideologies vie for attention. Dedicated supporters believe fervently in one, single vision. Ultimately, half a century of the old order is upturned. A new era dawns.

We’re talking about the Trump-Clinton stand-off and the UK’s “Brexit” - right?

Wrong! This is about fashion: how the people’s choice up-ended taste, timing and fame - and all of this before politics even began to mirror the same populist trends.

I see fashion’s polarisation as happening around two years ago. On one side was Balmain, where an in-your-face, brash-and-flash couture was heartily disapproved of by the fashion establishment. But the bold and **** style of Creative Director Olivier Rousteingwas adored by his A-list audience, led by Kim Kardashian, who embraced the glitter and glamour.

Let’s see this fashion movement as a precursor to Donald Trump’s up-turning of America’s presidential race, with his lewd comments, **** wife and rabble-rousing. To some, a Kardashian backside might seem as distasteful as a Trump rant. But millions love Kim’s look as much as they gave the thumbs-down to the Hillary Clinton trouser suit.

But something else - even more populist and unsettling - was going on in fashion.

Demna Gvasalia and his brother Guram, whose migration from Georgia in the former Soviet Union eventually led them to Paris, caused a different kind of shake-up: a “non-style” revolution they called “Vetements”, meaning “clothes”. Instead of fashion as we understand it, the defining pieces were resolutely plain: hoodies, puffer coats, and jeans, albeit meticulously worked.

In retrospect, this new brand, which also challenged the timing of shows and the distribution of the collections, can be seen as a fashion mirror-image of a world-wide people’s revolt, from Britain’s Brexit to Italy’s Beppe Grillo, whose day job is on stage as a clown.

The Vetements collective was launched in 2014, before global politics started heaving with change. But now that Demna has been made Creative Director of Balenciaga, whose founder Cristóbal was the epitome of grandeur, the graffiti is on the wall. An haute couture house has been taken over by an agent of street populism.

With people demanding to “see now, buy now” and brands as mighty as Burberry and Tommy Hilfiger responding to their cries, it seems like populism is winning. Not to mention the effect of Instagram, where Rousteing has 4.1 million followers to Trump’s 4.5.

But why be surprised by fashion as the harbinger of history? It has always been so.

In the early 1960s, Mary Quant ramped up her hemlines to start the rise of the “mini-skirt” - right before the contraceptive pill became available to all women. Twenty years on, in the 1980s designers celebrated in advance the shattering of the boardroom’s glass ceiling by swapping Flower Child dresses for mighty padded shoulders on female trouser suits.

Reeling back through history, Marie Antoinette threw off rigid, royal clothes, replaced in 1783 by portraits of her dressed with Rococo sweetness - six years before the French monarchy was overthrown.

Other theories, pooh-poohed by financial experts, have the rise and fall of hemlines linked to the ups and downs of Wall Street.

So is there a traceable link between fashion and politics? In this new millennium, the designers themselves are now bitterly divided. Playing fashion feminist - like Clinton to Trump or “Remain” to “Leave” - are key houses such as Valentino, presenting powerful, cover-up clothes with long sleeves and hemlines.

Significantly, when Maria Grazia Chiuri, one half of the long-term Valentino duo, left for Dior, she brought to that august house a T-shirt printed with the words: “We Should All Be Feminists”.

On the other side are an increasing number of hyper-flashy, sexist brands, such as Victoria’s Secret and its rowdy, revealing lingerie spectaculars or the loud looks of German designer Phillipp Plein and his display of rhinestone-cowboy decorated denim.

Two ideologies and two audiences competing for the triumph of one belief. Sounds familiar? Fashion and politics: it’s all one.Read more at:http://www.marieaustralia.com/formal-dresses-sydney | www.marieaustralia.com/formal-dresses-brisbane

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