We Speak Entertainment

The Unapologetic Truth: Marcus Auraylius’ “Disgusted” Redefines the Game

Published

2 years ago

April 16, 2025

Williams

A Fearless Reflection on Society

Marcus Auraylius and OGxLoop’s latest single, “Disgusted,” is a scathing critique of a culture obsessed with status and materialism. This thought-provoking track pulls back the curtain on the harsh realities of life, death, and the struggle to stay true to oneself in a world that often values superficiality over substance.

A Mirror Held Up to Society

“Disgusted” is a mirror reflecting the darkest corners of our society, forcing listeners to confront the emptiness of a life driven by external validation. With its cold, hypnotic instrumental and unflinching lyrics, this track is a wake-up call to those who are willing to face the truth.

The Voice of a Generation

Marcus Auraylius’ lyrics are a powerful commentary on the state of the world. His words are a call to introspection, challenging listeners to question their values and priorities. With “Disgusted,” Marcus Auraylius cements his position as a voice of a generation.

A New Benchmark for Authenticity

“Disgusted” sets a new standard for authenticity in music. Marcus Auraylius’ unapologetic approach to storytelling is a breath of fresh air in an industry often characterized by superficiality. This single is a testament to his commitment to telling the truth, no matter how hard it may be to hear.

The Impact of “Disgusted”

“Disgusted” is more than just a song – it’s a movement. This track is for the thinkers, the fighters, and those who refuse to be silenced. With its powerful message and unflinching honesty, “Disgusted” is a call to action that will resonate with listeners long after the music fades.

Experience the Power of “Disgusted”

“Disgusted” is out now. Listen to the single and join the conversation about the true cost of fame, the value of authenticity, and the power of self-reflection. Follow Marcus Auraylius on social media to stay updated on his latest music and insights.

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We Speak Arts

Art Basel Paris 2026: A $100 Million Modigliani, Two $10 Million Richters, and a Grand Palais at Full Stretch

Published

1 day ago

October 24, 2026

We Speak Media

Paris in October belongs to art — and this year, the art world showed up determined. The fifth edition of Art Basel Paris opened its public days Friday at the Grand Palais, running October 23–25 under the glass vaults of the great exhibition hall, in the fair’s first edition under new director Karim Crippa.

The scale is serious: 211 galleries from 41 countries and regions — 183 in the main Galeries sector, 16 in Emergence and 12 in Premise — including 64 galleries operating in France and 32 first-time participants. Around the fair, Paris art week hums with satellites including Paris Internationale and Design Miami.Paris, while inside the Grand Palais the fair keeps inventing: the Premise sector moved into a larger Salon Seine space, the Conversations program took over the Grand Palais Auditorium, and Oh La La! — mid-fair booth rehangs art-directed by Philippine Leroy-Beaulieu — rewrote stands on October 23–24. An expanded Public Program carried a first presentation to the Parvis des Droits de l’Homme by Tracey Emin.

And then there is the money. The fair’s biggest ticket hangs at Pace Di Donna Schrader: Modigliani’s 1917 Nu étendu (Lolotte), priced at over $100 million. The sales that have landed are led by Hauser & Wirth, which placed Gerhard Richter’s Rokokotisch (1965) at around $10 million and Georg Baselitz’s Der Hirte (1965) at around $10 million. White Cube sold two Julie Mehretu paintings at $7.85 million each, David Zwirner placed a Richter at $8.5 million, and Pace sold Dubuffet’s La chaise for just over $5 million. The crowd-stopper, meanwhile, is Jeff Koons’ ten-foot bronze Corks (Couple) — the selfie backdrop of the fair.

The context made the turnout its own headline: the fair opened days after a weekend of unrest across France, with barriers and dog patrols around the Grand Palais. Some collectors stayed home — but a great many came anyway, and the Grand Palais at full stretch suggests Paris’s grip on the art calendar is only tightening. Public days run through Sunday, October 25, 11 a.m. to 7 p.m.