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You're now locked into Episode 97 of the Still Changing Podcast featuring Dayor!

Hi, i'm Russell Brand. No, get out. I'm sorry,I— ? Get out, get out! Are we trading kings for whistle! Sacred things and torturers? Lill bitz I started talking to this guy from tinder Then I quickly realized he only texted me at like 3 in the morning, like “come over” So I started texting him really weird shit— Like really weird. Like, I would make sure before I sent it, I would re-read it and be like “Ya, that's weird.” “That's really weird.” Every time, just read it to myself and be like “Ya that's giving “you're psycho” Right off the bat. Kate Winslet is so good at late night. She talks mad slow and answers every open ended question with a paragraph of thoughtless nonsense— finally, at the end of the paragraph, she answers the question in yes or no fashion; in this sense, you've completely forgotten the question through redirection. This has taken nearly five minutes. Genius. Amidst a story, she begins to slowly decrechendo until she's murmuring in a near whisper so you really have to try to pay attention to what she's saying, which is almost nothing. So considerably nothing, that you lose thought in trying to grasp and accept the words— this is excellent banter, because of course, she isn't really saying anything. This has taken another five minutes. Captivating. INT. DENTISTS OFFICE. DAY. Who is Claude Von Wastvermaan? KIMMEL Doctor Claude Von Wastverman. Okay. Who is that? KIMMEL It's me. I'm Claude Von Wastverman. Dr.— KIMMEL Yeah. It's me. KIMMEL Why are you— what? KIMMEL This is my office. …why? Because— I use specific research and target demographics to seek out people who have no interest in whatsoever watching my show and do not recognize me in any way actively seeking a dental practitioner— Why? KIMMEL Because! My audience loves me. They want to see me— they have to like me! So? KIMMEL These people don't know who I am. They don't want to see me—and there's a good chance, they won't like me at all. …this is how you spend your free time? KIMMEL —and some of my vacation days! Jesus. KIMMEL Yeah. I'm not alright! How much does this office space cost? KIMMEL You wouldn't like it. And—I take very limited insurance. Did you…study dentistry, at all, at any point? KIMMEL Not at all— Oh, Jesus. KIMMEL But Claude might have for a short time— online. These degrees look legitimate. KIMMEL He was a really good guy. Wait. What. [a rubber glove snaps] KIMMEL If you'll excuse me, I have an appointment coming in at 2:30. …you're kidding me. KIMMEL I'm not—and she's always early. Get out. Gladly. He opens the door and leads him out of the office, looking startled startled and shaking his head. KIMMEL Good afternoon, Mrs. Evanston. Perhaps I was just looking for something and my brain saw what it wanted to— but it kept coming around in ways that were stranger and stranger, and I couldn't explain the thought of it, like I was connected to something. Jimmy Slithered. But it's okay, Cause I hate to see him prosper. Wait a minute? Did it enter for a second in your head to what had happened? Very obviously is it just exactly as you'd imagined. Wait a moment; Give a little gift for winter's entrance— Suddenly you're hating Christmas, Just infected with this sort of hatred That's been creeping up on them for centuries. Very well, then Skrillex. Very well, played ventriloquist act at the Rock And how hardened are you, the heart of all non immortal and broken? Are you succumbed to never wonder either? Cratered. Disrespect and spills of want, Spools and spills and towers of yarn, You're getting broker every warrant. You're the dark and hadn't opened, Oh to be so charmed and wanted. Jimmy Slitheted, But I caught him creeping in the forest, Well, done, Harper— Now you've got yourself a story Jimmy Slithered, but that's good— I had him at the fortress, And all our audience would want Is fourth wall being broken. So here fals the house of cards! The house of cards The house of cards. And here folds the broken hand— The broken hand. The broken hand. And here calls the shattered wand, The crypted want, The shadowed trumpet horn, there! And there upon the hill, There did I grasp and fall to follow, Though the crown had not the king, The ground was sure to've caught him! And so I clasped with all my might and grip, The humble role of which that is This, Unrolled and uttered: Feast of kings, Be you what may of Prince and time and also my own brotherhood and making, There is, shadowed in my own dear marker, Yet another coming death upon us! How now, my ritual, of that and thy and they and I, To this my mark, And so I sang as this does not a number— My posture does find comfort here and tie my breath to grass from under, Striped and torn my cloth, as does in this my fortune gathers; There my fate and here to all, as wind becomes her mother, And though I call to all, but one I am, And then another. LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. The Genre: "Afro-Surrealism" / "Social Horror" "Psycho-Acoustic Weaponry" or "Havana Syndrome symptoms." The Frame: The protagonist is subjected to "noise harassment"—a tactic dramatized here but rooted in the known reality of tenant displacement and "psychological attrition." The narrative depicts a process of "Soul Murder" ( also known as spiritual warfare) orchestrated by a hostile apparatus. The antagonist is "The Institution," representing deep-state mechanisms that view multicultural intellectualism as a threat. The story allegorically dramatizes the invisible mechanisms that enforce racial hierarchy, depicting how broken social systems weaponize psychological practices against the individual. Artist's Note: This is a living document. In the event of the artist's silence or unnatural death, this text serves as an artistic testament to the psychological siege endured from to 2023-2025. It is a creative record of survival against a hostile state architecture. The following is a creative non-fiction horror manifesto regarding the psychological assassination of a multicultural American artist. It documents—through the lens of Afro-Surrealism—how modern surveillance technology and sonic harassment are experienced by the targeted individual. As it stands It has become a modern sequel which mirrors the civil rights struggles of the 1960s, set in the present day. "The protagonist is being subjected to 'noise harassment'—a known tactic used by landlords and corrupt entities to displace tenants. The sound is weaponized to induce sleep deprivation and psychological attrition, dismantling of their ego and will to live, orchestrated by a hostile state apparatus. The antagonist in this piece is 'The Institution'—a deep state that views multicultural intellectualism as a threat. The story dramatizes over time the invisible mechanisms (the 'Deep State') that enforce racial hierarchy and and psychological genocide, weaponizing broken social systems and unfounded psychological practices as biological weapons. This is a living document. In the event of the artist's silence or unnatural death, this text serves as evidence of the psychological siege endured from 2023-2025. It is a transcript of survival against a hostile state architecture. This project spans an unlimited multiprojectoral arc of over two years of chronic violence, reaching into historical and theatrical projections and parallels over the all documented records of human existence through time and space. REBEL1. I am hypnotized; I am pain I am cryptonite I am in pain I am penalized; I am pinned l I am pinstripes on wide ties; I am Him. Pinterest, pintrest, pinholes And disinterest Centered sentiments And immigrants And ministrations, Images and insolence (And indulgences, patronages) Eclipses and rip titles, Paris Tiptons, And temptation Missing wages Push to shove and What are you doing, motherfucker?! To say the least, I'm a bit unconventional. Unexplainable joy And invisible ties and invincible triads Unimatatable charm, And prehensile times And forefathers before us Unpolished Well dressed hampers on leather and fortunes And doing and donuts and do this and don't-touches Mumbles of soft till and lunches and subtle distraction And coming construction Wages Ions I afford you To die now Like I want He's better at the body code Than old Colbert, He's one for one now Could this corrupt you— I didn't destroy her, I offered a suffix No longer for your number No longer for your hard times No longer for your warrants No longer No longer No four times Don't pan to the audience I'm a hole slow meltdown Don't man your own So wait, am I also telepathic? Yeah, that. Oh my! Is it like a two-way broadcast type— thing? Yeah, that part… Oh no, I'm so sorry. No you're not. You're right. I told you not to go looking into my thoughts. Check it all out, I bought prototypes Check it all out, I undug libraries Check it out, You're all alone at Walmart No longer working part time, The doors are closed and locked now, They're bound to stage a lock out You're better off on hard times You're better off on Lala Land No— Don't deport I want my art back No, don't deport; It's just a cake walk to apartheid, Remember mine now? Cheers to the world's longest monologues. Kudos to your picking up cabbage Remember the back for the wartimes The bagpipes have sounded; You're back to astonish us. No! I must have you a lesson; I'm back with my old will and testament No more Old Testament wanted I bought your sticks in Leviticus And so, Again– CUT TO: WILD PARTY. INT.EXT./WHENEVER HOW SICK IS THIS? NO! NOT THAT! I raised the dead from a half pipe I shoot the crowd out in foreign I can't remember my own Sam But I found one– For a dollar, For a wrong word And a hard song And a larger Go look, Now remember a rock star. Now that you're so stolen, Go back! You're unorthodox! Clear cut: you're a tragic Magic act– Now I'm back with a bag of tricks with my back out Learn your lessons. CUT BACK TO. INT./EXT. YO I'M SAYING A WIIIILD PARTY. WHENEVER YO, WHO DOES THIS?! What a party! I WANT TO GO HOME NOW! —I'M CALLING THE COPS! THIS IS YOUR HOUSE!!! {Enter The Multiverse} …And it's all house music all night. No, to that. Beg your pardon? I won't come. [The Festival Project ™ ] Now articulate your face muscles. My wat. Now you're bar banned. I had this at a festival once. What is it? A “whore salad” … All with a side of oxygen. Now you're in a tunnel. (A tunnel, a scone and a croissant) Now you're worse, warthog, immortal (Call your dad back, You're a bad son.) Now I'm out in the canyon With Chester McBadBat I got chest hair, And a straight out of the badlands Yes, I did mention this to my cousin Evan, But why ask that? So you heard everything I thought? Mmhmm. Hard times. —and everyone else? What is it like to have love man? I been locked out I'm a rock addict, But I'm damned now How's that fountain coming along? SUNNI BLU …it's just water. ARCHITECHT …yeah it's water. It's a fountain. SUNNI BLU —I WANT CHOCOLATE. Whose here? Not that guy! Four more beers? I just realized I never ever bought mine; I always had a tough guy. Box. What? Fight! I'm Eurovision And a hard remix— Ten minutes in and I realize I've already heard this. Oh yea, This Golden band of art, love and protection Perfection. Ohshea, shit! Who invited you? I got a 311 from Questlove!! Is that a beeper?! CUBE Since when are we on a first name basis? It would be weird to call you “ICE CUBE” Why's that? You. know? [the beeper goes off three more times] CUBE oh shit! What?! CUBE Nothin! Where the yard at?! sometimes it doesn't really matter Who the dialogue comes out of The whole point Is to put the art back into art projects Cause we all know it's been constructed And commercialized To the point of destruction And almost no promise For independent artists at all. So who is it with CUBE? Could be me. Could be you. Could be U— If it's not, It was all just a long lost passion project A collective God Complex. Give myself a hug Cause nobody else will God gave my case a Grace Cause somebody lost Will. Oh, Karen. Come, heart attack. Come karma, Come hot dogs Come Christmas time at the Plaza Come on, hard death. Come on. Hard Rock Hotel? Nah, Equinox. Alright. Hudson. Yards. Now you're in a tunnel Does your heart hurt? (You should clutch it.) Put your patchwork in a hard drive This is hard times, You can't come back. O! But they do take dear DRATCH and run with it! I go run along to Corrections, And ginger snaps for crosswords On hard workers So fax the whole document! Do you know what? Horcruxes! Hot lunches, yuck. Hockey! I want off this planet so bad I cross cross my fingers at crosswalks And oncoming trains but– Don't look either way before I walk. So pull a shotgun at all that I was one strong donkey before I got one address. Now I just redress the cause All I want is my bundle back. Yuck! Care for it at all? Yeah, yours, but she's a danger to humanity. Yeah, mine but I'm an honest hybrid horrid hunter. On time? I just got it at Sephora. On time, Like I never even got that. I want to be loved just to be looked at But since in this life I can't turn the clock back I've discovered it's hell that my body was born as. — I discovered it's hell that my body was born as. Such a problem when you know That even the great Rosie O'Donnell once wanted blue eyes. Now I forget where I trailed off… What a drawback. I'm all out of patience. Crypto, I tip toe now over eggshells No home for her Hard times And hard times. No code offered, No I don't fall for that'd But where's the snowfall over all the rot out back? Hard times. Hard times. Hard times. As the bell tolls And the well swells whole And the umpire does rack them Up; Nobody works harder than Hard times Hard times Hard times. Yeah, that's four Aces Up, Diamond. Run for your forks and your knives And your daughters and mothers and father And home family comfort And cufflinks and loafers, And sport coats and Your life. Your life. Your life. [The Festival Project ™] —-Chroma111. THE IMPENATRABLE TEN is INEVITABLY DISBANDED. Inevitably??? Inevitably! but not indefinitely. Oh, I guess. Alright. SILENCE. {Enter The Multiverse.} I don't want to be here. No one does. You are sending mixed messages. Imm not sending any messages… — with your brain. L E G E N D S Of course. Electromagnetic signaling Of course. I told you this had gone strange. Severely. Now how do I explain from this time how to get back to our time If there's no direct translation between our language and that one? Maybe you can't explain it. These are hard facts. So I suggest the use of highly trained telepaths. That far back? These things are possibly connected even in this time, theoretically using our past; I might suggest Telesynthesis— considering these planetary electromagnetics to which this entire planet is hardwired. …hardwired. That's right. Ascension. Hard times. Madame President? Get lost. [Secret President] I get it. You're a whistleblower. I'm not that. A shadow government official. Also wrong. Why else would you run for office? I'm trying to get shot at. They told me you were funny. But they didn't say anything about my gauntlet? Your—what? You know. My conquests—professional accomplishments? Your God complex? I know all about that. Perhaps it's not a complex. But a ‘gauntlet'? You're a journalist aren't you? I'm giving you some high art concepts. (Because for the sake of the rhyme, And please, for God's sakes, Gemini, In prose form Without the use of tables. ) I R O N I C —Deathwish. [The Festival Project ™] Season 12, Episode 01. REBEL1. Prod. By Blū Tha Gürū I would think it psychosomatic, but in less than 24 hours of restarting my vitamin regimen, my mood was so improved that I could not for a second overlook that without taking vitamins, I was missing something. Even if my newly concocted super-juice recipes were putting a curb in my abdominal muscles that even I was sure didn't entirely belong there, pairing this development with the Peloton, it was a long and diagonal, out-of-sorts thing that stuck out as if it was on somebody else's body and not mine. Still, I had to deal with the heavy weight of the drooping skin and belly that hung as if it very much did belong to me but wasn't budging, despite my attempts at a flat stomach and having been so well overstretched at one point by medical obesity and double occupancy that it was, at the very least to say, insurgically impossible. However, my brain went on having ways of wrapping my mind around this—that the rest of my body was quite slim, and even on some days seeming petite, were it not for my massive thighs, which also seemed to have sported a curve to them which was almost attractive, especially well-dressed. But the fun of it was, I wasn't exceptionally well-dressed, because I hadn't wanted to be. In fact, I was under obligation always to be about in the men's clothes I'd found because they were designer, and it was even something like a fashion statement that I dressed this grotesquely and in overlarge articles because of the astounding amount of weight I'd lost and the strange way my body seemed to be taking an athletic shape. Still, there was this factor that I was actually always somehow in an excruciating amount of pain, especially waking up, and though some of that I would have applied to being psychosomatic—in just that it was the pure stress of the disembodied torture I was undergoing in one way or another—whether anybody would have admitted it or not, or whether or not the unknown parties in question were going to be justified for it, I still hadn't an idea or thought as to what my unstructured purpose was. And though I sat beautifully controlled into doing music as a default, I was looking at the numbers, and the massive amount of people doing remarkably well because they could afford to do so, or were lucky, or were unbearably beautiful and so could do anything they wanted, and I too much so was not that. In fact, it was almost by design my failure and my constant struggle that even the universe seemed to look down upon me in such a way that it pitied me in a harrowing attempt at karmic justice done for the seeming evil and harsh things being done. It was true that someone had set out to torture me, and this might have once been the way of the illuminated artist and tortured soul; however, having taken so metaphorically into my own boat such heavy water of grief and loss, and drowning, I was sinking into the natural ocean of monstrous storms my body was saying in so many ways it could do no more. My mind was strong—and I could take the torture for innumerable amounts of time without becoming so much more frustrated than to just stop, or start heavy breathing, or even compulsively masturbate until one world faded deeply into another and I just didn't care. But realistically, the things that were being done pointed at a strategic and tactical, military-trained psychological governing of my own autonomy. And because I knew this, I also knew whoever was responsible was more than capable of covering their tracks to the point of disappearance—an inescapable hell of unseen trauma. The basis of it was that if I raised my concerns with any law enforcement or police, I was just as often ignored, ridiculed, or worse—thought of as symptomatic of some psychological condition I well knew and understood I did not have, all because what I did seem to possess—this undying force of color and creative ingenuity that could not quite be captured or marketed to improve the bankbook of others with a sudden onset—was unacceptable in such a way that I could become some sort of object that was in no way useful besides to experiment and then observe what I might become next, all the while knowing I would not and could not stay in one form or another too long without becoming such an obvious target. —Death of a Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW

EXT. CONCERT. DAY SUNNI BLU converses with CHARLES over a musical break STAGE LEFT of the MAINSTAGE. SUNNI BLU Thems the two prettiest girls right there. CHARLES yeah . ok. SUNNI BLU Grab em up. CHARLES What? SUNNI BLU Snatch em up. CHARLES Do you mean. SUNNI BLU Micheal Jackson style munich on that bitch. CHARLES What—? SUNNI BLU Them bitchez. CHARLES Are you saying—? SUNNI BLU They wont mind. CHARLES Uhhhh… SUNNI BLU I promise. watch . BOUNCER SUNNI's bodyguard BOUNCER crosses to center stage. SUNNI whispers into BOUNCER'S ear and he nods once and smirks; he then walks out into the crowd and picks up the two girls SUNNI aforementioned, tossing each of them over his shoulders, planting them on stage next to SUNNI; they scream and cry hysterically. SUNNI nods and smiles in self admiration and throws BOUNCER and CHARLES a thumbs up; CHARLES shakes his head slowly in disapproval, the GIRLS scream and cry hysterically; SUNNI grins and carries on about the show. CUT IMMEDIATELY TO: SUNNI BLU YO! I got mad lawsuits. MORGAN Plural? SUNNI BLU Like multiple! MORGAN well what were you expecting, sunni? Its 202#--? SUNNI BLU But michael is timeless! MORGAN And youre not michael jackson! SUNNI BLU You're right! I sold more records already than him! MORGAN ugh! PUBLICIST *does* {Enter The Multiverse} Hi, i'm Russell Brand. No, get out. I'm sorry,I— ? Get out, get out! Are we trading kings for whistle! Sacred things and torturers? Lill bitz I started talking to this guy from tinder Then I quickly realized he only texted me at like 3 in the morning, like “come over” So I started texting him really weird shit— Like really weird. Like, I would make sure before I sent it, I would re-read it and be like “Ya, that's weird.” “That's really weird.” Every time, just read it to myself and be like “Ya that's giving “you're psycho” Right off the bat. Kate Winslet is so good at late night. She talks mad slow and answers every open ended question with a paragraph of thoughtless nonsense— finally, at the end of the paragraph, she answers the question in yes or no fashion; in this sense, you've completely forgotten the question through redirection. This has taken nearly five minutes. Genius. Amidst a story, she begins to slowly decrechendo until she's murmuring in a near whisper so you really have to try to pay attention to what she's saying, which is almost nothing. So considerably nothing, that you lose thought in trying to grasp and accept the words— this is excellent banter, because of course, she isn't really saying anything. This has taken another five minutes. Captivating. INT. DENTISTS OFFICE. DAY. Who is Claude Von Wastvermaan? KIMMEL Doctor Claude Von Wastverman. Okay. Who is that? KIMMEL It's me. I'm Claude Von Wastverman. Dr.— KIMMEL Yeah. It's me. KIMMEL Why are you— what? KIMMEL This is my office. …why? Because— I use specific research and target demographics to seek out people who have no interest in whatsoever watching my show and do not recognize me in any way actively seeking a dental practitioner— Why? KIMMEL Because! My audience loves me. They want to see me— they have to like me! So? KIMMEL These people don't know who I am. They don't want to see me—and there's a good chance, they won't like me at all. …this is how you spend your free time? KIMMEL —and some of my vacation days! Jesus. KIMMEL Yeah. I'm not alright! How much does this office space cost? KIMMEL You wouldn't like it. And—I take very limited insurance. Did you…study dentistry, at all, at any point? KIMMEL Not at all— Oh, Jesus. KIMMEL But Claude might have for a short time— online. These degrees look legitimate. KIMMEL He was a really good guy. Wait. What. [a rubber glove snaps] KIMMEL If you'll excuse me, I have an appointment coming in at 2:30. …you're kidding me. KIMMEL I'm not—and she's always early. Get out. Gladly. He opens the door and leads him out of the office, looking startled startled and shaking his head. KIMMEL Good afternoon, Mrs. Evanston. Perhaps I was just looking for something and my brain saw what it wanted to— but it kept coming around in ways that were stranger and stranger, and I couldn't explain the thought of it, like I was connected to something. Jimmy Slithered. But it's okay, Cause I hate to see him prosper. Wait a minute? Did it enter for a second in your head to what had happened? Very obviously is it just exactly as you'd imagined. Wait a moment; Give a little gift for winter's entrance— Suddenly you're hating Christmas, Just infected with this sort of hatred That's been creeping up on them for centuries. Very well, then Skrillex. Very well, played ventriloquist act at the Rock And how hardened are you, the heart of all non immortal and broken? Are you succumbed to never wonder either? Cratered. Disrespect and spills of want, Spools and spills and towers of yarn, You're getting broker every warrant. You're the dark and hadn't opened, Oh to be so charmed and wanted. Jimmy Slitheted, But I caught him creeping in the forest, Well, done, Harper— Now you've got yourself a story Jimmy Slithered, but that's good— I had him at the fortress, And all our audience would want Is fourth wall being broken. So here fals the house of cards! The house of cards The house of cards. And here folds the broken hand— The broken hand. The broken hand. And here calls the shattered wand, The crypted want, The shadowed trumpet horn, there! And there upon the hill, There did I grasp and fall to follow, Though the crown had not the king, The ground was sure to've caught him! And so I clasped with all my might and grip, The humble role of which that is This, Unrolled and uttered: Feast of kings, Be you what may of Prince and time and also my own brotherhood and making, There is, shadowed in my own dear marker, Yet another coming death upon us! How now, my ritual, of that and thy and they and I, To this my mark, And so I sang as this does not a number— My posture does find comfort here and tie my breath to grass from under, Striped and torn my cloth, as does in this my fortune gathers; There my fate and here to all, as wind becomes her mother, And though I call to all, but one I am, And then another. LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. The Genre: "Afro-Surrealism" / "Social Horror" "Psycho-Acoustic Weaponry" or "Havana Syndrome symptoms." The Frame: The protagonist is subjected to "noise harassment"—a tactic dramatized here but rooted in the known reality of tenant displacement and "psychological attrition." The narrative depicts a process of "Soul Murder" ( also known as spiritual warfare) orchestrated by a hostile apparatus. The antagonist is "The Institution," representing deep-state mechanisms that view multicultural intellectualism as a threat. The story allegorically dramatizes the invisible mechanisms that enforce racial hierarchy, depicting how broken social systems weaponize psychological practices against the individual. Artist's Note: This is a living document. In the event of the artist's silence or unnatural death, this text serves as an artistic testament to the psychological siege endured from to 2023-2025. It is a creative record of survival against a hostile state architecture. The following is a creative non-fiction horror manifesto regarding the psychological assassination of a multicultural American artist. It documents—through the lens of Afro-Surrealism—how modern surveillance technology and sonic harassment are experienced by the targeted individual. As it stands It has become a modern sequel which mirrors the civil rights struggles of the 1960s, set in the present day. "The protagonist is being subjected to 'noise harassment'—a known tactic used by landlords and corrupt entities to displace tenants. The sound is weaponized to induce sleep deprivation and psychological attrition, dismantling of their ego and will to live, orchestrated by a hostile state apparatus. The antagonist in this piece is 'The Institution'—a deep state that views multicultural intellectualism as a threat. The story dramatizes over time the invisible mechanisms (the 'Deep State') that enforce racial hierarchy and and psychological genocide, weaponizing broken social systems and unfounded psychological practices as biological weapons. This is a living document. In the event of the artist's silence or unnatural death, this text serves as evidence of the psychological siege endured from 2023-2025. It is a transcript of survival against a hostile state architecture. This project spans an unlimited multiprojectoral arc of over two years of chronic violence, reaching into historical and theatrical projections and parallels over the all documented records of human existence through time and space. REBEL1. I am hypnotized; I am pain I am cryptonite I am in pain I am penalized; I am pinned l I am pinstripes on wide ties; I am Him. Pinterest, pintrest, pinholes And disinterest Centered sentiments And immigrants And ministrations, Images and insolence (And indulgences, patronages) Eclipses and rip titles, Paris Tiptons, And temptation Missing wages Push to shove and What are you doing, motherfucker?! To say the least, I'm a bit unconventional. Unexplainable joy And invisible ties and invincible triads Unimatatable charm, And prehensile times And forefathers before us Unpolished Well dressed hampers on leather and fortunes And doing and donuts and do this and don't-touches Mumbles of soft till and lunches and subtle distraction And coming construction Wages Ions I afford you To die now Like I want He's better at the body code Than old Colbert, He's one for one now Could this corrupt you— I didn't destroy her, I offered a suffix No longer for your number No longer for your hard times No longer for your warrants No longer No longer No four times Don't pan to the audience I'm a hole slow meltdown Don't man your own So wait, am I also telepathic? Yeah, that. Oh my! Is it like a two-way broadcast type— thing? Yeah, that part… Oh no, I'm so sorry. No you're not. You're right. I told you not to go looking into my thoughts. Check it all out, I bought prototypes Check it all out, I undug libraries Check it out, You're all alone at Walmart No longer working part time, The doors are closed and locked now, They're bound to stage a lock out You're better off on hard times You're better off on Lala Land No— Don't deport I want my art back No, don't deport; It's just a cake walk to apartheid, Remember mine now? Cheers to the world's longest monologues. Kudos to your picking up cabbage Remember the back for the wartimes The bagpipes have sounded; You're back to astonish us. No! I must have you a lesson; I'm back with my old will and testament No more Old Testament wanted I bought your sticks in Leviticus And so, Again– CUT TO: WILD PARTY. INT.EXT./WHENEVER HOW SICK IS THIS? NO! NOT THAT! I raised the dead from a half pipe I shoot the crowd out in foreign I can't remember my own Sam But I found one– For a dollar, For a wrong word And a hard song And a larger Go look, Now remember a rock star. Now that you're so stolen, Go back! You're unorthodox! Clear cut: you're a tragic Magic act– Now I'm back with a bag of tricks with my back out Learn your lessons. CUT BACK TO. INT./EXT. YO I'M SAYING A WIIIILD PARTY. WHENEVER YO, WHO DOES THIS?! What a party! I WANT TO GO HOME NOW! —I'M CALLING THE COPS! THIS IS YOUR HOUSE!!! {Enter The Multiverse} …And it's all house music all night. No, to that. Beg your pardon? I won't come. [The Festival Project ™ ] Now articulate your face muscles. My wat. Now you're bar banned. I had this at a festival once. What is it? A “whore salad” … All with a side of oxygen. Now you're in a tunnel. (A tunnel, a scone and a croissant) Now you're worse, warthog, immortal (Call your dad back, You're a bad son.) Now I'm out in the canyon With Chester McBadBat I got chest hair, And a straight out of the badlands Yes, I did mention this to my cousin Evan, But why ask that? So you heard everything I thought? Mmhmm. Hard times. —and everyone else? What is it like to have love man? I been locked out I'm a rock addict, But I'm damned now How's that fountain coming along? SUNNI BLU …it's just water. ARCHITECHT …yeah it's water. It's a fountain. SUNNI BLU —I WANT CHOCOLATE. Whose here? Not that guy! Four more beers? I just realized I never ever bought mine; I always had a tough guy. Box. What? Fight! I'm Eurovision And a hard remix— Ten minutes in and I realize I've already heard this. Oh yea, This Golden band of art, love and protection Perfection. Ohshea, shit! Who invited you? I got a 311 from Questlove!! Is that a beeper?! CUBE Since when are we on a first name basis? It would be weird to call you “ICE CUBE” Why's that? You. know? [the beeper goes off three more times] CUBE oh shit! What?! CUBE Nothin! Where the yard at?! sometimes it doesn't really matter Who the dialogue comes out of The whole point Is to put the art back into art projects Cause we all know it's been constructed And commercialized To the point of destruction And almost no promise For independent artists at all. So who is it with CUBE? Could be me. Could be you. Could be U— If it's not, It was all just a long lost passion project A collective God Complex. Give myself a hug Cause nobody else will God gave my case a Grace Cause somebody lost Will. Oh, Karen. Come, heart attack. Come karma, Come hot dogs Come Christmas time at the Plaza Come on, hard death. Come on. Hard Rock Hotel? Nah, Equinox. Alright. Hudson. Yards. Now you're in a tunnel Does your heart hurt? (You should clutch it.) Put your patchwork in a hard drive This is hard times, You can't come back. O! But they do take dear DRATCH and run with it! I go run along to Corrections, And ginger snaps for crosswords On hard workers So fax the whole document! Do you know what? Horcruxes! Hot lunches, yuck. Hockey! I want off this planet so bad I cross cross my fingers at crosswalks And oncoming trains but– Don't look either way before I walk. So pull a shotgun at all that I was one strong donkey before I got one address. Now I just redress the cause All I want is my bundle back. Yuck! Care for it at all? Yeah, yours, but she's a danger to humanity. Yeah, mine but I'm an honest hybrid horrid hunter. On time? I just got it at Sephora. On time, Like I never even got that. I want to be loved just to be looked at But since in this life I can't turn the clock back I've discovered it's hell that my body was born as. — I discovered it's hell that my body was born as. Such a problem when you know That even the great Rosie O'Donnell once wanted blue eyes. Now I forget where I trailed off… What a drawback. I'm all out of patience. Crypto, I tip toe now over eggshells No home for her Hard times And hard times. No code offered, No I don't fall for that'd But where's the snowfall over all the rot out back? Hard times. Hard times. Hard times. As the bell tolls And the well swells whole And the umpire does rack them Up; Nobody works harder than Hard times Hard times Hard times. Yeah, that's four Aces Up, Diamond. Run for your forks and your knives And your daughters and mothers and father And home family comfort And cufflinks and loafers, And sport coats and Your life. Your life. Your life. [The Festival Project ™] —-Chroma111. THE IMPENATRABLE TEN is INEVITABLY DISBANDED. Inevitably??? Inevitably! but not indefinitely. Oh, I guess. Alright. SILENCE. {Enter The Multiverse.} I don't want to be here. No one does. You are sending mixed messages. Imm not sending any messages… — with your brain. L E G E N D S Of course. Electromagnetic signaling Of course. I told you this had gone strange. Severely. Now how do I explain from this time how to get back to our time If there's no direct translation between our language and that one? Maybe you can't explain it. These are hard facts. So I suggest the use of highly trained telepaths. That far back? These things are possibly connected even in this time, theoretically using our past; I might suggest Telesynthesis— considering these planetary electromagnetics to which this entire planet is hardwired. …hardwired. That's right. Ascension. Hard times. Madame President? Get lost. [Secret President] I get it. You're a whistleblower. I'm not that. A shadow government official. Also wrong. Why else would you run for office? I'm trying to get shot at. They told me you were funny. But they didn't say anything about my gauntlet? Your—what? You know. My conquests—professional accomplishments? Your God complex? I know all about that. Perhaps it's not a complex. But a ‘gauntlet'? You're a journalist aren't you? I'm giving you some high art concepts. (Because for the sake of the rhyme, And please, for God's sakes, Gemini, In prose form Without the use of tables. ) I R O N I C —Deathwish. [The Festival Project ™] Season 12, Episode 01. REBEL1. Prod. By Blū Tha Gürū I would think it psychosomatic, but in less than 24 hours of restarting my vitamin regimen, my mood was so improved that I could not for a second overlook that without taking vitamins, I was missing something. Even if my newly concocted super-juice recipes were putting a curb in my abdominal muscles that even I was sure didn't entirely belong there, pairing this development with the Peloton, it was a long and diagonal, out-of-sorts thing that stuck out as if it was on somebody else's body and not mine. Still, I had to deal with the heavy weight of the drooping skin and belly that hung as if it very much did belong to me but wasn't budging, despite my attempts at a flat stomach and having been so well overstretched at one point by medical obesity and double occupancy that it was, at the very least to say, insurgically impossible. However, my brain went on having ways of wrapping my mind around this—that the rest of my body was quite slim, and even on some days seeming petite, were it not for my massive thighs, which also seemed to have sported a curve to them which was almost attractive, especially well-dressed. But the fun of it was, I wasn't exceptionally well-dressed, because I hadn't wanted to be. In fact, I was under obligation always to be about in the men's clothes I'd found because they were designer, and it was even something like a fashion statement that I dressed this grotesquely and in overlarge articles because of the astounding amount of weight I'd lost and the strange way my body seemed to be taking an athletic shape. Still, there was this factor that I was actually always somehow in an excruciating amount of pain, especially waking up, and though some of that I would have applied to being psychosomatic—in just that it was the pure stress of the disembodied torture I was undergoing in one way or another—whether anybody would have admitted it or not, or whether or not the unknown parties in question were going to be justified for it, I still hadn't an idea or thought as to what my unstructured purpose was. And though I sat beautifully controlled into doing music as a default, I was looking at the numbers, and the massive amount of people doing remarkably well because they could afford to do so, or were lucky, or were unbearably beautiful and so could do anything they wanted, and I too much so was not that. In fact, it was almost by design my failure and my constant struggle that even the universe seemed to look down upon me in such a way that it pitied me in a harrowing attempt at karmic justice done for the seeming evil and harsh things being done. It was true that someone had set out to torture me, and this might have once been the way of the illuminated artist and tortured soul; however, having taken so metaphorically into my own boat such heavy water of grief and loss, and drowning, I was sinking into the natural ocean of monstrous storms my body was saying in so many ways it could do no more. My mind was strong—and I could take the torture for innumerable amounts of time without becoming so much more frustrated than to just stop, or start heavy breathing, or even compulsively masturbate until one world faded deeply into another and I just didn't care. But realistically, the things that were being done pointed at a strategic and tactical, military-trained psychological governing of my own autonomy. And because I knew this, I also knew whoever was responsible was more than capable of covering their tracks to the point of disappearance—an inescapable hell of unseen trauma. The basis of it was that if I raised my concerns with any law enforcement or police, I was just as often ignored, ridiculed, or worse—thought of as symptomatic of some psychological condition I well knew and understood I did not have, all because what I did seem to possess—this undying force of color and creative ingenuity that could not quite be captured or marketed to improve the bankbook of others with a sudden onset—was unacceptable in such a way that I could become some sort of object that was in no way useful besides to experiment and then observe what I might become next, all the while knowing I would not and could not stay in one form or another too long without becoming such an obvious target. —Death of a Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW

Get a FREE Posing eBook from The Portrait System here: https://the-portrait-system.lpages.co/podcast-pose-funnel/To end the year off on a strong note, we are re-releasing a very special episode of The Portrait System Podcast! Host, photographer and educator Nikki Closser interviews Stephanie Ewens who tells us all about her amazing inspiring story. Stephanie went from being a shoot and burn photographer with a $300 sales average to a full time working photographer with a $3500 average. Don't miss out on this episode and don't forget to subscribe for more inspirational stories!PODCAST LISTENER SPECIAL!! If you want to get started with the Portrait System, get a special discount using code “POD7” to get one month access for just $7 here https://theportraitsystem.com/pricing/IG https://www.instagram.com/theportraitsystem/YouTube https://www.youtube.com/c/theportraitsystemSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We would love to pray for you! Please send us your requests here. --------This Christmas, you can shine the light of Christ into places of darkness and pain with a purchase from the Joni and Friends Christmas catalog. You are sending hope and practical care to people with disabilities, all in the name of Jesus! Thank you for listening! Your support of Joni and Friends helps make this show possible. Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Become part of the global movement today at www.joniandfriends.org. Find more encouragement on Instagram, TikTok, Facebook, and YouTube.

Klypso is a Grammy nominated artist who currently has "Stray Cat" on stream.Klypsohttps://link.me/klypsoE-Zonehttp://flavorsbyezone.comXGhttp://fullytoxic.comChicletshttps://www.instagram.com/chiclets_los.angeles/

Discover all of the podcasts in our network, search for specific episodes, get the Optimal Living Daily workbook, and learn more at: OLDPodcast.com. Episode 1878: Marc Chernoff reveals the subtle but destructive habits that sabotage our creative potential, from perfectionism to fear of judgment. By identifying and overcoming these mental roadblocks, we can unlock deeper self-expression, stronger ideas, and a more fulfilling creative process. Read along with the original article(s) here: https://www.marcandangel.com/2011/11/27/7-deadly-sins-of-creativity/ Quotes to ponder: "Creativity is not about perfection. It's about exploration and growth." "You can't possibly know what will work beforehand. You have to create your art to find out." "Procrastination is the enemy of success and creative progress." Episode references: The Artist's Way: https://juliacameronlive.com/the-artists-way/ The War of Art: https://www.amazon.com/War-Art-Steven-Pressfield/dp/1936891026  

Hello Beautiful!This episode of Black Girl Creative Podcast is for my fellow artists who don't feel like creating anything right now. This episode is for artists and creatives that are too tired, too grievous, too heavy, too burned out, too sad, too overwhelmed to create anything.It's okay if you don't create anything right now.It's okay to be tired. It's okay to rest.Rest is essential to creativity and rest CREATES.Every season ain't for creating and doing.Let's talk about seasonal living and creating, honoring our boundaries, resting and working through “creative blocks”.As Autumn makes way for winter, slow living does well for us slower, feeling artists. Trust your creative timing and rhythms. Inspiration will come around again.It is safe to rest. It is good to rest. It is necessary to rest. You are a human being, not a machine. You are safe, here. Rest.You are loved. You are sacred. You are EVERYTHING good.much love and joy,Alecia

Artist, writer and thinker Gael Hillyard joins me to talk about her creative life, from painting, writing and photography, to the deep-winter months she spent as artist-in-residence on Fair Isle, to the ten silent days she lived inside a retreat with no conversation at all. We explore how her work has been shaped by a childhood spent in a Victorian atelier, the two studios she now keeps in the Highlands, and the weather-beaten coastlines she keeps returning to as both muse and anchor. And in the mailbag this week, Spike Boydell, our man from the canoe down under, has been thinking about slowing down, and I mean really slowing down. Comedy-writer-in-chief Hegaard the Dane sends word about solitude and the small matter of spending a night or three in jail! John Kenny writes about trees and the Sycamore Gap, which has an unexpected local relevance for me this weekend, and Bill Frische has been photographing a 'monster'. I'll also share a little more about the craft of photogravure that we'll be exploring on the new Scottish retreat in June. There's a reminder of this month's assignment, the last one of the year, before we shift our focus to THE ONE in December. Links to all guests and features will be on the show page, my sincere thanks to our Extra Milers, without whom we wouldn't be walking each week and Arthelper.ai, giving photographers smart tools to plan, promote, and manage your creative projects more easily. WHY: A Sketchbook of Life is available here.

Ms. Adventure's away from the treehouse again, but not without leaving some very capable kids in charge and a story ready to share. When Squeak the dolphin's big splash ruins a visitor's painting, his mother Echo surprises her trainer by picking up the brush and creating her very first artwork. Tanya, Echo's trainer, believes Echo has a gift and sets out to help her talent be seen. Will her efforts work?  Will anyone appreciate Echo's new trick?  This splashy story reminds us that those who follow Jesus are God's masterpiece, and we are valuable because we are lovingly created by the Master Artist.Learn more about Ms. Adventure's Treehouse by joining our ⁠⁠Facebook⁠⁠ or Instagram communities or connect with Charity at ⁠⁠msadventurestreehouse@gmail.com⁠⁠.

Dr. David J. Gunkel, Distinguished Research Professor, Distinguished Teaching Professor, Chair – Department of Communication, Northern Illinois University, joins John Williams to talk about AI generated music, what the AI landscape in the arts is like right now, how human artists are using AI in their music, the ethical problems that come with AI, who […]

Mayor elect Zohran Mamdani met with President Trump at the White House, where both described common ground on affordability and public safety. Meanwhile, New Jersey has set dates for the special election to fill governor elect Mikie Sherrill's vacant House seat. Also, Penn Station's future is back in the spotlight as federal planners court private sector support. Plus, we hear from the artist behind Mamdani's signature campaign font.

00:05:00 Grizzlies get the win against the KingsHIGHLIGHTS00:24:00 Lang Whitaker00:51:00 Memphis loses to Purdue00:53:00 RAGGOWUSC OregonOklahoma MissouriChiefs ColtsBengals PatriotsOklahoma v. MizzouDelaware State v. South Carolina StateCowboys v. EaglesVikings v. Packers01:16:00 Music Friday'Wicked: For Good' excitementTyler the Creator Named Apple Music's Artist of the YearNew De La Soul AlbumNew Summer Walker Album

Dr. David J. Gunkel, Distinguished Research Professor, Distinguished Teaching Professor, Chair – Department of Communication, Northern Illinois University, joins John Williams to talk about AI generated music, what the AI landscape in the arts is like right now, how human artists are using AI in their music, the ethical problems that come with AI, who […]

For the artist or creative who's too tired to create anything... it's okay. You're allowed to not create. This episode of Black Girl Creative Podcast is for my fellow artists who don't feel like creating anything right now. This episode is for artists and creatives that are too tired to create anything right now. It's okay if you don't create anything right now. It's okay to be tired. It's okay to rest. Rest is essential to creativity and rest CREATES. Every season isn't for creating and doing. Let's talk about seasonal living, honoring our boundaries, resting and working through "creative blocks". As Autumn makes way for winter, slow living does well for us slower, feeling artists. Trust your creative timing and rhythms. Inspiration will come around again.It is safe to rest. It is good to rest. It is necessary to rest. You are a human being, not a machine. You are safe, here. Rest.You are loved. You are sacred. You are EVERYTHING good.

Responda estas perguntas e leve seu português para o próximo nível. Olavo conversa com estudantes de português de todas as partes do mundo usando cards com excelentes perguntas para provocar o desenvolvimento da fala.Nossa metodologia para quem quer falar um português de alto nível:Teste 2 dias grátis

Fun fact: in ancient Egypt women would urinate on barley/wheat seeds to test for pregnancy. It was said you could even determine if the baby was a girl or a boy depending on what grew.Did you know this when your wife thrust the suspiciously damp plant your way, or are you just a little weird?- - -ANNOUNCEMENT! I have a new tier on Patreon for all photosets going forward. I'll no longer be doing photosets, which means more creative freedom and, in the long run, more audios in general! Plus, the new tier is priced lower- if you were unsure about joining, now's the time!Full spicy version of this audio will be uploaded to my Patreon tonight. Join now for access to this and all past audios:https://www.patreon.com/charleymooasmr- - -Artist credit: octosimpin on TumblrMain ASMR YouTube Channel @charleymooasmr All other links: ⁠https://linktr.ee/charleymoo⁠(please copy/paste linktree if direct is not working! The link DOES work!)Business email (serious inquiries only please!): charleymoobiz@hotmail.com

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Memories of Home is an ambient and chill music podcast. Please check out this relaxing music podcast. Let your mind drift off to times gone by. Artist names and song titles are in order of play... SAETA-URBAN SPIRIT, KAZUKII-SECOND GUESS, ENKALINAN-PRETEND, LINEAR CURB-TAKE ME THERE, LINEAR CURB-SOBER REMINDER, ANDY LEECH-EVENFALL, FORDWICH-SOFT SIN, TUNE D-LIGHT OF THE WORLD, TUNE D-LORD I TRY, VNICE-UNTITLED, FORDWICH-LIGHTHEADED, KENN DUST-STILL EMBER, ONYCS-HORIZON, MARION-ONLY RAIN, DAUMAT-DREAMS, PAMEX-FALLING, PLEUM-ECHOES, ANYZE-POWER. End. Thanks for listening to Ken Steele Music.

lay No Games is a pop culture podcast that delivers genuine conversations, humor,& Reflection. _____________________________

Dr. David J. Gunkel, Distinguished Research Professor, Distinguished Teaching Professor, Chair – Department of Communication, Northern Illinois University, joins John Williams to talk about AI generated music, what the AI landscape in the arts is like right now, how human artists are using AI in their music, the ethical problems that come with AI, who […]

This 28-day Advent devotional weaves together Scripture, reflection, prayer, and Neilson's signature angel artwork to help readers experience the true meaning of Christmas. With weekly themes of hope, love, joy, and peace, Neilson invites readers to slow down and prepare their hearts for the birth of Jesus—especially in a season often filled with pressure, comparison, and exhaustion.Through honest storytelling, she reflects on the tension many women feel: the desire to create meaningful traditions while feeling overwhelmed, underprepared, or spiritually dry. Christmas Angels becomes a gentle guide—a reminder that Jesus is the real gift, and He meets us in our mess, our weariness, and our longing. Neilson's angel paintings—already beloved—add a layer of sacred beauty and wonder to the experience. Readers will also explore Old Testament prophecies, the nativity narratives, and heartfelt prayers that encourage a deeper connection with God during the holiday season.Anne Neilson is well known for her ethereal Angel Series, which are inspiring reflections of her faith and recognized for their stunning use of color. In response to demand for more access to her acclaimed Angel paintings, Neilson published two coffee table books and launched Anne Neilson Home, a growing collection of luxury home products. Neilson also owns Anne Neilson Fine Art, a gallery located in Charlotte, North Carolina. Representing more than 50 talented artists from across the world, the gallery is dedicated to being a lighthouse in Charlotte and beyond, illuminating the work of emerging and established artists. As a wife, mother of four, artist, author, and philanthropist, Anne paints and creates with passion and purpose, always giving back to others by contributing to local and national charitable organizations.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

In the twilight of the Gilded Age, murder strikes the estate of an eccentric and failing tycoon. As he hosts the era's biggest celebrities including Thomas Edison, Edgar Degas and Evelyn Nesbit, lies, mystery and ambition collide as the truth is shockingly revealed.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

You can start late as long as you start! Nidoran here, Nidoran there, Nidoran everywhere! They're Nidorunnin' all over the place! Join us every other Friday for another exhilarating episode of Late Starters! The Late Starters have launched a Patreon to help with the journey in front of them! If you would like to be a supporter head here to help out! Catch ya later! Get merch, subscribe to Youtube and follow us on twitter to stay up to date with every thing Late Starters! You can find everything we do at linktr.ee/LateStarters! #pokemon #ttrpg #roleplay #improv  Cast GM - Austin (@SeezyDrop) Calynn - Alex (@Alexandbirds) Ford - Tim (@Remobware) Victor - Kaycie (@Kayciedoom) Pokedex - Jenna (@JennaChil) Music Some of the music used in this production belongs to ©2022 Pokémon. ©1995-2022 Nintendo/Creatures Inc./GAME FREAK inc. The following music was used for this media project: Embrace The Wind by WinnieTheMoog Free download: https://filmmusic.io/song/6685-embrace-the-wind  License (CC BY 4.0): https://filmmusic.io/standard-license   Artist website: https://linktr.ee/taigasoundprod  Open Those Bright Eyes by Kevin MacLeod Free download: https://filmmusic.io/song/4171-open-those-bright-eyes   License (CC BY 4.0): https://filmmusic.io/standard-license   Artist website: https://incompetech.com  Scheming Weasel [Metal Version] (feat. Kevin MacLeod) by Alexander Nakarada  Free download: https://filmmusic.io/song/8163-scheming-weasel-metal-version-feat-kevin-macleod   License (CC BY 4.0): https://filmmusic.io/standard-license  Arcane Anthems Patreon Ivan Duch and Pokemon Sound Effects record scratch.wav by luffy -- https://freesound.org/s/3536/ -- License: Attribution 4.0 Cracking egg.wav by JarredGibb -- https://freesound.org/s/244877/ -- License: Creative Commons 0 Crackly Egg Membrane Hatching Foley by MuteLoops -- https://freesound.org/s/525014/ -- License: Creative Commons 0 ufo_atmosphere.wav by Erratic -- https://freesound.org/s/235/ -- License: Creative Commons 0 Laser Gun 02 by mrspivey -- https://freesound.org/s/805194/ -- License: Creative Commons 0

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LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. The Frame: The protagonist is subjected to "noise harassment"—a tactic dramatized here but rooted in the known reality of tenant displacement and "psychological attrition." The narrative depicts a process of "Soul Murder" ( also known as spiritual warfare or sociopolitical targeting) orchestrated by a hostile apparatus. The antagonist is "The Institution," representing deep-state mechanisms that view multicultural intellectualism as a threat. The story allegorically dramatizes the invisible mechanisms that enforce racial hierarchy, depicting how broken social systems weaponize psychological practices against the individual. Artist's Note: This is a living document. In the event of the artist's silence or unnatural death, this text serves as an artistic testament to the psychological siege endured from to 2023-2025. It is a creative record of survival against a hostile state architecture. The following is a creative non-fiction horror manifesto regarding the psychological assassination of a multicultural American artist. It documents—through the lens of Afro-Surrealism—how modern surveillance technology and sonic harassment are experienced by a targeted individual. As it stands, It has become a modern sequel which adequately and astonishingly mirrors the civil rights struggles of the 1960s, set in the present day. "The protagonist is being subjected to 'noise harassment'—a known tactic used by landlords and corrupt entities to displace tenants for financial and political gain. The sound is weaponized to induce sleep deprivation and psychological attrition, dismantling of their ego and will to live, orchestrated by a hostile state apparatus. The story dramatizes over time the invisible mechanisms (the 'Deep State') that enforce racial hierarchy and and psychological genocide, weaponizing broken social systems and unfounded psychological practices as biological weapons. This is a living document. In the event of the artist's silence or unnatural death, this text serves as evidence of the psychological siege endured from 2023-2025. It is a transcript of survival against a hostile state architecture. This project spans an unlimited multiprojectoral arc of over two years of chronic tactical violence, reaching into historical and theatrical projections and parallels over the all documented records of human existence through time and space. REBEL1. I am hypnotized; I am pain I am cryptonite I am in pain I am penalized; I am pinned l I am pinstripes on wide ties; I am Him. Pinterest, pintrest, pinholes And disinterest Centered sentiments And immigrants And ministrations, Images and insolence (And indulgences, patronages) Eclipses and rip titles, Paris Tiptons, And temptation Missing wages Push to shove and What are you doing, motherfucker?! To say the least, I'm a bit unconventional. Unexplainable joy And invisible ties and invincible triads Unimatatable charm, And prehensile times And forefathers before us Unpolished Well dressed hampers on leather and fortunes And doing and donuts and do this and don't-touches Mumbles of soft till and lunches and subtle distraction And coming construction Wages Ions I afford you To die now Like I want He's better at the body code Than old Colbert, He's one for one now Could this corrupt you— I didn't destroy her, I offered a suffix No longer for your number No longer for your hard times No longer for your warrants No longer No longer No four times Don't pan to the audience I'm a hole slow meltdown Don't man your own So wait, am I also telepathic? Yeah, that. Oh my! Is it like a two-way broadcast type— thing? Yeah, that part… Oh no, I'm so sorry. No you're not. You're right. I told you not to go looking into my thoughts. Check it all out, I bought prototypes Check it all out, I undug libraries Check it out, You're all alone at Walmart No longer working part time, The doors are closed and locked now, They're bound to stage a lock out You're better off on hard times You're better off on Lala Land No— Don't deport I want my art back No, don't deport; It's just a cake walk to apartheid, Remember mine now? Cheers to the world's longest monologues. Kudos to your picking up cabbage Remember the back for the wartimes The bagpipes have sounded; You're back to astonish us. No! I must have you a lesson; I'm back with my old will and testament No more Old Testament wanted I bought your sticks in Leviticus And so, Again– CUT TO: WILD PARTY. INT.EXT./WHENEVER HOW SICK IS THIS? NO! NOT THAT! I raised the dead from a half pipe I shoot the crowd out in foreign I can't remember my own Sam But I found one– For a dollar, For a wrong word And a hard song And a larger Go look, Now remember a rock star. Now that you're so stolen, Go back! You're unorthodox! Clear cut: you're a tragic Magic act– Now I'm back with a bag of tricks with my back out Learn your lessons. CUT BACK TO. INT./EXT. YO I'M SAYING A WIIIILD PARTY. WHENEVER YO, WHO DOES THIS?! What a party! I WANT TO GO HOME NOW! —I'M CALLING THE COPS! THIS IS YOUR HOUSE!!! {Enter The Multiverse} …And it's all house music all night. No, to that. Beg your pardon? I won't come. [The Festival Project ™ ] Now articulate your face muscles. My wat. Now you're bar banned. I had this at a festival once. What is it? A “whore salad” … All with a side of oxygen. Now you're in a tunnel. (A tunnel, a scone and a croissant) Now you're worse, warthog, immortal (Call your dad back, You're a bad son.) Now I'm out in the canyon With Chester McBadBat I got chest hair, And a straight out of the badlands Yes, I did mention this to my cousin Evan, But why ask that? So you heard everything I thought? Mmhmm. Hard times. —and everyone else? What is it like to have love man? I been locked out I'm a rock addict, But I'm damned now How's that fountain coming along? SUNNI BLU …it's just water. ARCHITECHT …yeah it's water. It's a fountain. SUNNI BLU —I WANT CHOCOLATE. Whose here? Not that guy! Four more beers? I just realized I never ever bought mine; I always had a tough guy. Box. What? Fight! I'm Eurovision And a hard remix— Ten minutes in and I realize I've already heard this. Oh yea, This Golden band of art, love and protection Perfection. Ohshea, shit! Who invited you? I got a 311 from Questlove!! Is that a beeper?! CUBE Since when are we on a first name basis? It would be weird to call you “ICE CUBE” Why's that? You. know? [the beeper goes off three more times] CUBE oh shit! What?! CUBE Nothin! Where the yard at?! sometimes it doesn't really matter Who the dialogue comes out of The whole point Is to put the art back into art projects Cause we all know it's been constructed And commercialized To the point of destruction And almost no promise For independent artists at all. So who is it with CUBE? Could be me. Could be you. Could be U— If it's not, It was all just a long lost passion project A collective God Complex. Give myself a hug Cause nobody else will God gave my case a Grace Cause somebody lost Will. Oh, Karen. Come, heart attack. Come karma, Come hot dogs Come Christmas time at the Plaza Come on, hard death. Come on. Hard Rock Hotel? Nah, Equinox. Alright. Hudson. Yards. Now you're in a tunnel Does your heart hurt? (You should clutch it.) Put your patchwork in a hard drive This is hard times, You can't come back. O! But they do take dear DRATCH and run with it! I go run along to Corrections, And ginger snaps for crosswords On hard workers So fax the whole document! Do you know what? Horcruxes! Hot lunches, yuck. Hockey! I want off this planet so bad I cross cross my fingers at crosswalks And oncoming trains but– Don't look either way before I walk. So pull a shotgun at all that I was one strong donkey before I got one address. Now I just redress the cause All I want is my bundle back. Yuck! Care for it at all? Yeah, yours, but she's a danger to humanity. Yeah, mine but I'm an honest hybrid horrid hunter. On time? I just got it at Sephora. On time, Like I never even got that. I want to be loved just to be looked at But since in this life I can't turn the clock back I've discovered it's hell that my body was born as. — I discovered it's hell that my body was born as. Such a problem when you know That even the great Rosie O'Donnell once wanted blue eyes. Now I forget where I trailed off… What a drawback. I'm all out of patience. Crypto, I tip toe now over eggshells No home for her Hard times And hard times. No code offered, No I don't fall for that'd But where's the snowfall over all the rot out back? Hard times. Hard times. Hard times. As the bell tolls And the well swells whole And the umpire does rack them Up; Nobody works harder than Hard times Hard times Hard times. Yeah, that's four Aces Up, Diamond. Run for your forks and your knives And your daughters and mothers and father And home family comfort And cufflinks and loafers, And sport coats and Your life. Your life. Your life. [The Festival Project ™] —-Chroma111. THE IMPENATRABLE TEN is INEVITABLY DISBANDED. Inevitably??? Inevitably! but not indefinitely. Oh, I guess. Alright. SILENCE. {Enter The Multiverse.} I don't want to be here. No one does. You are sending mixed messages. Imm not sending any messages… — with your brain. L E G E N D S Of course. Electromagnetic signaling Of course. I told you this had gone strange. Severely. Now how do I explain from this time how to get back to our time If there's no direct translation between our language and that one? Maybe you can't explain it. These are hard facts. So I suggest the use of highly trained telepaths. That far back? These things are possibly connected even in this time, theoretically using our past; I might suggest Telesynthesis— considering these planetary electromagnetics to which this entire planet is hardwired. …hardwired. That's right. Ascension. Hard times. Madame President? Get lost. [Secret President] I get it. You're a whistleblower. I'm not that. A shadow government official. Also wrong. Why else would you run for office? I'm trying to get shot at. They told me you were funny. But they didn't say anything about my gauntlet? Your—what? You know. My conquests—professional accomplishments? Your God complex? I know all about that. Perhaps it's not a complex. But a ‘gauntlet'? You're a journalist aren't you? I'm giving you some high art concepts. (Because for the sake of the rhyme, And please, for God's sakes, Gemini, In prose form Without the use of tables. ) I R O N I C —Deathwish. [The Festival Project ™] Season 12, Episode 01. REBEL1. Prod. By Blū Tha Gürū I would think it psychosomatic, but in less than 24 hours of restarting my vitamin regimen, my mood was so improved that I could not for a second overlook that without taking vitamins, I was missing something. Even if my newly concocted super-juice recipes were putting a curb in my abdominal muscles that even I was sure didn't entirely belong there, pairing this development with the Peloton, it was a long and diagonal, out-of-sorts thing that stuck out as if it was on somebody else's body and not mine. Still, I had to deal with the heavy weight of the drooping skin and belly that hung as if it very much did belong to me but wasn't budging, despite my attempts at a flat stomach and having been so well overstretched at one point by medical obesity and double occupancy that it was, at the very least to say, insurgically impossible. However, my brain went on having ways of wrapping my mind around this—that the rest of my body was quite slim, and even on some days seeming petite, were it not for my massive thighs, which also seemed to have sported a curve to them which was almost attractive, especially well-dressed. But the fun of it was, I wasn't exceptionally well-dressed, because I hadn't wanted to be. In fact, I was under obligation always to be about in the men's clothes I'd found because they were designer, and it was even something like a fashion statement that I dressed this grotesquely and in overlarge articles because of the astounding amount of weight I'd lost and the strange way my body seemed to be taking an athletic shape. Still, there was this factor that I was actually always somehow in an excruciating amount of pain, especially waking up, and though some of that I would have applied to being psychosomatic—in just that it was the pure stress of the disembodied torture I was undergoing in one way or another—whether anybody would have admitted it or not, or whether or not the unknown parties in question were going to be justified for it, I still hadn't an idea or thought as to what my unstructured purpose was. And though I sat beautifully controlled into doing music as a default, I was looking at the numbers, and the massive amount of people doing remarkably well because they could afford to do so, or were lucky, or were unbearably beautiful and so could do anything they wanted, and I too much so was not that. In fact, it was almost by design my failure and my constant struggle that even the universe seemed to look down upon me in such a way that it pitied me in a harrowing attempt at karmic justice done for the seeming evil and harsh things being done. It was true that someone had set out to torture me, and this might have once been the way of the illuminated artist and tortured soul; however, having taken so metaphorically into my own boat such heavy water of grief and loss, and drowning, I was sinking into the natural ocean of monstrous storms my body was saying in so many ways it could do no more. My mind was strong—and I could take the torture for innumerable amounts of time without becoming so much more frustrated than to just stop, or start heavy breathing, or even compulsively masturbate until one world faded deeply into another and I just didn't care. But realistically, the things that were being done pointed at a strategic and tactical, military-trained psychological governing of my own autonomy. And because I knew this, I also knew whoever was responsible was more than capable of covering their tracks to the point of disappearance—an inescapable hell of unseen trauma. The basis of it was that if I raised my concerns with any law enforcement or police, I was just as often ignored, ridiculed, or worse—thought of as symptomatic of some psychological condition I well knew and understood I did not have, all because what I did seem to possess—this undying force of color and creative ingenuity that could not quite be captured or marketed to improve the bankbook of others with a sudden onset—was unacceptable in such a way that I could become some sort of object that was in no way useful besides to experiment and then observe what I might become next, all the while knowing I would not and could not stay in one form or another too long without becoming such an obvious target. —Death of a Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW

All Home Care Matters and our host, Lance A. Slatton were honored to welcome Josh H. Hickman as guest to the show.   About Josh H. Hickman:   Josh H. Hickman was born in Washington D.C. and raised in various parts of Texas. He studied painting and sculpture at the Booker T. Washington High School for Performing and Visual Arts in Dallas, TX, later studying writing and film at the University of Texas at Austin.   A national award-winning journalist, his previous comic novels and short story collections include Through Tick & Tinn: The True Story of the Greatest Unknown Comedy Team Ever Known, Five Slices of Fear: A Connoisseur's Hoagie of Horror, Ambergris, The Kinfolk: Cult of Sex & Cheese, I Am Luney: The Untold Story of the World's Naughtiest Man, and Songs in the Key of H: Tales of Irony and Insinuation.   He has also produced three albums of spoken-word/music "word-jazz" albums, A Handful of Love, Something for the Ladies, and This House Is Haunted. After living and working in Hollywood for fourteen years, he returned to Dallas in 2019. His writing has appeared in anthologies such as the Central Texas Writer's Society and Beyond 2024 and publications such as Hindsight literary magazine and Park Cities People and Preston Hollow People newspapers.   Also a noted artist, his paintings have been shown in various group and solo exhibitions in Texas and California. He lives with his dog Sammy in Dallas, Texas.   About Forgetting:   Forgetting chronicles the unexpected life circumstances which led author Josh Hickman to his three-plus year journey of solo caregiving for a mother with whom he had a very difficult relationship. Left with the responsibility of taking care of her as her dementia set in, he shares his personal insights and struggles learning how to navigate through the process. This book is a highly relevant, timely and valuable resource for young people currently dealing with this evolving dilemma, who might have lived through it or who might be experiencing it in the near future.

Heroes! We're currently running the Kickstarter campaign for 'Paul London: Hero of the Prophecy' issue 2! So it's my honor to introduce you to our series artist Tom Hoskisson, who knocked the second issue out of the park and is excited to start on issue 3! Broadcasting in from the other side of the globe (Australia), Tom will talk art, comics, his inspirations, working on Geekscape's newest comic, and more! You won't want to miss it! You can also subscribe to the Geekscape podcast on Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://spoti.fi/3H27uMH⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apple.co/3BVrnkW Learn more about your ad choices. Visit megaphone.fm/adchoices

host: Alyson Stanfield Alicia Bailey and Melinda Laz are part of a four-artist collaborative group in Denver that's been working together for years because it's made them better artists. In this conversation, they share the practical realities of collaboration: the systems that keep things organized, the communication that prevents problems, and the trust that makes it all possible. If you've ever wondered whether working with other artists is worth the effort, this episode will show you what's possible when you get it right.

Diane Gottlieb, Jennifer Fliss, and Nina B. Lichtenstein join Let's Talk Memoir for a conversation about their work as editors and what they look for in submissions, setting your writing apart, knowing where to omit for maximum impact, the magic of prompts, working with supportive editors, how constraints give us freedom, ordering an essay collection, how stories sustain us, disentangling the artist from politics, allyship, the process of becoming ourselves, celebrating our heritage, the ecosystem of Jewish life, submission calls, and our new anthology Manna Songs: Stories of Jewish Culture and Heritage. Also in this episode: -being seen -writing into joy -being a Jew by choice    Purchase Manna Songs here: https://elj-editions.com/mannasongs/ and wherever you get your books www.Dianegottlieb.com www.Jenniferflisscreative.com https://www.ninalichtenstein.com/   Diane Gottlieb, MSW, MEd, MFA, is the editor of Manna Songs: Stories of Jewish Culture & Heritage, the award-winning anthology Awakenings: Stories of Body & Consciousness, and Grieving Hope. Her writing appears in Brevity, Witness, River Teeth, 2023 Best Microfiction, Smokelong Quarterly, Bellevue Review, Colorado Review, JUDITH, and Jewish Book Council among many other lovely places. She is the winner of Tiferet Journal's 2021 Writing Contest in Nonfiction, and a finalist for Hole in the Head Review's 2024 Charles Simic Poetry Prize and Florida Review's 2023 Editor's Choice Award in Nonfiction. Diane is the Prose/CNF Editor at Emerge Literary and the Special Projects Editor at ELJ Editions. Connect with Diane:  https://elj-editions.com/mannasongs/ dianegottlieb.com @dianegotauthor   Jennifer Fliss (she/her) is a Seattle-based author of the collections, As If She Had a Say and The Predatory Animal Ball. Over 200 of her stories and essays have appeared in F(r)iction, PANK, Hobart, The Rumpus, The Washington Post, and elsewhere. She was a Pen Parentis Fellow and recipient of a Grant for Artist Project award from Artist's Trust.  www.jenniferflisscreative.com https://nupress.northwestern.edu/9780810146259/as-if-she-had-a-say/ https://okaydonkeymag.bigcartel.com/product/the-predatory-animal-ball-by-jennifer-fliss   Nina B. Lichtenstein is a native of Oslo, Norway, and holds a PhD in French literature from UCONN and an MFA in creative nonfiction from the University of Southern Maine's Stonecoast program. She is the founder and director of Maine Writers Studio, and the co-founder and co-editor of In a Flash Lit Mag. Her writing has appeared in various journals, magazines, and outlets, as well as in several anthologies. Her book, Sephardic Women's Voices: Out of North Africa, was published by Gaon Books in 2017, and her memoir, Body: My Life in Parts by Vine Leaves Press in May , 2025. She has three adult sons, and lives in Maine with her husband.  https://www.facebook.com/ninalich/ https://www.instagram.com/vikingjewess/ https://ninablichtenstein.substack.com/ https://www.ninalichtenstein.com/ https://www.mainewritersstudio.com/ https://vineleavespress.myshopify.com/products/body-my-life-in-parts-by-nina-b-lichtenstein – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Artist, author and Stolen Generations survivor, Rhonda Collard-Spratt, on bush hugs, beehives, emu bumps, and finding peace.Aunty Rhonda Collard-Spratt is a Yamatji-Noongar elder and Stolen Generations survivor who grew up on the Carnarvon Native Mission in Western Australia.As a little girl she would escape from her dormitory into the bush to feel the love and warmth she was missing from her mum.After leaving the mission as a teenager, Rhonda trained as a hairdresser, creating some of the best beehives in Perth.Later in life, she managed to reconnect with her mum and formed a surprising bond with her English stepfather, through music.Rhonda Collard-Spratt's memoir, Alice's Daughter: Lost Mission Child, was written with Jacki Ferro and published by Aboriginal Studies Press.You can find her children's book series, Spirit of the Dreaming, online in both print and audiobook formats.This episode of Conversations was produced by Meggie Morris, executive producer is Nicola Harrison.It explores Aboriginal Australia, black history, colonisation, segregation, assimilation, religion, Christianity, the Native Act, reckoning with Australia's history, the Voice, racism, Indigenous suicide, mental health, medical neglect, art, motherhood, writing, books, memoir, modern Australia, Ipswich, Churches of Christ, Aborigines Mission Board.

Are you building something from the ground up or seeking creative ways to break through the noise? If so, this conversation is for you. This week Andrew talks with longtime music industry executive Rusty Harmon. Rusty was the original manager of Hootie and the Blowfish and a driving force behind the band's breakthrough and meteoric rise to fame. This conversation is about far more than music. It's filled with powerful ideas about building trusted relationships, creating a network, growing a brand, & the power of maximizing every opportunity in front of you. ** Follow Andrew **Instagram: @AndrewMoses123Twitter/X: @andrewhmosesSign up for e-mails to keep up with the podcast at everybodypullsthetarp.com/newsletterDISCLAIMER: This podcast is solely for educational & entertainment purposes. It is not intended to be a substitute for the advice of a physician, psychotherapist, or other qualified professional.

Today sassy Meg is back! In today's episode we dive back into how our inner critic really, truly is a liar.

This week the New Old Heads had discussions on Rory of New Rory & Mal Podcast's old anti-Black tweets, Pharrell having an anti-DEI stance, Wale and Ebro going back and forth about Lil Uzi Vert and why rappers are viewed at as the lowest artform, and much more.With guest Patrick Armstrong of Conversation Piece Podcast.Support the show

On this episode of The Collector Car Podcast, I sit down with internationally acclaimed automotive artist Stewart Anstead — a creative force known for capturing the soul of motorsport through bold color, dynamic composition, and emotional storytelling. Stewart has painted everything from Formula One legends to endurance-racing icons, but he's especially celebrated for his historic depictions of Carroll Shelby, Ken Miles, and the Shelby American race cars that changed motorsport forever. His ability to blend accuracy, nostalgia, and artistic expression makes these works some of the most compelling visual tributes in the collector car world. We dig into his creative process, the moments that inspire him, and the surprising stories behind some of his most sought-after pieces. Stewart also shares insights on commissions, gallery installations, and how he approaches painting historically significant cars with both precision and artistic freedom. Whether you're a collector, an enthusiast, or someone who simply loves great art, this episode offers a fascinating look into the mind and methods of one of today's leading automotive artists. Explore Stewart's Work:

We are on the road to Episode 100, and number 95 can only start with a voicemail from a bonafide famous person that includes the story of two mice named Gary and Steve.  From there we wonder if the story of the Beatles is a sad song, if the Beatles should have cameos in the Beatles movies, if Sam Whiles is still mad at our takes on seasonal Beatles records, if Paul's demo of this track was recorded on a voicemail to Jane, why the Beatles felt so rushed on Rubber Soul, if you should write breakup songs while staying in your girlfriend's parents home, if an Astin Martin leaves Liverpool at 3pm how long it takes to get to Jane's photo shoot, how many terms Becker has for hi-hats, and where the bounce is in Paul's "You Won't See Me."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter / X (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can always drunk dial us at 1.857.233.9793 to share your thoughts, feedback, confessions, and concerns to be featured in an upcoming episode. Enjoying the show? Buy us a beer via the tip jar (don't forget to include a message telling us what we should drink with the money).You know we're making a list of it, see the canonical, argument-ending list of Beatles songs we are assembling here: http://www.blottobeatles.com & listen to it on Spotify here.Please remember to always enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Senior Director of Sonic Strategies: RBAssociate Musical Supervision: Tim Clark (@nodisassemble)Artist-in-Residence: Colin Driscoll (@theroyal.we)

Ashley, Kev & Dylan preview our home game against Forest as we return to Premier League Action. JOIN OUR PATREON - patreon.com/TalkinKopPodcast Subscribe, Like, Hit the bell icon and never miss another show! ** All views on the show are those of the individual and do not represent those of the Talkin' Kop ** lfc fan channel - liverpool fan channel - liverpool fc - lfc - lfc fan reaction - liverpool fan tv - lfc fan tv - lfc fan media - liverpool match reaction - lfc live chat - liverpool live chat - anfield reaction - liverpool live podcast - lfc live podcast - liverpool news - lfc news - liverpool free content - lfc live shows - liverpool analysis - lfc matchday - liverpool matchday - liverpool transfer news - liverpool transfer updates - lfc transfer news - liverpool live - liverpool podcast Training in the Fire by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Artist: http://www.twinmusicom.org/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello, hello! In this episode, Benjamin Von Wong shares his journey from a traditional upbringing to becoming an environmental artist and activist. He reflects on the influence of his parents' stable lifestyle, his unexpected path into photography, and his transition into environmentalism. Benjamin also discusses the challenges and rewards of using art to communicate complex issues, emphasizing the importance of collaboration and storytelling in his work. He explores the balance between highlighting problems and inspiring change, aiming to create meaningful impact through his art.Join host Ved Krishna as he learns from inspiring guests and experts in the industry of sustainable packaging about ways to leave the planet cleaner and answer what is #GoodGarbage?Check out the Good Garbage podcast on YouTube, Spotify, Apple Podcasts and wherever you listen to podcasts about making the planet cleaner!Check out more on our journey! Get involved at pakka.com#composting #sustainability #packaging #environment #innovation #compostableProducer: Alex MooreVideo Producer: Sargam KrishnaSubscribe to Good Garbage Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/good-garbage-with-ved-krishna/id1613337676Subscribe to Good Garbage Podcast on YouTube: https://www.youtube.com/@GoodGarbageFollow us on Instagram: https://www.instagram.com/goodgarbagepodcast/Send us your questions by texting us at 971-533-5338, or email alex.moore@pakka.comEnvironmental Art, Activism, Photography, Storytelling, Collaboration, Sustainability, Creative Process, Impactful Art, Climate Change, Personal Journey, composting, organic farming, chemical fertilizers, waste management, sustainability, soil health, compostable packaging, environmental impact, data collection, agricultural practices composting, US Composting Council, commercial composting, compostable packaging, soil health, organic waste recycling, composting industry, sustainable waste management, landfills, policy, packaging policy, garbage, garbage cleanup, beach clean up, India, waste collection, sustainable packaging podcast

RU369: ARTIST HANNAH HADDIX ON CUT-UPS, SPIRITUALITY, ONLINE CENSORSHIP & JOINING THE CIRCUS https://renderingunconscious.substack.com/p/ru369-artist-hannah-haddix-on-cut Rendering Unconscious episode 369. Rendering Unconscious welcomes artist Hannah Haddix to the podcast! Follow her: Newsletter https://hannahhaddix.kit.com/yeshello Instagram https://www.instagram.com/skinslippers/ YouTube https://www.youtube.com/user/hjhaddix On this episode, Hannah discusses her new newsletter as a means to avoid online censorship and connect directly with her community. We share our frustration with social media algorithms that censor art, particularly nudity. Hannah shares her background in collage art, influenced by William Burroughs and Brion Gysin's cut-up method, and her belief in the sacredness of all things. She also shares her journey to sobriety, the impact of ketamine therapy, and the importance of creating art without preconceived notions. We also discuss the magic of analog collage, future potential collaborations, and the impact of creative and magical mentors Genesis and Lady Jaye Breyer P-Orridge on our lives. Hannah's original artworks are for sale. Support independent artists and thinkers! News & updates: On Wednesday, December 3rd, join us as we explore Freud's life-long interest in telepathy – Phantoms of the Clinic: From Thought-Transference to Projective Identification with Dr. Mikita Brottman. https://rucenterforpsychoanalysis.substack.com/p/phantoms-of-the-clinic-from-thought This event will be recorded and made available for all those who register. Register here: https://www.paypal.com/paypalme/drvanessasinclair/9 Proceeds raised go towards paying our presenter(s). Thank you for your support! Monday, December 8th, , we have a very special event: Rendering Unconscious Podcast will be hosting our first live event with an audience! Welcome Alenka Zupančič and Todd McGowan as they discuss their work On Comedy. Alenka's book The Odd One In: On Comedy (MIT Press, 2008) and Todd's Only a Joke Can Save Us (Northwestern University Press, 2017) are two of my favorite books by them, and I'm so excited to be able to host them for this sure to be brilliant discussion! We will meet live via zoom on Monday, December 8th at 12 NYC (9AM San Francisco/ 5PM London/ 18:00 Stockholm/ 19:00 Beirut) for 90 minutes. https://renderingunconscious.substack.com/p/monday-december-8-alenka-zupancic All paid subscribers to RU Podcast and RU Center are welcome to attend live and will receive the recording! Then on Saturday, December 13th, join me for the third installment of An Introduction to Psychoanalysis. Register by becoming a paid subscriber at RU Center for Psychoanalysis: https://rucenterforpsychoanalysis.substack.com You may watch the recordings of the first two classes HERE: https://rucenterforpsychoanalysis.substack.com/t/classes The song at the end of this episode is "Slowly" from the EP Slowly/ Third Minds Think Alike by Carl Abrahamsson and Genesis Breyer P-Orridge from iDeal recordings: https://idealrecordings.bandcamp.com/album/slowly-third-minds-think-alike Enjoy! Thank you for being a paid subscriber to Rendering Unconscious Podcast. It makes my work possible. If you are so far a free subscriber, thanks to you too. Please consider becoming a paid subscriber to gain access to all the material on the site, including new, future, and archival podcast episodes. It's so important to maintain independent spaces free from censorship and corporate influence. Thank You.

Hector reflects on his booth time at Camp Grace's Fall Jamboree

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Powerleegirl hosts, the mother daughter team of Miko Lee, Jalena & Ayame Keane-Lee speak with artists about their craft and the works that you can catch in the Bay Area. Featured are filmmaker Yuriko Gamo Romer, playwright Jessica Huang and photographer Joyce Xi.   More info about their work here: Diamond Diplomacy Yuriko Gamo Romer Jessica Huang's Mother of Exiles at Berkeley Rep Joyce Xi's Our Language Our Story at Galeria de la Raza     Show Transcript Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    Ayame Keane-Lee: [00:00:46] Thank you for joining us on Apex Express Tonight. Join the PowerLeeGirls as we talk with some powerful Asian American women artists. My mom and sister speak with filmmaker Yuriko Gamo Romer, playwright Jessica Huang, and photographer Joyce Xi. Each of these artists have works that you can enjoy right now in the Bay Area. First up, let's listen in to my mom Miko Lee chat with Yuriko Gamo Romer about her film Diamond Diplomacy.    Miko Lee: [00:01:19] Welcome, Yuriko Gamo Romer to Apex Express, amazing filmmaker, award-winning director and producer. Welcome to Apex Express.   Yuriko Gamo Romer: [00:01:29] Thank you for having me.    Miko Lee: [00:01:31] It's so great to see your work after this many years. We were just chatting that we knew each other maybe 30 years ago and have not reconnected. So it's lovely to see your work. I'm gonna start with asking you a question. I ask all of my Apex guests, which is, who are your people and what legacy do you carry with you?    Yuriko Gamo Romer: [00:01:49] Oh, who are my people? That's a hard one. I guess I'm Japanese American. I'm Asian American, but I'm also Japanese. I still have a lot of people in Japan. That's not everything. Creative people, artists, filmmakers, all the people that I work with, which I love. And I don't know, I can't pare it down to one narrow sentence or phrase. And I don't know what my legacy is. My legacy is that I was born in Japan, but I have grown up in the United States and so I carry with me all that is, technically I'm an immigrant, so I have little bits and pieces of that and, but I'm also very much grew up in the United States and from that perspective, I'm an American. So too many words.    Miko Lee: [00:02:44] Thank you so much for sharing. Your latest film was called Diamond Diplomacy. Can you tell us what inspired this film?   Yuriko Gamo Romer: [00:02:52] I have a friend named Dave Dempsey and his father, Con Dempsey, was a pitcher for the San Francisco Seals. And the Seals were the minor league team that was in the West Coast was called the Pacific Coast League They were here before the Major League teams came to the West Coast. So the seals were San Francisco's team, and Con Dempsey was their pitcher. And it so happened that he was part of the 1949 tour when General MacArthur sent the San Francisco Seals to Allied occupied Japan after World War II. And. It was a story that I had never heard. There was a museum exhibit south of Market in San Francisco, and I was completely wowed and awed because here's this lovely story about baseball playing a role in diplomacy and in reuniting a friendship between two countries. And I had never heard of it before and I'm pretty sure most people don't know the story. Con Dempsey had a movie camera with him when he went to Japan I saw the home movies playing on a little TV set in the corner at the museum, and I thought, oh, this has to be a film. I was in the middle of finishing Mrs. Judo, so I, it was something I had to tuck into the back of my mind Several years later, I dug it up again and I made Dave go into his mother's garage and dig out the actual films. And that was the beginning. But then I started opening history books and doing research, and suddenly it was a much bigger, much deeper, much longer story.   Miko Lee: [00:04:32] So you fell in, it was like synchronicity that you have this friend that had this footage, and then you just fell into the research. What stood out to you?    Yuriko Gamo Romer: [00:04:41] It was completely amazing to me that baseball had been in Japan since 1872. I had no idea. And most people,   Miko Lee: [00:04:49] Yeah, I learned that too, from your film. That was so fascinating.    Yuriko Gamo Romer: [00:04:53] So that was the first kind of. Wow. And then I started to pick up little bits and pieces like in 1934, there was an American All Star team that went to Japan. And Babe Ruth was the headliner on that team. And he was a big star. People just loved him in Japan. And then I started to read the history and understanding that. Not that a baseball team or even Babe Ruth can go to Japan and prevent the war from happening. But there was a warming moment when the people of Japan were so enamored of this baseball team coming and so excited about it that maybe there was a moment where it felt like. Things had thawed out a little bit. So there were other points in history where I started to see this trend where baseball had a moment or had an influence in something, and I just thought, wow, this is really a fascinating history that goes back a long way and is surprising. And then of course today we have all these Japanese faces in Major League baseball.   Miko Lee: [00:06:01] So have you always been a baseball fan?   Yuriko Gamo Romer: [00:06:04] I think I really became a fan of Major League Baseball when I was living in New York. Before that, I knew what it was. I played softball, I had a small connection to it, but I really became a fan when I was living in New York and then my son started to play baseball and he would come home from the games and he would start to give us the play by play and I started to learn more about it. And it is a fascinating game 'cause it's much more complex than I think some people don't like it 'cause it's complex.    Miko Lee: [00:06:33] I must confess, I have not been a big baseball fan. I'm also thinking, oh, a film about baseball. But I actually found it so fascinating with especially in the world that we live in right now, where there's so much strife that there was this way to speak a different language. And many times we do that through art or music and I thought it was so great how your film really showcased how baseball was used as a tool for political repair and change. I'm wondering how you think this film applies to the time that we live in now where there's such an incredible division, and not necessarily with Japan, but just with everything in the world.   Yuriko Gamo Romer: [00:07:13] I think when it comes down to it, if we actually get to know people. We learn that we're all human beings and that we probably have more in common than we give ourselves credit for. And if we can find a space that is common ground, whether it's a baseball field or the kitchen, or an art studio, or a music studio, I think it gives us a different place where we can exist and acknowledge That we're human beings and that we maybe have more in common than we're willing to give ourselves credit for. So I like to see things where people can have a moment where you step outside of yourself and go, oh wait, I do have something in common with that person over there. And maybe it doesn't solve the problem. But once you have that awakening, I think there's something. that happens, it opens you up. And I think sports is one of those things that has a little bit of that magical power. And every time I watch the Olympics, I'm just completely in awe.    Miko Lee: [00:08:18] Yeah, I absolutely agree with you. And speaking of that kind of repair and that aspect that sports can have, you ended up making a short film called Baseball Behind Barbed Wire, about the incarcerated Japanese Americans and baseball. And I wondered where in the filmmaking process did you decide, oh, I gotta pull this out of the bigger film and make it its own thing?    Yuriko Gamo Romer: [00:08:41] I had been working with Carrie Yonakegawa. From Fresno and he's really the keeper of the history of Japanese American baseball and especially of the story of the World War II Japanese American incarceration through the baseball stories. And he was one of my scholars and consultants on the longer film. And I have been working on diamond diplomacy for 11 years. So I got to know a lot of my experts quite well. I knew. All along that there was more to that part of the story that sort of deserved its own story, and I was very fortunate to get a grant from the National Parks Foundation, and I got that grant right when the pandemic started. It was a good thing. I had a chunk of money and I was able to do historical research, which can be done on a computer. Nobody was doing any production at that beginning of the COVID time. And then it's a short film, so it was a little more contained and I was able to release that one in 2023.   Miko Lee: [00:09:45] Oh, so you actually made the short before Diamond Diplomacy.   Yuriko Gamo Romer: [00:09:49] Yeah. The funny thing is that I finished it before diamond diplomacy, it's always been intrinsically part of the longer film and you'll see the longer film and you'll understand that part of baseball behind Barbed Wire becomes a part of telling that part of the story in Diamond Diplomacy.   Miko Lee: [00:10:08] Yeah, I appreciate it. So you almost use it like research, background research for the longer film, is that right?    Yuriko Gamo Romer: [00:10:15] I had been doing the research about the World War II, Japanese American incarceration because it was part of the story of the 150 years between Japan and the United States and Japanese people in the United States and American people that went to Japan. So it was always a part of that longer story, and I think it just evolved that there was a much bigger story that needed to be told separately and especially 'cause I had access to the interview footage of the two guys that had been there, and I knew Carrie so well. So that was part of it, was that I learned so much about that history from him.   Miko Lee: [00:10:58] Thanks. I appreciated actually watching both films to be able to see more in depth about what happened during the incarceration, so that was really powerful. I'm wondering if you can talk a little bit about the style of actually both films, which combine vintage Japanese postcards, animation and archival footage, and how you decided to blend the films in this way.   Yuriko Gamo Romer: [00:11:19] Anytime you're making a film about history, there's that challenge of. How am I going to show this story? How am I gonna get the audience to understand and feel what was happening then? And of course you can't suddenly go out and go, okay, I'm gonna go film Babe Ruth over there. 'cause he's not around anymore. So you know, you start digging up photographs. If we're in the era of you have photographs, you have home movies, you have 16 millimeter, you have all kinds of film, then great. You can find that stuff if you can find it and use it. But if you go back further, when before people had cameras and before motion picture, then you have to do something else. I've always been very much enamored of Japanese woodblock prints. I think they're beautiful and they're very documentary in that they tell stories about the people and the times and what was going on, and so I was able to find some that sort of helped evoke the stories of that period of time. And then in doing that, I became interested in the style and maybe can I co-opt that style? Can we take some of the images that we have that are photographs? And I had a couple of young artists work on this stuff and it started to work and I was very excited. So then we were doing things like, okay, now we can create a transition between the print style illustration and the actual footage that we're moving into, or the photograph that we're dissolving into. And the same thing with baseball behind barbed wire. It became a challenge to show what was actually happening in the camps. In the beginning, people were not allowed to have cameras at all, and even later on it wasn't like it was common thing for people to have cameras, especially movie cameras. Latter part of the war, there was a little bit more in terms of photos and movies, but in terms of getting the more personal stories. I found an exhibit of illustrations and it really was drawings and paintings that were visual diaries. People kept these visual diaries, they drew and they painted, and I think part of it was. Something to do, but I think the other part of it was a way to show and express what was going on. So one of the most dramatic moments in there is a drawing of a little boy sitting on a toilet with his hands covering his face, and no one would ever have a photograph. Of a little boy sitting on a toilet being embarrassed because there are no partitions around the toilet. But this was a very dramatic and telling moment that was drawn. And there were some other things like that. There was one illustration in baseball behind barbed wire that shows a family huddled up and there's this incredible wind blowing, and it's not. Home movie footage, but you feel the wind and what they had to live through. I appreciate art in general, so it was very fun for me to be able to use various different kinds of art and find ways to make it work and make it edit together with the other, with the photographs and the footage.    Miko Lee: [00:14:56] It's really beautiful and it tells the story really well. I'm wondering about a response to the film from folks that were in it because you got many elders to share their stories about what it was like being either folks that were incarcerated or folks that were playing in such an unusual time. Have you screened the film for folks that were in it? And if so what has their response been?    Yuriko Gamo Romer: [00:15:20] Both the men that were in baseball behind barbed wire are not living anymore, so they have not seen it. With diamond diplomacy, some of the historians have been asked to review cuts of the film along the way. But the two baseball players that play the biggest role in the film, I've given them links to look at stuff, but I don't think they've seen it. So Moi's gonna see it for the first time, I'm pretty sure, on Friday night, and it'll be interesting to see what his reaction to it is. And of course. His main language is not English. So I think some of it's gonna be a little tough for him to understand. But I am very curious 'cause I've known him for a long time and I know his stories and I feel like when we were putting the film together, it was really important for me to be able to tell the stories in the way that I felt like. He lived them and he tells them, I feel like I've heard these stories over and over again. I've gotten to know him and I understand some of his feelings of joy and of regret and all these other things that happen, so I will be very interested to see what his reaction is to it.   Miko Lee: [00:16:40] Can you share for our audience who you're talking about.   Yuriko Gamo Romer: [00:16:43] Well, Sanhi is a nickname, his name is Masa Nouri. Murakami. He picked up that nickname because none of the ball players could pronounce his name.   Miko Lee: [00:16:53] I did think that was horrifically funny when they said they started calling him macaroni 'cause they could not pronounce his name. So many of us have had those experiences.   Yuriko Gamo Romer: [00:17:02] Yeah, especially if your name is Masanori Murakami. That's a long, complicated one. So he, Masanori Murakami is the first Japanese player that came and played for the major leagues. And it was an inadvertent playing because he was a kid, he was 19 years old. He was playing on a professional team in Japan and they had some, they had a time period where it made sense to send a couple of these kids over to the United States. They had a relationship with Kapi Harada, who was a Japanese American who had been in the Army and he was in Japan during. The occupation and somehow he had, he'd also been a big baseball person, so I think he developed all these relationships and he arranged for these three kids to come to the United States and to, as Mahi says, to study baseball. And they were sent to the lowest level minor league, the single A camps, and they played baseball. They learned the American ways to play baseball, and they got to play with low level professional baseball players. Marcy was a very talented left handed pitcher. And so when September 1st comes around and the postseason starts, they expand the roster and they add more players to the team. And the scouts had been watching him and the Giants needed a left-handed pitcher, so they decided to take a chance on him, and they brought him up and he was suddenly going to Shea Stadium when. The Giants were playing the Mets and he was suddenly pitching in a giant stadium of 40,000 people.    Miko Lee: [00:18:58] Can you share a little bit about his experience when he first came to America? I just think it shows such a difference in time to now.    Yuriko Gamo Romer: [00:19:07] Yeah, no kidding. Because today they're the players that come from Japan are coddled and they have interpreters wherever they go and they travel and chartered planes and special limousines and whatever else they get. So Marcie. He's, I think he was 20 by the time he was brought up so young. Mahi at 20 years old, the manager comes in and says, Hey, you're going to New York tomorrow and hands him plane tickets and he has to negotiate his way. Get on this plane, get on that plane, figure out how to. Get from the airport to the hotel, and he's barely speaking English at this point. He jokes that he used to carry around an English Japanese dictionary in one pocket and a Japanese English dictionary in the other pocket. So that's how he ended up getting to Shea Stadium was in this like very precarious, like they didn't even send an escort.   Miko Lee: [00:20:12] He had to ask the pilot how to get to the hotel. Yeah, I think that's wild. So I love this like history and what's happened and then I'm thinking now as I said at the beginning, I'm not a big baseball sports fan, but I love love watching Shohei Ohtani. I just think he's amazing. And I'm just wondering, when you look at that trajectory of where Mahi was back then and now, Shohei Ohtani now, how do you reflect on that historically? And I'm wondering if you've connected with any of the kind of modern Japanese players, if they've seen this film.   Yuriko Gamo Romer: [00:20:48] I have never met Shohei Ohtani. I have tried to get some interviews, but I haven't gotten any. I have met Ichi. I did meet Nori Aoki when he was playing for the Giants, and I met Kenta Maya when he was first pitching for the Dodgers. They're all, I think they're all really, they seem to be really excited to be here and play. I don't know what it's like to be Ohtani. I saw something the other day in social media that was comparing him to Taylor Swift because the two of them are this like other level of famous and it must just be crazy. Probably can't walk down the street anymore. But it is funny 'cause I've been editing all this footage of mahi when he was 19, 20 years old and they have a very similar face. And it just makes me laugh that, once upon a time this young Japanese kid was here and. He was worried about how to make ends meet at the end of the month, and then you got the other one who's like a multi multimillionaire.    Miko Lee: [00:21:56] But you're right, I thought that too. They look similar, like the tall, the face, they're like the vibe that they put out there. Have they met each other?    Yuriko Gamo Romer: [00:22:05] They have actually met, I don't think they know each other well, but they've definitely met.   Miko Lee: [00:22:09] Mm, It was really a delight. I am wondering what you would like audiences to walk away with after seeing your film.   Yuriko Gamo Romer: [00:22:17] Hopefully they will have a little bit of appreciation for baseball and international baseball, but more than anything else. I wonder if they can pick up on that sense of when you find common ground, it's a very special space and it's an ability to have this people to people diplomacy. You get to experience people, you get to know them a little bit. Even if you've never met Ohtani, you now know a little bit about him and his life and. Probably what he eats and all that kind of stuff. So it gives you a chance to see into another culture. And I think that makes for a different kind of understanding. And certainly for the players. They sit on the bench together and they practice together and they sweat together and they, everything that they do together, these guys know each other. They learn about each other's languages and each other's food and each other's culture. And I think Mahi went back to Japan with almost as much Spanish as they did English. So I think there's some magical thing about people to people diplomacy, and I hope that people can get a sense of that.    Miko Lee: [00:23:42] Thank you so much for sharing. Can you tell our audience how they could find out more about your film Diamond diplomacy and also about you as an artist?    Yuriko Gamo Romer: [00:23:50] the website is diamonddiplomacy.com. We're on Instagram @diamonddiplomacy. We're also on Facebook Diamond Diplomacy. So those are all the places that you can find stuff, those places will give you a sense of who I am as a filmmaker and an artist too.    Miko Lee: [00:24:14] Thank you so much for joining us today, Yuriko. Gamo. Romo. So great to speak with you and I hope the film does really well.    Yuriko Gamo Romer: [00:24:22] Thank you, Miko. This was a lovely opportunity to chat with you.   Ayame Keane-Lee: [00:24:26] Next up, my sister Jalena Keane-Lee speaks with playwright Jessica Huang, whose new play Mother of Exiles just had its world premiere at Berkeley Rep is open until December 21st.    Jalena Keane-Lee: [00:24:39] All right. Jessica Huang, thank you so much for being here with us on Apex Express and you are the writer of the new play Mother of Exiles, which is playing at Berkeley Rep from November 14th to December 21st. Thank you so much for being here.   Jessica Huang: [00:24:55] Yeah, thank you so much for having me. It's such a pleasure.   Jalena Keane-Lee: [00:24:59] I'm so curious about this project. The synopsis was so interesting. I was wondering if you could just tell us a little bit about it and how you came to this work.   Jessica Huang: [00:25:08] When people ask me what mother of Exiles is, I always say it's an American family story that spans 160 plus years, and is told in three acts. In 90 minutes. So just to get the sort of sense of the propulsion of the show and the form, the formal experiment of it. The first part takes place in 1898, when the sort of matriarch of the family is being deported from Angel Island. The second part takes place in 1999, so a hundred years later where her great grandson is. Now working for the Miami, marine interdiction unit. So he's a border cop. The third movement takes place in 2063 out on the ocean after Miami has sunk beneath the water. And their descendants are figuring out what they're gonna do to survive. It was a strange sort of conception for the show because I had been wanting to write a play. I'd been wanting to write a triptych about America and the way that interracial love has shaped. This country and it shaped my family in particular. I also wanted to tell a story that had to do with this, the land itself in some way. I had been sort of carrying an idea for the play around for a while, knowing that it had to do with cross-cultural border crossing immigration themes. This sort of epic love story that each, in each chapter there's a different love story. It wasn't until I went on a trip to Singapore and to China and got to meet some family members that I hadn't met before that the rest of it sort of fell into place. The rest of it being that there's a, the presence of, ancestors and the way that the living sort of interacts with those who have come before throughout the play.   Jalena Keane-Lee: [00:27:13] I noticed that ancestors, and ghosts and spirits are a theme throughout your work. I was wondering if you could talk a little bit about your own ancestry and how that informs your writing and creative practice.   Jessica Huang: [00:27:25] Yeah, I mean, I'm in a fourth generation interracial marriage. So, I come from a long line of people who have loved people who were different from them, who spoke different languages, who came from different countries. That's my story. My brother his partner is German. He lives in Berlin. We have a history in our family of traveling and of loving people who are different from us. To me that's like the story of this country and is also the stuff I like to write about. The thing that I feel like I have to share with the world are, is just stories from that experience.   Jalena Keane-Lee: [00:28:03] That's really awesome. I guess I haven't really thought about it that way, but I'm third generation of like interracial as well. 'cause I'm Chinese, Japanese, and Irish. And then at a certain point when you're mixed, it's like, okay, well. The odds of me being with someone that's my exact same ethnic breakdown feel pretty low. So it's probably gonna be an interracial relationship in one way or the other.   Jessica Huang: [00:28:26] Totally. Yeah. And, and, and I don't, you know, it sounds, and it sounds like in your family and in mine too, like we just. Kept sort of adding culture to our family. So my grandfather's from Shanghai, my grandmother, you know, is, it was a very, like upper crust white family on the east coast. Then they had my dad. My dad married my mom whose people are from the Ukraine. And then my husband's Puerto Rican. We just keep like broadening the definition of family and the definition of community and I think that's again, like I said, like the story of this country.   Jalena Keane-Lee: [00:29:00] That's so beautiful. I'm curious about the role of place in this project in particular, mother of exiles, angel Island, obviously being in the Bay Area, and then the rest of it taking place, in Miami or in the future. The last act is also like Miami or Miami adjacent. What was the inspiration behind the place and how did place and location and setting inform the writing.   Jessica Huang: [00:29:22] It's a good question. Angel Island is a place that has loomed large in my work. Just being sort of known as the Ellis Island of the West, but actually being a place with a much more difficult history. I've always been really inspired by the stories that come out of Angel Island, the poetry that's come out of Angel Island and, just the history of Asian immigration. It felt like it made sense to set the first part of the play here, in the Bay. Especially because Eddie, our protagonist, spent some time working on a farm. So there's also like this great history of agriculture and migrant workers here too. It just felt like a natural place to set it. And then why did we move to Miami? There are so many moments in American history where immigration has been a real, center point of the sort of conversation, the national conversation. And moving forward to the nineties, the wet foot, dry foot Cuban immigration story felt like really potent and a great place to tell the next piece of this tale. Then looking toward the future Miami is definitely, or you know, according to the science that I have read one of the cities that is really in danger of flooding as sea levels rise.   Jalena Keane-Lee: [00:30:50] Okay. The Cuban immigration. That totally makes sense. That leads perfectly into my next question, which was gonna be about how did you choose the time the moments in time? I think that one you said was in the nineties and curious about the choice to have it be in the nineties and not present day. And then how did you choose how far in the future you wanted to have the last part?   Jessica Huang: [00:31:09] Some of it was really just based on the needs of the characters. So the how far into the future I wanted us to be following a character that we met as a baby in the previous act. So it just, you know, made sense. I couldn't push it too far into the future. It made sense to set it in the 2060s. In terms of the nineties and, why not present day? Immigration in the nineties , was so different in it was still, like I said, it was still, it's always been a important national conversation, but it wasn't. There was a, it felt like a little bit more, I don't know if gentle is the word, but there just was more nuance to the conversation. And still there was a broad effort to prevent Cuban and refugees from coming ashore. I think I was fascinated by how complicated, I mean, what foot, dry foot, the idea of it is that , if a refugee is caught on water, they're sent back to Cuba. But if they're caught on land, then they can stay in the us And just the idea of that is so. The way that, people's lives are affected by just where they are caught , in their crossing. I just found that to be a bit ridiculous and in terms of a national policy. It made sense then to set the second part, which moves into a bit of a farce at a time when immigration also kind of felt like a farce.   Jalena Keane-Lee: [00:32:46] That totally makes sense. It feels very dire right now, obviously. But it's interesting to be able to kind of go back in time and see when things were handled so differently and also how I think throughout history and also touching many different racial groups. We've talked a lot on this show about the Chinese Exclusion Act and different immigration policies towards Chinese and other Asian Americans. But they've always been pretty arbitrary and kind of farcical as you put it. Yeah.   Jessica Huang: [00:33:17] Yeah. And that's not to make light of like the ways that people's lives were really impacted by all of this policy . But I think the arbitrariness of it, like you said, is just really something that bears examining. I also think it's really helpful to look at where we are now through the lens of the past or the future. Mm-hmm. Just gives just a little bit of distance and a little bit of perspective. Maybe just a little bit of context to how we got to where we got to.   Jalena Keane-Lee: [00:33:50] That totally makes sense. What has your experience been like of seeing the play be put up? It's my understanding, this is the first this is like the premier of the play at Berkeley Rep.   Jessica Huang: [00:34:00] Yes. Yeah. It's the world premier. It's it incredible. Jackie Bradley is our director and she's phenomenal. It's just sort of mesmerizing what is happening with this play? It's so beautiful and like I've alluded to, it shifts tone between the first movement being sort of a historical drama on Angel Island to, it moves into a bit of a farce in part two, and then it, by the third movement, we're living in sort of a dystopic, almost sci-fi future. The way that Jackie's just deftly moved an audience through each of those experiences while holding onto the important threads of this family and, the themes that we're unpacking and this like incredible design team, all of these beautiful visuals sounds, it's just really so magical to see it come to life in this way. And our cast is incredible. I believe there are 18 named roles in the play, and there are a few surprises and all of them are played by six actors. who are just. Unbelievable. Like all of them have the ability to play against type. They just transform and transform again and can navigate like, the deepest tragedies and the like, highest moments of comedy and just hold on to this beautiful humanity. Each and every one of them is just really spectacular. So I'm just, you know. I don't know. I just feel so lucky to be honest with you. This production is going to be so incredible. It's gonna be, it feels like what I imagine in my mind, but, you know, plus,    Jalena Keane-Lee: [00:35:45] well, I really can't wait to see it. What are you hoping that audiences walk away with after seeing the show?   Jessica Huang: [00:35:54] That's a great question. I want audiences to feel connected to their ancestors and feel part of this community of this country and, and grateful and acknowledge the sacrifices that somebody along the line made so that they could be here with, with each other watching the show. I hope, people feel like they enjoyed themselves and got to experience something that they haven't experienced before. I think that there are definitely, nuances to the political conversation that we're having right now, about who has the right to immigrate into this country and who has the right to be a refugee, who has the right to claim asylum. I hope to add something to that conversation with this play, however small.   Jalena Keane-Lee:[00:36:43]  Do you know where the play is going next?   Jessica Huang: [00:36:45] No. No. I dunno where it's going next. Um, exciting. Yeah, but we'll, time will   Jalena Keane-Lee: [00:36:51] and previews start just in a few days, right?   Jessica Huang: [00:36:54] Yeah. Yeah. We have our first preview, we have our first audience on Friday. So yeah, very looking forward to seeing how all of this work that we've been doing lands on folks.   Jalena Keane-Lee: [00:37:03] Wow, that's so exciting. Do you have any other projects that you're working on? Or any upcoming projects that you'd like to share about?   Jessica Huang: [00:37:10] Yeah, yeah, I do. I'm part of the writing team for the 10 Things I Hate About You Musical, which is in development with an Eye Toward Broadway. I'm working with Lena Dunham and Carly Rae Jepsen and Ethan Ska to make that musical. I also have a fun project in Chicago that will soon be announced.   Jalena Keane-Lee: [00:37:31] And what is keeping you inspired and keeping your, you know, creative energies flowing in these times?   Jessica Huang: [00:37:37] Well first of all, I think, you know, my collaborators on this show are incredibly inspiring. The nice thing about theater is that you just get to go and be inspired by people all the time. 'cause it's this big collaboration, you don't have to do it all by yourself. So that would be the first thing I would say. I haven't seen a lot of theater since I've been out here in the bay, but right before I left New York, I saw MEUs . Which is by Brian Keda, Nigel Robinson. And it's this sort of two-hander musical, but they do live looping and they sort of create the music live. Wow. And it's another, it's another show about an untold history and about solidarity and about folks coming together from different backgrounds and about ancestors, so there's a lot of themes that really resonate. And also the show is just so great. It's just really incredible. So , that was the last thing I saw that I loved. I'm always so inspired by theater that I get to see.   Jalena Keane-Lee: [00:38:36] That sounds wonderful. Is there anything else that you'd like to share?   Jessica Huang: [00:38:40] No, I don't think so. I just thanks so much for having me and come check out the show. I think you'll enjoy it. There's something for everyone.   Jalena Keane-Lee: [00:38:48] Yeah. I'm so excited to see the show. Is there like a Chinese Cuban love story with the Miami portion? Oh, that's so awesome. This is an aside, but I'm a filmmaker and I've been working on a documentary about, Chinese people in Cuba and there's like this whole history of Chinese Cubans in Cuba too.   Jessica Huang: [00:39:07] Oh, that's wonderful. In this story, it's a person who's a descendant of, a love story between a Chinese person and a Mexican man, a Chinese woman and a Mexican man, and oh, their descendant. Then also, there's a love story between him and a Cuban woman.   Jalena Keane-Lee: [00:39:25] That's awesome. Wow. I'm very excited to see it in all the different intergenerational layers and tonal shifts. I can't wait to see how it all comes together.   Ayame Keane-Lee: [00:39:34] Next up we are back with Miko Lee, who is now speaking with photographer Joyce Xi about her latest exhibition entitled Our Language, our Story Running Through January in San Francisco at Galleria de Raza.    Miko Lee: [00:39:48] Welcome, Joyce Xi to Apex Express.    Joyce Xi: [00:39:52] Thanks for having me.    Miko Lee: [00:39:53] Yes. I'm, I wanna start by asking you a question I ask most of my guests, and this is based on the great poet Shaka Hodges. It's an adaptation of her question, which is, who are your people and what legacy do you carry with you?   Joyce Xi: [00:40:09] My people are artists, free spirits, people who wanna see a more free and just, and beautiful world. I'm Chinese American. A lot of my work has been in the Asian American community with all kinds of different people who dreaming of something better and trying to make the world a better place and doing so with creativity and with positive and good energy.   Miko Lee: [00:40:39] I love it. And what legacy do you carry with you?   Joyce Xi: [00:40:43] I am a fighter. I feel like just people who have been fighting for a better world. Photography wise, like definitely thinking about Corky Lee who is an Asian American photographer and activist. There's been people who have done it before me. There will be people who do it after me, but I wanna do my version of it here.   Miko Lee: [00:41:03] Thank you so much and for lifting up the great Corky Lee who has been such a big influence on all of us. I'm wondering in that vein, can you talk a little bit about how you use photography as a tool for social change?   Joyce Xi: [00:41:17] Yeah. Photography I feel is a very powerful tool for social change. Photography is one of those mediums where it's emotional, it's raw, it's real. It's a way to see and show and feel like important moments, important stories, important emotions. I try to use it as a way to share. Truths and stories about issues that are important, things that people experience, whether it's, advocating for environmental justice or language justice or just like some of them, just to highlight some of the struggles and challenges people experience as well as the joys and the celebrations and just the nuance of people's lives. I feel like photography is a really powerful medium to show that. And I love photography in particular because it's really like a frozen moment. I think what's so great about photography is that. It's that moment, it's that one feeling, that one expression, and it's kind of like frozen in time. So you can really, sit there and ponder about what's in this person's eyes or what's this person trying to say? Or. What does this person's struggle like? You can just see it through their expressions and their emotions and also it's a great way to document. There's so many things that we all do as advocates, as activists, whether it's protesting or whether it's just supporting people who are dealing with something. You have that moment recorded. Can really help us remember those fights and those moments. You can show people what happened. Photography is endlessly powerful. I really believe in it as a tool and a medium for influencing the world in positive ways.   Miko Lee: [00:43:08] I'd love us to shift and talk about your latest work, Our language, Our story.” Can you tell us a little bit about where this came from?   Joyce Xi: [00:43:15] Sure. I was in conversation with Nikita Kumar, who was at the Asian Law Caucus at the time. We were just chatting about art and activism and how photography could be a powerful medium to use to advocate or tell stories about different things. Nikita was talking to me about how a lot of language access work that's being done by organizations that work in immigrant communities can often be a topic that is very jargon filled or very kind of like niche or wonky policy, legal and maybe at times isn't the thing that people really get in the streets about or get really emotionally energized around. It's one of those issues that's so important to everything. Especially since in many immigrant communities, people do not speak English and every single day, every single issue. All these issues that these organizations advocate around. Like housing rights, workers' rights, voting rights, immigration, et cetera, without language, those rights and resources are very hard to understand and even hard to access at all. So, Nik and I were talking about language is so important, it's one of those issues too remind people about the core importance of it. What does it feel like when you don't have access to your language? What does it feel like and look like when you do, when you can celebrate with your community and communicate freely and live your life just as who you are versus when you can't even figure out how to say what you wanna say because there's a language barrier.    Miko Lee: [00:44:55] Joyce can you just for our audience, break down what language access means? What does it mean to you and why is it important for everybody?   Joyce Xi: [00:45:05] Language access is about being able to navigate the world in your language, in the way that you understand and communicate in your life. In advocacy spaces, what it can look like is, we need to have resources and we need to have interpretation in different languages so that people can understand what's being talked about or understand what resources are available or understand what's on the ballot. So they can really experience their life to the fullest. Each of us has our languages that we're comfortable with and it's really our way of expressing everything that's important to us and understanding everything that's important to us. When that language is not available, it's very hard to navigate the world. On the policy front, there's so many ways just having resources in different languages, having interpretation in different spaces, making sure that everybody who is involved in this society can do what they need to do and can understand the decisions that are being made. That affects them and also that they can affect the decisions that affect them.   Miko Lee: [00:46:19] I think a lot of immigrant kids just grow up being like the de facto translator for their parents. Which can be things like medical terminology and legal terms, which they might not be familiar with. And so language asks about providing opportunities for everybody to have equal understanding of what's going on. And so can you talk a little bit about your gallery show? So you and Nikita dreamed up this vision for making language access more accessible and more story based, and then what happened?   Joyce Xi: [00:46:50] We decided to express this through a series of photo stories. Focusing on individual stories from a variety of different language backgrounds and immigration backgrounds and just different communities all across the Bay Area. And really just have people share from the heart, what does language mean to them? What does it affect in their lives? Both when one has access to the language, like for example, in their own community, when they can speak freely and understand and just share everything that's on their heart. And what does it look like when that's not available? When maybe you're out in the streets and you're trying to like talk to the bus driver and you can't even communicate with each other. How does that feel? What does that look like? So we collected all these stories from many different community members across different languages and asked them a series of questions and took photos of them in their day-to-day lives, in family gatherings, at community meetings, at rallies, at home, in the streets, all over the place, wherever people were like Halloween or Ramadan or graduations, or just day-to-day life. Through the quotes that we got from the interviews, as well as the photos that I took to illustrate their stories, we put them together as photo stories for each person. Those are now on display at Galleria Deza in San Francisco. We have over 20 different stories in over 10 different languages. The people in the project spoke like over 15 different languages. Some people used multiple languages and some spoke English, many did not. We had folks who had immigrated recently, folks who had immigrated a while ago. We had children of immigrants talking about their experiences being that bridge as you talked about, navigating translating for their parents and being in this tough spot of growing up really quickly, we just have this kind of tapestry of different stories and, definitely encourage folks to check out the photos but also to read through each person's stories. Everybody has a story that's very special and that is from the heart   Miko Lee: [00:49:00] sounds fun. I can't wait to see it in person. Can you share a little bit about how you selected the participants?    Joyce Xi: [00:49:07] Yeah, selecting the participants was an organic process. I'm a photographer who's trying to honor relationships and not like parachute in. We wanted to build relationships and work with people who felt comfortable sharing their stories, who really wanted to be a part of it, and who are connected in some kind of a way where it didn't feel like completely out of context. So what that meant was that myself and also the Asian Law Caucus we have connections in the community to different organizations who work in different immigrant communities. So we reached out to people that we knew who were doing good work and just say Hey, do you have any community members who would be interested in participating in this project who could share their stories. Then through following these threads we were able to connect with many different organizations who brought either members or community folks who they're connected with to the project. Some of them came through like friends. Another one was like, oh, I've worked with these people before, maybe you can talk to them. One of them I met through a World Refugee Day event. It came through a lot of different relationships and reaching out. We really wanted folks who wanted to share a piece of their life. A lot of folks who really felt like language access and language barriers were a big challenge in their life, and they wanted to talk about it. We were able to gather a really great group together.    Miko Lee: [00:50:33] Can you share how opening night went? How did you navigate showcasing and highlighting the diversity of the languages in one space?    Joyce Xi: [00:50:43] The opening of the exhibit was a really special event. We invited everybody who was part of the project as well as their communities, and we also invited like friends, community and different organizations to come. We really wanted to create a space where we could feel and see what language access and some of the challenges of language access can be all in one space. We had about 10 different languages at least going on at the same time. Some of them we had interpretation through headsets. Some of them we just, it was like fewer people. So people huddled together and just interpreted for the community members. A lot of these organizations that we partnered with, they brought their folks out. So their members, their community members, their friends and then. It was really special because a lot of the people whose photos are on the walls were there, so they invited their friends and family. It was really fun for them to see their photos on the wall. And also I think for all of our different communities, like we can end up really siloed or just like with who we're comfortable with most of the time, especially if we can't communicate very well with each other with language barriers. For everybody to be in the same space and to hear so many languages being used in the same space and for people to be around people maybe that they're not used to being around every day. And yet through everybody's stories, they share a lot of common experiences. Like so many of the stories were related to each other. People talked about being parents, people talked about going to the doctor or taking the bus, like having challenges at the workplace or just what it's like to celebrate your own culture and heritage and language and what the importance of preserving languages. There are so many common threads and. Maybe a lot of people are not used to seeing each other or communicating with each other on a daily basis. So just to have everyone in one space was so special. We had performances, we had food, we had elders, children. There was a huge different range of people and it was just like, it was just cool to see everyone in the same space. It was special.    Miko Lee: [00:52:51] And finally, for folks that get to go to Galleria de la Raza in San Francisco and see the exhibit, what do you want them to walk away with?   Joyce Xi: [00:53:00] I would love for people to walk away just like in a reflective state. You know how to really think about how. Language is so important to everything that we do and through all these stories to really see how so many different immigrant and refugee community members are making it work. And also deal with different barriers and how it affects them, how it affects just really simple human things in life that maybe some of us take for granted, on a daily basis. And just to have more compassion, more understanding. Ultimately, we wanna see our city, our bay area, our country really respecting people and their language and their dignity through language access and through just supporting and uplifting our immigrant communities in general. It's a such a tough time right now. There's so many attacks on our immigrant communities and people are scared and there's a lot of dehumanizing actions and narratives out there. This is, hopefully something completely different than that. Something that uplifts celebrates, honors and really sees our immigrant communities and hopefully people can just feel that feeling of like, oh, okay, we can do better. Everybody has a story. Everybody deserves to be treated with dignity and all the people in these stories are really amazing human beings. It was just an honor for me to even be a part of their story. I hope people can feel some piece of that.    Miko Lee: [00:54:50] Thank you so much, Joyce, for sharing your vision with us, and I hope everybody gets a chance to go out and see your work.    Joyce Xi: [00:54:57] Thank you.   Ayame Keane-Lee: [00:55:00] Thanks so much for tuning in to Apex Express. Please check out our website at kpfa.org/program/apexexpress to find out more about the guests tonight and find out how you can take direct action.   Apex Express is a proud member of Asian Americans for civil rights and equality. Find out more at aacre.org. That's AACRE.org.   We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.    Apex Express is produced by  Miko Lee, Jalena Keene-Lee, Ayame Keene-Lee, Preeti Mangala Shekar, Anuj Vaida, Cheryl Truong, Isabel Li, Nina Phillips & Swati Rayasam. Thank you so much to the team at KPFA for their support and have a good night.       The post APEX Express – 11.20.25 – Artist to Artist appeared first on KPFA.

Lunchbox was confronted by Old Dominion after they heard his comments about him not thinking they were worthy of making the Nashville Walk of Fame. We also heard about the artist who REFUSED to be interviewed by Lunchbox. Eddie said it also got awkward with Morgan when Dustin Lynch came around to be interviewed. Bobby has a list of the most hated NFL teams that Amy tries to guess. Amy talked about how Zac Efron showed up to Dancing with the Stars last night and everyone was surprised. Bobby revealed that he wrote a TV show that has moved up a few levels and we discuss if it has a chance of being made.See omnystudio.com/listener for privacy information.

We talked to Jess who called in recently asking Eddie if he would donate a kidney to her. Another listener Bryan stepped up in place of Eddie and said he would donate. We talked to both of them to make sure no one is getting scammed here and why he would be willing to donate to a stranger. Lunchbox and Morgan interviews Russell Dickerson and Priscilla Block for the CMA Awards. They each brought in audio evidence of the other one embarrassing themselves during the interviews and we debated who had the worst interaction. Amy and Bobby’s wife talking about what he will be called by their child. Bobby shares what he thinks and what we all called our dads growing up.See omnystudio.com/listener for privacy information.

About this episode's guest Indie Artist FIREROSE. The definitive version of her album's title track, "Shining Armor (Rise Again)" marks a powerful new chapter - one of independence, renewal, and self-rescue - and anchors the larger story she's finally ready to share publicly for the first time. That story continues next month with her new podcast, No One Asked Her, a series named for how the world once decided she didn't need to be heard. Firerose is a survivor who has lived through more than her share of hardship - addiction, abuse, and years of being silenced in relationships - yet has emerged with her faith, strength, and perspective intact. She's smart, passionate, and deeply thoughtful, with a story that deserves to be heard on her own terms. Born and raised in Sydney, music was her refuge amid a childhood marked by sadness and confusion. As a kid, she filled notebooks with lyrics, turning pain into songs. That survival instinct carried her across the world to Los Angeles, through addiction and a two-month stint in LA County jail that ultimately led to faith and sobriety in 2016. Even while trapped in controlling relationships that kept her from steering her own career, her voice still reached millions with charting singles and performances on Good Morning America, The Kelly Clarkson Show, and The Grand Ole Opry. Now, with her new single and upcoming podcast, Firerose is finally telling her story in full - standing in her independence, her faith, and her truth. The title "Shining Armor" speaks to that turning point: after years of waiting for someone else to save her, she realized she had to be her own knight, fighting for her freedom, her music, and her life with God's strength behind her. Her podcast title, No One Asked Her, nods to the way she was often reduced to a one-dimensional figure in the tabloids - someone the world decided didn't need to be heard from. Now, she's claiming her voice and inviting others to do the same. Website www.firerosemusic.com Social Media www.Instagram.com/firerose  Spotify https://open.spotify.com/artist/2hUvYMF6MBxiZVXjiglBPX?si=v3rJakPSRieeqGpShFuQJg  About Music Matters with Darrell Craig Harris The Music Matters Podcast is hosted by Darrell Craig Harris, a globally published music journalist, professional musician, and Getty Images photographer. Music Matters is now available on Spotify, iTunes, Podbean, and more. Each week, Darrell interviews renowned artists, musicians, music journalists, and insiders from the music industry. Visit us at: www.MusicMattersPodcast.comFollow us on Twitter: www.Twitter.com/musicmattersdh For inquiries, contact: musicmatterspodcastshow@gmail.com Support our mission via PayPal: www.paypal.me/payDarrell (voice over by Nigel J. Farmer  

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Artist Scott LoBaido rejoins the program after a couple of weeks away to discuss his views on the potential secession of Staten Island from New York City. Frustrated by the issues plaguing the city, such as crime and poor management under Democratic rule, LoBaido believes secession could rejuvenate and better manage resources for Staten Island. He also critiques the younger generation for being disconnected from reality and overly dependent on technology, suggesting that a disruption, like a solar flare, might reset societal values. The conversation highlights LoBaido's commitment to his community and the broader trend of regions considering secession in response to local governance failures. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode of The Other Side of the Bell, featuring classical trumpeter and soloist Imogen Whitehead, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Imogen Whitehead trumpet interview"   Find the expanded show notes, transcript and more photos here: https://bobreeves.com/blog/imogen-whitehead-trumpet-interview-the-other-side-of-the-bell-145/   About Imogen Whitehead: British trumpeter Imogen Whitehead is in demand across the UK and internationally, enjoying an increasingly diverse career as a soloist, chamber musician, and orchestral principal. A passionate advocate for new music, Imogen serves on the International Trumpet Guild's 'New Works' committee and has premiered numerous works by composers such as Sally Beamish and Stephen Dodgson. Many of these are featured on her recently released debut solo album, Connection. As a particular champion of the flugelhorn – an instrument often overlooked in the classical sphere – Imogen is dedicated to raising its solo profile through new commissions and arrangements. Her most recent commission, Ennui by Noah Max (for flugelhorn and piano), was supported by the Vaughan Williams Foundation and premiered in June 2025. Recent and upcoming highlights include concerto performances with Britten Sinfonia of Barry Mills' Trumpet Concerto (world premiere, July 2025) and Hummel's Trumpet Concerto (May 2025), the latter also featuring live on BBC Radio 3's In Tune. Imogen launched her solo album at London's iconic St Martin-in-the-Fields (May 2025), with further recitals at Proms at St Jude's (June 2025) and Wimbledon International Music Festival (November 2025). In addition to her position as Principal Trumpet with Britten Sinfonia, Imogen performs regularly as Guest Principal Trumpet with other leading orchestras internationally. In March 2025, she toured Germany and Belgium with Aurora Orchestra and Abel Selaocoe and next season joins the London Symphony Orchestra for a European tour. In recent years, she has performed in London's West End and played on major film soundtracks including Maestro and Saltburn. Imogen is currently Artist-in-Residence with St Martin's Voices and a member of the acclaimed wind and brass collective, Neoteric Ensemble. She is deeply committed to music education, community engagement, and equal opportunity, serving as an Associate and Mentor for GALSI (Gender and the Large and Shiny Instruments), an initiative promoting gender equality in brass and percussion. She is also involved in Britten Sinfonia's pioneering outreach work, has worked with the Royal Philharmonic Orchestra's 'Resound' education and community programme, and regularly leads masterclasses at conservatoires across the UK. Based in South West London, Imogen also volunteers as a befriender through the Wimbledon Guild. An alumna of the Royal Academy of Music, Imogen studied with professors including Mark David and Gareth Small and subsequently studied privately with Norwegian soloist Tine Thing Helseth. In April 2025, Imogen was awarded Associateship of the Royal Academy of Music (ARAM).   Episode Links: imogenwhiteheadtrumpet.com Connection: Imogen's debut solo album GALSI: Gender and the Large and Shiny Instruments (www.largeandshiny.com) Imogen on Instagram (@imogen_trumpet) on YouTube (@imogentrumpet) on TikTok (@imogentrumpet) 'To Stay Open' by Charlotte Harding, outdoor performance on YouTube   Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Cover Photo Credit - Matthew Johnson Photographer Audio Engineer - Ted Cragg

A caller enlightens Bobby on the rules of what times and places are appropriate to drink. A caller has a list of complaints about the show and we discuss. We played more CMA interviews with Bailey Zimmerman and why Lunchbox got in trouble. Lunchbox also called an artist the WRONG name. Abby shared how she was involved in a hit and run and how damaged her car was. Is Raymundo too old to be wearing a flat brimmed hat with a sticker? Someone tattled on him. Amy shared why she is struggling with her son’s Christmas list. Why Bobby is considering giving Eddie $50,000 dollars.See omnystudio.com/listener for privacy information.