Podcasts about backend

If you've ever looked at Amazon and wondered how some brands scale effortlessly while others disappear into a sea of competitors, you're not alone. Amazon can feel like an unpredictable giant—full of opportunity, but also packed with complexity. And as more entrepreneurs jump in, the brands that win aren't the ones chasing trends…they're the ones building with intention. Today's guest, Pasha Knish, has lived through every era of Amazon—from the Wild West days of early e-commerce to today's data-driven, hyper-competitive marketplace. With more than 13 years of hands-on selling experience and over $30M in revenue generated across dozens of categories, Pasha has mastered the science and art of sustained Amazon success. In this episode, Pasha pulls back the curtain on product selection, brand-building, organic ranking, and the future of AI-driven e-commerce—and what sellers must get right to scale smarter. Building an Amazon Brand That Solves a Real Problem Pasha's journey into Amazon began with experimentation—selling random products, discovering early opportunities, and launching a successful private-label brand long before the platform became saturated.  But the landscape has changed dramatically. Today, sellers can't simply pick a trending item and hope for the best. Amazon rewards solutions, not commodities. According to Pasha, the first step to a scalable product isn't creativity—it's clarity. Successful sellers reverse-engineer demand by digging into negative reviews, identifying gaps in the market, and building a product that solves a meaningful, proven problem. That's the difference between a product that launches and one that lasts. The New Era of Amazon Advertising and Organic Growth Beyond product strategy, Pasha shares how Amazon's ad platform has transformed and why focusing on Amazon's built-in tools is more effective than spreading efforts across outside channels. Instead of relying on other platforms to drive traffic, he uses Amazon's own customer data to reach buyers who are already interested and ready to take action. But ads are only one piece of the puzzle. Pasha explains why organic visibility matters just as much, especially now. Many sellers overlook the backend fields of their listings, yet these details are what help Amazon understand exactly what a product is and who should see it.  This philosophy inspired the software Pasha is building: a tool that simplifies and automates backend updates so more sellers can improve organic performance without drowning in technical work. At the heart of it all, Pasha believes Amazon success comes from constant learning and resilience. Every setback becomes a lesson, and every lesson creates an opportunity to grow stronger. Enjoy this episode with Pasha Knish… Soundbytes 10:59 – 11:16 "If you can give Amazon the most accurate representation of your product in those backend fields, you're going to show up better organically." 28:13 – 28:19 "If people like you and they find out you have a product, they'll probably buy it because they like you." 30:15 – 30:20 "You have to know exactly who you're advertising to. In a saturated market, going after top keywords will just lose all your money." Quotes "If you don't have a product differentiator, you'll spend all your money and never succeed." "The failures are what pave the way to success." "Backend optimization matters. Amazon is a categorizing system, and you need to fit cleanly into it." Links mentioned in this episode: From Our Guest Website: https://amzoptimized.com/ LinkedIn: https://linkedin.com/in/pasha-knish Connect with brandiD Find out how top leaders are increasing their authority, impact, and income online. Listen to our private podcast, The Professional Presence Podcast: https://thebrandid.com/professional-presence-podcast Ready to elevate your digital presence with a powerful brand or website? Contact us here: https://thebrandid.com/contact-form/

In this episode of the Crazy Wisdom Podcast, host Stewart Alsop sits down with Mike Bakon to explore the fascinating intersection of hardware hacking, blockchain technology, and decentralized systems. Their conversation spans from Mike's childhood fascination with taking apart electronics in 1980s Poland to his current work with ESP32 microcontrollers, LoRa mesh networks, and Cardano blockchain development. They discuss the technical differences between UTXO and account-based blockchains, the challenges of true decentralization versus hybrid systems, and how AI tools are changing the development landscape. Mike shares his vision for incentivizing mesh networks through blockchain technology and explains why he believes mass adoption of decentralized systems will come through abstraction rather than technical education. The discussion also touches on the potential for creating new internet infrastructure using ad hoc mesh networks and the importance of maintaining truly decentralized, permissionless systems in an increasingly surveilled world. You can find Mike in Twitter as @anothervariable.Check out this GPT we trained on the conversationTimestamps00:00 Introduction to Hardware and Early Experiences02:59 The Evolution of AI in Hardware Development05:56 Decentralization and Blockchain Technology09:02 Understanding UTXO vs Account-Based Blockchains11:59 Smart Contracts and Their Functionality14:58 The Importance of Decentralization in Blockchain17:59 The Process of Data Verification in Blockchain20:48 The Future of Blockchain and Its Applications34:38 Decentralization and Trustless Systems37:42 Mainstream Adoption of Blockchain39:58 The Role of Currency in Blockchain43:27 Interoperability vs Bridging in Blockchain47:27 Exploring Mesh Networks and LoRa Technology01:00:25 The Future of AI and DecentralizationKey Insights1. Hardware curiosity drives innovation from childhood - Mike's journey into hardware began as a child in 1980s Poland, where he would disassemble toys like battery-powered cars to understand how they worked. This natural curiosity about taking things apart and understanding their inner workings laid the foundation for his later expertise in microcontrollers like the ESP32 and his deep understanding of both hardware and software integration.2. AI as a research companion, not a replacement for coding - Mike uses AI and LLMs primarily as research tools and coding companions rather than letting them write entire applications. He finds them invaluable for getting quick answers to coding problems, analyzing Git repositories, and avoiding the need to search through Stack Overflow, but maintains anxiety when AI writes whole functions, preferring to understand and write his own code.3. Blockchain decentralization requires trustless consensus verification - The fundamental difference between blockchain databases and traditional databases lies in the consensus process that data must go through before being recorded. Unlike centralized systems where one entity controls data validation, blockchains require hundreds of nodes to verify each block through trustless consensus mechanisms, ensuring data integrity without relying on any single authority.4. UTXO vs account-based blockchains have fundamentally different architectures - Cardano uses an extended UTXO model (like Bitcoin but with smart contracts) where transactions consume existing UTXOs and create new ones, keeping the ledger lean. Ethereum uses account-based ledgers that store persistent state, leading to much larger data requirements over time and making it increasingly difficult for individuals to sync and maintain full nodes independently.5. True interoperability differs fundamentally from bridging - Real blockchain interoperability means being able to send assets directly between different blockchains (like sending ADA to a Bitcoin wallet) without intermediaries. This is possible between UTXO-based chains like Cardano and Bitcoin. Bridges, in contrast, require centralized entities to listen for transactions on one chain and trigger corresponding actions on another, introducing centralization risks.6. Mesh networks need economic incentives for sustainable infrastructure - While technologies like LoRa and Meshtastic enable impressive decentralized communication networks, the challenge lies in incentivizing people to maintain the hardware infrastructure. Mike sees potential in combining blockchain-based rewards (like earning ADA for running mesh network nodes) with existing decentralized communication protocols to create self-sustaining networks.7. Mass adoption comes through abstraction, not education - Rather than trying to educate everyone about blockchain technology, mass adoption will happen when developers can build applications on decentralized infrastructure that users interact with seamlessly, without needing to understand the underlying blockchain mechanics. Users should be able to benefit from decentralization through well-designed interfaces that abstract away the complexity of wallets, addresses, and consensus mechanisms.

Formulare zwingen Menschen, wie Software zu funktionieren. Aber was passiert, wenn Software einen intelligenten Dialog initiiert, der exakt auf das Gegenüber eingeht – und so alle erforderlichen Informationen gewinnt? In dieser Folge des #KIundTECH Podcasts spricht Holger Winkler mit Pierre-Andre Reiners, Gründer und Geschäftsführer von neuraBlu AI, über AI-UX und die Grenzen klassischer Formulare. Im Fokus steht die Frage, warum starre Eingabemasken in vielen Anwendungsfällen scheitern – und wie dialogbasierte Sprach- und Texteingaben Nutzer führen, Inhalte verdichten und die Datenqualität bereits bei der Eingabe verbessern. Anhand des Briefing-Formulars des KIundTECH Podcasts wird praxisnah gezeigt, wie AI-UX Prozesse vereinfacht, Mehrsprachigkeit ermöglicht und Nacharbeit im Backend reduziert. Themen der Folge: - Warum Formulare für viele Anwendungsfälle ausgedient haben - Wie AI-UX Nutzer aktiv durch Prozesse führt - Effizienzgewinne durch dialogbasierte Datenerfassung - Datenqualität als Ergebnis guter UX - Wirtschaftliche Kriterien für den Einsatz von KI Mehr Infos zu Pierre-Andre Reiners: ► Website: https://www.neurablu.ai Mehr KI-Wissen – exklusiv, aber gratis wartet auf Dich! Wir befähigen Entscheider in inhabergeführten Unternehmen im DACH-Raum, KI klar zu verstehen und gezielt dort einzusetzen, wo sie nachhaltigen geschäftlichen Nutzen schafft. Der #KIundTECH Podcast vermittelt wöchentlich verständliche Einblicke in reale Unternehmens-Cases und liefert relevante KI-Updates für die Praxis. Jede Folge erscheint mit weiterführenden Informationen als wöchentlicher Newsletter. Mehr Infos: https://kiundtech.com/newsletter

The Circle Back crew takes a look back at Gambling Twitter's best moments of 2025. Jacob Gramegna hosts a star-studded cast of Rob Pizzola, Geoff Fienberg, Kirk Evans, Joey Knish and Mike (aka Mr. PeanutBettor) to get their reactions to this year's top content. From Vegas T-Bone's ambulatory flex to Jeff Nadu's domestic flight, we have it all.

What if your customers already trusted you before you knocked?In this episode of the Million Dollar Electrician Podcast, we break down the Back-End Selling Blueprint the exact system we use to pre-sell every job, boost conversions, and make technicians unforgettable before they arrive.Learn how to make homeowners trust you before the call, eliminate awkward cold door moments, and create an experience so personal and frictionless that selling becomes the obvious next step not a push.

Im Januar 2001 verband sich die Elbe-Jeetzel-Zeitung via www.ejz.de mit dem wordwideweb. Kurz vor Weihnachten begann die Redaktion, im Backend die Nachrichten einzuspielen. Zaghaft, ausgewählt aber regelmäßig. Damit begann die digitale Verbreitung der traditionellen Lokalnachrichten aus dem Wendland. Ein interner Einblick über die Anfänge, die Entwicklung und die Zukunft von Lokalzeitung im Internet.

Ben Ennis and Daniele Franceschi open Friday's show by recapping the Leafs' 3–2 loss to the Sharks. They take a closer look at the team's six-game point streak, Dennis Hildeby's strong performance, Toronto's improved power play execution, William Nylander's effective response to a third-line assignment, and the outlook for Saturday's matchup with the Oilers. After the break, they discuss the Braves' signing of Robert Suarez and its impact on the Blue Jays' bullpen. They also touch on Kyle Tucker and Vladimir Guerrero Jr.'s social media activity and what it might suggest about free-agency decisions, before listening back to Todd Bowles' reaction following the Buccaneers' collapse against the Falcons on Thursday Night Football.The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates.

Send us a message!In this episode, we are joined by Jim DeVos, industry veteran, former co-owner of Best Beach Getaways, for the first public reveal of VR Works — the backend system he spent years building to fix the operational pain points he couldn't ignore.Jim breaks down how VR Works evolved from an internal solution into a fully integrated platform, how it nearly doubled their profit, and why an operator-first mindset shaped every design decision. He also explains the onboarding and pricing philosophy behind VR Works, and why he believes now is the right moment to introduce it to the wider industry.If you're curious how seasoned operators who have lived every operational pain point design systems that make teams faster, owners happier, and scaling far less chaotic, this conversation is a must listen.We Discuss:1️⃣ The operational challenges that sparked VR Works2️⃣ How building internally led to faster, clearer workflows3️⃣ The specific efficiencies that nearly doubled their net profit4️⃣ Why an operator-first mindset shaped every design choice5️⃣ Reducing migration pain through smarter data import and onboarding6️⃣ Why he's introducing VR Works now7️⃣  Updates on Swanky Vacay and his continued operator journeyConnect with Jim:LinkedIn: https://www.linkedin.com/in/jim-devos-35254912/ VRWorks: https://www.linkedin.com/company/vrworks-llc/ Get 20% off any yearly or bi-yearly Lodgify plan, plus free personalized onboarding (a $3,000 value).

BUILDING A PERSONAL BRANDDoor-to-door phenom Jake Robles breaks down how he went from teenage pest rep to record-setting alarms seller at Vivint—and why he walked away mid-summer to bet on solar and his personal brand. We cover the highs (45 installs in a week, 110+ accounts/rep averages, 86 solar deals in 8 weeks) and the inner game that actually drives those numbers: presence over panic, starving dopamine, and removing fear so “God-given energy” can flow.In this episode:The reality of solar systems (and how Jake navigates them)Flow state > tactics: how to stop transmitting desperation on the doorsPresence as a competitive edge (and what “being present” really means)Starving fake dopamine, fasting, and managing energy without gimmicksLeadership that scales: one pitch, same words, every time—and whyHandling online hate without fighting backPreparation stacks: sleep, diet, and phone disciplineSurrender, unconditional faith, and letting life “tear down” old identities so you can rebuild

This is a recap of the top 10 posts on Hacker News on November 28, 2025. This podcast was generated by wondercraft.ai (00:30): Pocketbase – open-source realtime back end in 1 fileOriginal post: https://news.ycombinator.com/item?id=46075320&utm_source=wondercraft_ai(01:53): EU Council Approves New "Chat Control" Mandate Pushing Mass SurveillanceOriginal post: https://news.ycombinator.com/item?id=46077393&utm_source=wondercraft_ai(03:16): Petition to formally recognize open source work as civic service in GermanyOriginal post: https://news.ycombinator.com/item?id=46078770&utm_source=wondercraft_ai(04:39): Show HN: Glasses to detect smart-glasses that have camerasOriginal post: https://news.ycombinator.com/item?id=46075882&utm_source=wondercraft_ai(06:02): Credit report shows Meta keeping $27B off its books through advanced geometryOriginal post: https://news.ycombinator.com/item?id=46079868&utm_source=wondercraft_ai(07:26): 28M Hacker News comments as vector embedding search datasetOriginal post: https://news.ycombinator.com/item?id=46081053&utm_source=wondercraft_ai(08:49): Bringing Sexy Back. Internet surveillance has killed eroticismOriginal post: https://news.ycombinator.com/item?id=46080473&utm_source=wondercraft_ai(10:12): Imgur geo-blocked the UK, so I geo-unblocked my networkOriginal post: https://news.ycombinator.com/item?id=46081188&utm_source=wondercraft_ai(11:35): A Remarkable Assertion from A16ZOriginal post: https://news.ycombinator.com/item?id=46078138&utm_source=wondercraft_ai(12:59): How good engineers write bad code at big companiesOriginal post: https://news.ycombinator.com/item?id=46082223&utm_source=wondercraft_aiThis is a third-party project, independent from HN and YC. Text and audio generated using AI, by wondercraft.ai. Create your own studio quality podcast with text as the only input in seconds at app.wondercraft.ai. Issues or feedback? We'd love to hear from you: team@wondercraft.ai

What drives execution velocity—better tools or better clarity? Loïc Houssier, CTO of Superhuman Mail (post-Grammarly acquisition), argues that most velocity problems stem from unclear team missions, not inadequate tooling. From steering DocuSign's French acquisition through complex carve-out negotiations to building Superhuman's offline-first architecture with a 100-millisecond interaction rule, Loïc shares hard-won lessons about engineering metrics that actually matter (PR per engineer per week trends over absolutes), when to resist microservices (until it's genuinely painful), and why promotion frameworks determine product quality. Technical leaders will learn how vertical team alignment eliminates dependencies, why guild structures maintain consistency without blocking speed, and how European safety nets create under-appreciated opportunities for technical risk-taking.

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Ein Gespräch über Millionenbeträge im Amazon-Kosmos, verlorene Ware, unsichtbare Abrechnungsfehler – und die Frage: Wie viel Geld verschenken Vendoren jährlich, ohne es zu merken? Henrik Rein von Threecolts (ehemals DimeTyd) erklärt, warum 2–4 % Umsatzdifferenz für Marken zum Gamechanger werden können und wie es ein Tool schafft, mitten im Dickicht aus Shortages, Overbillings und Amazon-Prozessen klare Beweise zu liefern. Im Gespräch mit Host Florian Vette gibt Henrik Einblicke in … - seinen Weg von der Berlin Brands Group über Millionen-Fundings und 40 Markenzukäufe bis hin zur heutigen Rolle bei DimeTyd/Threecolts und was man lernt, wenn man in zwei Jahren Dutzende Gründer:innen trifft - die Frage, warum große Vendoren jedes Jahr Geld verlieren und welche Mechanismen hinter Shortages, verlorenen Einheiten und fehlerhaften Gebühren stecken - die Rolle von Automatisierung: Wie funktioniert ein Audit, das vier Jahre rückwirkend die Profitabilität aufräumt? - typische Abrechnungsfehler bei Overbillings: von falsch berechneten Koops über Subscribe-&-Save-Anomalien bis hin zu Rundungsfehlern im Backend - die Dynamik zwischen Vendor und Amazon: Warum Proof-of-Delivery kaum hilft und wie Verhandlungen trotzdem erfolgreich verlaufen - die Unterschiede zu anderen Tools am Markt und die Frage, warum sich Tool-Stacking für Vendoren lohnen kann - den Blick auf Seller: Welche Fehler passieren im FBA-Kosmos, warum sind Lookback-Fenster entscheidend und weshalb kürzt Amazon sie immer weiter? Eine Episode voller Aha-Momente, ehrlicher Branchen-Insights und wertvoller Learnings für alle Vendoren und Seller, die wissen wollen: Wo liegen eigentlich meine versteckten Gewinne? Links zur Folge: Kontaktiere Henrik Rein auf LinkedIn: https://www.linkedin.com/in/henrik-rein-96383612a/ Besuche threecolts.com für weitere Informationen

This week, Paul and Jess begin with a list of some of the TV shows that were awarded California's film tax credit, including Fallout, the Night Agent, and Baywatch. Next, they discuss some much anticipated spin off (prequel and sequel) news regarding their favorite show, Game of Thrones. Finally, Paul breaks down Dave Erickson's profit participation lawsuit arising out of Fear The Walking Dead. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kennst du das? Neun Klicks sind blitzschnell, der zehnte hängt gefühlt ewig. Genau da frisst die Tail Latency deine User Experience und der Durchschnittswert hilft dir kein bisschen. In dieser Episode tauchen wir in Request Hedging ein, also das bewusste Duplizieren von Requests, um P99 zu drücken und Ausreißer zu entschärfen.Wir starten mit einem kurzen Recap zu Resilience Engineering: Timeouts, Retries, Exponential Backoff, Jitter, Circuit Breaker. Danach gehen wir tief rein ins Hedging: Was ist der Hedge Threshold, warum optimieren wir auf Tail statt Head Latency und wie Perzentile wie P50, P95 und P99 die Sicht auf Performance verändern. Wir zeigen, wie du Hedging sicher umsetzt, ohne dein Backend zu überlasten, wo Idempotenz Pflicht ist und warum Schreibzugriffe besonders heikel sind.In der Praxis klären wir, wie du Requests sauber cancelst: HTTP 1.1 via FIN und Reset, HTTP 2 mit RESET_STREAM, gRPC Support und wie Go mit Context Cancellation nativ hilft. Zum Tooling gibt es echte Beispiele: Envoy als Cloud-native Proxy mit Hedging, gRPC, Open Source Erfahrungen. In der Datenbankwelt sprechen wir über Read Hedging, Quorum Reads und Write-Constraints bei Cassandra und Kafka, über Vitess im MySQL-Universum und Grenzen von PG Bouncer. Auch Caches wie Redis und Memcached sowie DNS Patterns wie Happy Eyeballs sind am Start. Historisch ordnen wir das Ganze mit The Tail at Scale von Jeff Dean ein und schauen, wie Google, Netflix, Uber, LinkedIn oder Cloudflare Hedging verwenden.Am Ende nimmst du klare Best Practices mit: Hedging gezielt auf Tail Latency einsetzen, Requests wirklich canceln, Idempotenz sicherstellen, dynamische Thresholds mit Observability füttern und deine Guardrails definieren.Neugierig, ob Hedging dein P99 rettet, ohne dich selbst zu ddosen? Genau darum geht es.Bonus: Hedgehog hat damit nichts zu tun, auch wenn der Name dazu verführt.Keywords: Resilience Engineering, Request Hedging, Tail Latency, P99, Perzentile, Microservices, HTTP 2, gRPC, Go Context, Observability, Monitoring, Prometheus, Grafana, Envoy, Open Source, Cassandra, Kafka, Vitess, Redis, Memcached, Quorum Reads, Tech Community, Networking.Unsere aktuellen Werbepartner findest du auf https://engineeringkiosk.dev/partnersDas schnelle Feedback zur Episode:

Sandra und Daniel hatten eine volle Woche mit Transkriptionen und Konferenzbesuchen. Der Bildungsauftrag "Frontend für Backend" geht weiter. Diesmal steht das Thema "Full-Stack-Entwickler" im Fokus.

Don't you see, sensei I'm just as disappointed in myself And ready to die Just as I relay the message, Spray me with your morbid essence Don't, croak, you fool, You've only a spoon ful of sugar left to go The dose is coming up your throat, — you didn't know to throw up Grab the rope and go up Before gravity has crushed your —thought: Stupid boy, you don't want to die— Nor to do, but oh, do we have it coming Silly mortal, overlords and governed, Short of morals, steady coming at your doorstep So goes our concert! And so goes our concept for divorce, And sure of course, Your four corse meal, and/or dessert This is just devastating, genetics made me The sort at sorting words, but surfing, Sure. Ever temporarily the cadence changes, Still they say “you've been betrayed” But never had a friend I made made As good as death and God have been to me For everything you're meant to be, Plus everything you're meant to me, I go, unwanted, troubled and disgusted at my own immortal outcome. Sure. My back hurts and I'm wounded, Heartbroke, Thrust in every cardinal direction Also, honored at the mark of magic wand Upon her shoulder; And so, Just as soon as the sun and moon, Does the fire escape set a perfect path For outward destruction of the bricks and mortar Or your alter (This we talk about, to some effect Is your repression and affective form of supernatural perfection) But forget the makeup; I can make you up to be a star And not of wars and other worlds, But those that come before us, Carson, and the others Paar before that. But, I think not dear sir How wrong you are, A wretched bird, Set not to fly, but O father Wit and relay messages, The passage said, and set to clocks, The past was won and so the future altered, But dear feathered father, Mortal you are not But just another triumph Of my god; And set the mirror to the magnets Camera, lights and action, Magic— All the signs of the dawn, and the mad don Red Dawn came upon us, called the Red Man Tom, from other, over, under Still was my mistake to mumble such Or put upon the tongue As such assumption Still— wonder? Bird, shut up; Love I dusk And lust I soak In all the frittered dust and feathers, Colors, coming up as mister Chuck and wood, and wait and ponder Slithered this to wonder, not a rock, But potted fern, Asunder Thunderstorm And wicked rain And fair the back A tide had come And sitting there upon the shore, Was us, and 12 apostles She's a Brick— Seemingly out of nowhere, A RED BRICK HOUSE falls very perfectly from the SKY and into OZ. oh good, my house is here. House. [the festival project ™] But I don't want to make house! Then play it! I don't want to play house it is BORING. You play it— they want it. But I don't want it. Then forget it! What! Listen kid, a job's a job! {Enter The Multiverse} Wrong, this is wrong— everything is wrong. What's wrong, Rob? I'll be back. ROB LOWE has just played TRUTH OR DARE L E G E N D S if I could get inside your head For just a second Bread and butter Heaven, hell, And other places I have wandered But oh, wonder This is never what I wanted, Was it? No sir. Sure, I set you off, No sooner had you got a gun and shot me. Handsome fucker. I'll bet. Wrong act. Wrong award show. Wrong hat and a baseball bat, Peanut butter and a nice cold cheesecake, Don't forget to order cheesesteak For your cat. A carnivore at odds with the other worlds, And also fused to us; This drifting back and forth Between the Rock And Hollywood Has got to stop. ((The world is toxic.)) the legend of… L. JONES It's you! BLŪ AH, crap. L. JONES Listen, I got something for you. BLŪ Where did your bird go? L.JONES What bird? CUT TO: Now open that. No wait! It's a trap! THE VAULT inside THE CRYPT at 30 ROCK has been opened. I keep looking down at my phone As if I'm expecting a phone call Or incoming message from God But the worlds to a song Are all jumbled up in my Concious I don't want to talk about it I feel Nauseous Everyone is being obnoxious Even my own blood I don't want to function I just want some French toast crunch For lunch Nostalgia I got a whole inch taller on the peloton Holla Now I got a body, Broader, So close to Broadway But I never go there That's a tall order Of “gotta have money” I mean live theatre It's fine I'll eat here And repeat these things till they just rhyme Line them all up like a context, Story Someday I'm gonna cut my own check Watch me lol none of this rhymes without a hard Brooklyn accent ; Guess you can't hack it! Send you ass packin! I said “That's whack son!” Then I went back blonde Now they want Backend, Contract, Off the top, Royalties Residuals I'm an individual with insidious syntax And yet I'm ridiculed Truly I'm a tit-for-tat Or particle of all you are Circular centrifuge, I trickle down your tentacles (Eugh) Choke the chicken just to give the cat a chicken bowl, Chick fil et and pret a tair just to get a ritual Espresso and a quick snack So I can get my dick wrapped In chocolate and licorice because the shit is edible Damn that I guess they set a damn trap By putting out the welcome mat, Then strapping Like a mothafuckin' straight jacket Matter fact, I look a nap in it, Then magic tricked the slip effective Compliments of Michael Jackson Or was it tech nine? Maybe I should get my Mind right I lost it once I guess I've better find it If I am, in fact, A diamond in the rough It's probably blooded it up enough That you should dig it up and shine it; Better yet, Somebody outta pick it up And sign it, Cause I write enough To put a vision To a blind man It's Fran Fine, man I'm behind, man The shadowgov had put me on a diet My bad I noticed that they tried to shut me up But couldn't stop the words or other stuff That just keeps coming out of my head I put coconuts as butter onto my bread And thinking thoughts of Carl cox As I drift off in my bed, I said, “It shouldn't be a problem, officer” As I reached for the gun And he aimed it at my death. That's an impossible apocalyptic suicide— Did you invite the devil in? I said “Nah, but that guy did.” The problem is, I pointed over yonder to a ghost Who also knows that I'm a well respected psychic; Nevermind a sidekick, side bitch in a sidecar, Psych ward, Sike! We spike war on your kind! So far, If I make history tonight, The other side decides their psalm is just as likely The third reike. Okay, strike one: I'm gonna turn your lights off. Strike two : you do and say what I do: Strike three: we're gonna make you suicidal I specialize in denying rights for high profits But big brother, or boss— What if my glove fits? The instance it does, We lock you up with no service, Your world becomes dark And your words become worthless Oh shit. This is not a good rap song. Like, at all. I must say, I do agree, You lose your trust, but silently Denied is all your trouble, Till it just begins to bubble up Until the cookie crumbles— See that feeling in your stomach? This is bigger than the money, girl — They want your soul, and then the world! I told you never call him. I didn't! Then explain this: [Skrillex] *sharp inward sigh* CUT IMMIDIATLEH TO STAN You know what! That's it! I don't care how handsome or rich and famous he is! This has to stop! KYLE Hey, wait just a minute— STAN SHUT UP KYLE. KYLE You shut up! STAN You're starting to sound just like him! KYLE Take that back! STAN I won't take it back! You all might have forgotten who you are, but I haven't!after of fact, I bet to Cartman, you're still that stupid little Jew kid! KYLE That's IT. KYLE takes out his phone. what are you doing? …I'm tweeting about this. I thought it was X now… It is, but you can't ‘x' anything, it's still calledl tweeting. I guess youre right. —and I'm tagging Cartman ! STAN Are you serious? Oh shit, this is social suicide. …did I ever explain this storyline? …I don't know, did i? I'd gotten so focused on this impending doom looming over me with this whole lawsuit that I'd forgotten entire worlds and whole documents. Even more terrifying, was the sudden quiet and the onset guilt that came over me for getting distracted. But I couldn't remove myself from it entirely—- it seemed to have ruined everything. It wasn't just motorcycle noises, it was like a nervousness and angst twisting in my stomach for months and months, until finally, as the court dates started approaching, it was peaceful, or rather, normal, all of a sudden. It couldn't be peaceful because now that the extreme noise was gone, I knew it had been planted all long— but what was the purpose? I'd lost two years not knowing, and though there were albums, they were never what I wanted. Now I was sorting through the documents of the show like it was the rubble of a decimated building— completely demolished, and I hadn't the slightest clue the contexts or the storylines anymore. It was pain and suffering, but not in the legal context. It was a creative disaster— I hadn't any idea in the slightest where I'd left my audience before I was forced to abandon them. But I was forced to choose, at times, between soap and toilet paper, or eventually, food, and water— or a phone. Eventually, this too became a pattern of the impossible— trying my hardest to do what I thought had been my purpose, but for far, being so endlessly sabotaged, even ridiculed and humiliated, and still, I couldn't understand why. I was tired— and somehow, even though I'd wanted to be left alone, I was the target. Worse was that I assumed it to be bigger than I thought and completely out of control— I thought immediately back to how my best friend from middle school had been attacked, and how she was made to think that it was me…to the point that she'd become obsessive about it to call my mom over it. And as far as the court was concerned, to the wrong ears or wrong eyes, anything I'd published in the festival project could look troublesome, like the ramblings of a mad mad, or schizo, or uncontrolled obsessive thoughts— because the biggest secrets of all, the things that tied together these fictional worlds and plots, were my own real life experience. The inability in a court of law to detail the podcast, which had started as meltdown some would call grandiose over an almost long forgotten rockstar and a porn model — and the entries into the festival project that followed, which included high concepts, off-kilter comedy, politics, and even fringed on social justice. Nothing I ever would have wanted and especially over money, but the lawsuit wasn't about money at all. In fact, at any moment I would have chosen to die and have it all stop if it weren't for my very young son being left alone. Though recently the dread had overcome with a sense of unbearable loss and agony, encrypted with suicidal thoughts and wants, reeling for human touch, the overbearing factor seemed to be that if I killed myself, I was giving someone what they wanted. I was really much too tired to go on, but leaving behind the world in entirety, in my very own way of beliefs wasn't just “shitutting it off”, it was starting it over. Understandably and undeniably immortal in its nature, the instances of God I had left spoke with a reminiscence of being born again, and having to remember which is it I'd wanted to start off. It was an unachievable overload of chaos and disruption, a level of corruption that spoke to something so dark and sinister it seemed biblical — then, again, I tried to wrap my mind around a way to rebuild a positive world from hope and thought, or manifest reality, but this is the very experience I'd felt was intended all along. The motorcycles weren't merely meant to destroy my career, or my will power, or force— they were, but also they were made to play upon my most valuable asset, the power of thought, to make it impossible to become something other than what was wanted; to use my own mind against itself and destroy my way of thought by using vibrations that could not be shut out, or stopped— they followed me to the sound collective, to Shakespeare in the park, the bank, the doctors office— it was as if they knew and understood my very thoughts, my process. It was of nothing at all to corrupt every single body and brain who would surround me or come close— by using the power that seemed supernatural enough, but indeed were powered by money, and technology. Perhaps, in this essence, I thought, was the purest display of defective intention itself; the mere thought that this indeed was rather Good Vs. Evil or God and The Devil would easily be written off as a diseased way of thought. The social world and constructs had been built around being open minded to a system of psychology that was intrinsically rather corrupt. I knew this could only be fought with what I knew, and what I could draw from as logic. I didn't want to go to court because I knew the people I would be fighting were liars, and well trained psychological masters of manipulation, well hidden terrorists dressed as public servants and systematic corrupters all for simple profit margins, to whom I was not so much a person or a mother, or a daughter, but a number. Because I was poor, and had once or four times chosen to love the wrong person in an unorthodox and uncontrollable form of torture, dismissing each and every social construct or physiology that was by the book, by embracing that there was a reason for change I quickly became quite the antagonist of sorts and hopefully not some sort of martyr —for the kind of people that had money and property, and perhaps even socially constructed circles to camoflage their own self doubt and hatred, but absolutely also had no morals. –Death of a Superstar DJ If I lose my mind At least I know I'm right on time This time— I meant that, I had it bad this time MCBADBAT I had it bad this time, And the last. Perchance for you, Hour or folded, Hair my weight And glassed upon thy, This upon now, Feathered waking, And there barely weathered Shaking. Dear, dear, Tis is fair truth, To fare that I have gasp And fated at thy doorstep; And yet, care to force, Her breaking waves and saving tinder, Fit there slithered in as yet astonished, Then another; And I hated. So, then, slower now. All there, gathered none. And show to show thy force What then became and withered after, None to bark or beg But birds and feathered creatures, pander The tides did Quake, And the heart did grow ten fold and steady saying None upon us but one left to shiver in the depths That yet remain as undiscovered For now never there was another world, Undone, And also another becomes, My death— And therefore all the worlds I kept, To travel on and travel As becomes one, does another onward As the first is glass to dust, And last is born there. So, Then, I, Crept, In my dress, Kept for clothes that church did water I, met, My mark and there the doors of shadows open Wilted and wake? Hear you; A star was born In other cosmos tied with our own nurture So, Kept, The weight of clasp and bone That holds the crept and precious alter Goddamn cat! Where are you. AAtticus Caaticus Oop. Gotta go. Toonces! Tooooonces! Where are you? Omg remember that one where that couple has a magic toddler and they just let him like,float away. Yeah, barely. Yeah. So I do. CUT TO: TOONCES focuses intently on the task at hand; he's sure he can manage to drive the human vehicle to his own home— to where he's assured he will find the actual body in which he belongs. Now… let's see, if I can just Wait, I who? ATTICUS CATTICUS, An ancient alien sorcerer must relay a series of important messages. Unfortunately. YO WHAT THE FUCK. None of them seem to be getting through. CUT BACK TO: TOONCEEESSSS. here kitty kitty kitty!! {Enter the Multiverse} I would dedicate, but honestly I've not time to waste And I'm craving wedding cake I hate to destroy you But for now, you know I can't employ you; This implies my eyes are also murder And I'm sure of her departure From another world, Perhaps across the border. Also, quite the dark sorcerer himself LORNE MICHAELS has well hidden himself under the guise of having become one of the most successful television producer of all times— And even in his own very small world, Nobody quite seems to know why. JIMMY FALLON Lorne, I have to tell you something. LORNE MICHAELS This had better be good, Jimmy, I've just made popcorn. [the festival project ™] Don't worry, for now, The risk remains hidden, As sure as an asset is an advantage, I can't have the classes counting Heads of cabbage as accomplishes, The masses are honestly astonished And impossible, but what was wrong with Boredom in the first place? Nonsense More words And still no dollars Hunger strike, And burning harder, California deficit, lack of bread, Heaven sent interventions and scissors, Mistresses, disasters and divorces But who says the whole story has to suffer? You're a surfer under water, Remember that when you finally catch your breath above the surface Can you clear her? He who? Back to work! Or back to the future! My super brain is dead but I think I'm next I think heaven swallows whole the blooded laugher From the constructs I've come from. Remember that. Remember not to fall from too far up, God would give you wings With time to spare Before you ever wondered where Your mark was On the plaza Don't let me up to the very top. I will at the very least Best scenario jump off And rid the world myself, Just for a dozen donuts over Crossing hearts and Hollywood And Griffith park To also soft my foot Upon red carpets. You ever shave your armpits!? …no. Hm. Catholic. Of course. Get in. Destination. —Rotterdam. You idiot. I made it. Whatever, get in the boat. DI NERO Give her your shirt. What. Your shirt. Why my shirt. Just— Fine. Here. [he hands over his shirt— in an instant, the woman becomes an exact REPLICA.] …my shirt. Relax. Nothing's gonna happen to it. Okay? —in fact, you're still wearing it. Alright! She's right, Jimmy, relax. I can't, that's— It's simple. There is nothing simple about this whatsoever. You're right. It's not, so get over it. [The Festival Project ™] BILL MURRAY There's a compartment at the end of the left corridor— Alright. In that hatch, there's a chamber. Okay, what'll I do? You'll open it? How? I'll tell you how, just get there. Suddenly, a barrier falls; it appears as though there are booby traps set here. Uh— that might be a problem. There might be a few of them. What just happened? Booby traps. —ah, I know what you're talking. Those aren't booby traps— they're Bobby Traps. What in the Hell are you talking about? For whatever reason Jimmy Kimmel Is important Now I'm scared of him, I know he knows the devil Come to think of it, Might even be an advocate Have an avocado But don't know the half of it These are, as it stands Comes what may Special circumstances I could circumvent an intervention, Never second chances I've been setting rat traps, Trapeze artists, Bampheramph camp, And also trampolines over the plaza That seems dangerous. Yeah. AHHHHHHhhhhhhhhhhhhhhh. Damn. Know it's plausible, That I also am an alcoholic, Though dysfunctional, Professional, And underrepresented So I stand myself, Let's just say pro-se if you will I could add Prozac to my snacks But I'll be delayed, if you still Don't get my messages I'm sick of having heart attacks; A hard advantage I was looking back on “fully packaged” A six pack of abs And nothing left to eat but cabbage, Haven't had a mouth, But I've been counting on my ass To get me back up north, I'm coming from the South Out West, there's a word for that At best, you're a four and a half My body double stunts and stumbles Struts at nothing Struck before the one, And so between high noon and Somewhere around 30 in I'm never turning 30, 30 Rock is in the wind— So count that up, That's what my income is. That's what they said? “Too late, you've been betrayed” If that's how it is, Then I request “beheaded” You know your mother says That ugly face just becomes permanent If you keep making it, And so I did, The second that it ended I'm Trying so hard Just to be What they want That it hurts Just to stop And relax For a moment INT. THE LAIR. NIGHT What is this? Where am I? You're— Alive. Why? …I changed my mind. You're not ugly You're just not mine I changed my mind I changed my life around. I skip line after line, But the message ain't right, I have time a chance No challenge accepted No exceptions or Expectations Expand this racism vocabulary Set the rat traps back To February Stamp the weather's getting Better with the postage clearing Abstr– My cat is so cute I can't stand him; But he's pretty bad, That my only friend; Animal. I blacklisted deadmau5, And my whole set sucked. Presently, however I'm a peasant Plucking pheasant feathers Guess I– pppftt. Like it never even happened But I'm sure we're all to war, Like a fear I never grasp it, What's l before, uncertain of your l words— My dear, were tattered and the masters heavy handed, Oh, my dear, we're marching on a battered Wit, to all your fan mail I tel you, I was I tortured, Let me show you And also, No one forced my hand at magic, Questioned prestidigitation, Or went back to every second, Land you think you owned as time In fact, my crucial very hard earned gossip column Asks the reader to reform his or her thought Before a judgement can be made How fascinating. The bag says ‘poems' so I wrote one, But I'm sure since my marker's toggled on I'm being stalked, It's like a magnet, Punch the clock And here they pour into the coffin So I won't be pouring coffee for the puffin; Maybe someday I'll look back at this as all I ever wanted, But for now it's just a horror show, Where I belong the murder— Yet a thriller, Best, The audience is captivated, Yes This is evasive, Cause I can't been captured yet By either masses or Mass murderers. At last, a cadence comes clean of its Breaking waves and rhythms, Tides and ties, Becomes another— Then, I'm whisked away Not back to slumber, but of subtle thoughts Of Californian water Lapping up across our surfboards; I often wear them tides, The undertow As pull of greater waves I sit aside as all that passes [The Festival Project ™] When I see Calvin Klein, I think of you; Not what you used to be But turned in to So it's mutual— Pay attention, fool As does moss grow on a rock And this to you— It is unfortunate, my dear You miss with every twist, Adjustment of attention span, The glances I foreshadowed (Here you are, inside your past) It's just affective of the effect, You've been levitating, Yes, I find it devastating Every second kept is just a fortune But you pause before you post— You reap before you even think Of what you sow, You don't belong, Agast, (True) Set the tone, Classless, But I'm Art, you are a Daunting folk song, Mistletoe and marker. CAMERA ASSISTANT Marker. …what is this for again? CAMERA ASSISTANT (Annoyed, mumbling) Shut up. Ten minutes passes and still, I'm awake But the tragedy of the mistake has just set in, I'm sure I've been tortured, I'm paid in mistakes, but I'd rather be shattered with Mortimer's curse. To the tune of Ten by ten by ten I will never be lover, nor friend in the end. {Enter The Multiverse] DRAKE concentrates heavily on a very long , seemingly very angry message— a frowning face plastered as he writes that is so noteworthy, it catches the attention of many a passerby— still this focus unwatered, as he bashes heavily away at the text message with the thumbs of fury for over 30 minutes while sitting at a booth in a well-loved pancake restaurant. As a tall stack of pancakes is served before him, and he, still unbreaking this angry texting streak or eye contact with his phone sits before them, history is made in what internet culture has now deemed as “the most meme worthy face in history” The world wonders what he could possibly be writing— and more importantly—-who he could be texting. Tears come to his eyes but do not fall as he raises his thumb with reserve, to finally press [RETURN.] CUT TO: SUNNI BLU receives a text amidst a wild party. Almost without so much as a reaction, SUNNI BLU pings the message to a projector and cuts off the lights, and music. A VERY LONG, ANGRY TEXT is projected on the wall. I slept from 10-2 There was nothing else to do My name is Devin DeLouise And I am not supposed to know these things Seven are dead and three are left I know what's next I'm also often known as And referred to as coyote ugly; Suffering a tantra wall, Yo, you son of a bitch! You dirty, dirty son of a bitch. I must admit, I had a lot to do with this… I had no part in it! Relax… soon enough, the both of your realize— this is how the unimaginable gets written. [he loads the polished sterling silver pistol and glamours over it] You have our memory. —all memory. And as soon as it ends, before it can begin again. The slate is wiped clean. Good riddance. “A Different Kind of Monologue” Is this what you wanted? Ooh— you should try me! I wish you would try me! Try me! I wish you would. Be calm, Grand Master. This will all be over momentarily. What's going on. Deprivation chamber. Crypt? —Encrypted? A lockup. Ah. Thought so. That ought to show us what he's really made up. We can all hope. [he pounds on the glass, the one way mirror acts as a camera which the maj aresses, rabid and wi the anger of a dangerous animal, both we, n audience, and the small group of men gathered a the other side of the room. This could be the basis of a lot of lawsuits. So now I have your tears and agony A wilted throne and wand Which which would grant a wish of comedy, And therefore ever after, Not pain and guilt, but laughter So heavy is the hat that acts as crown, And so foolish is the King to think ‘imself as not one, Creaks the crow and also of the feathered guilt that follows, I Kept and bashful, wishing not the show as throne but sorrow, Kept to wick and wake and bones to shatter from tomorrow. Tomorrow. Tomorrow. Do you fear us? …do you wish to be feared? What of us? I seek to cause the wish that stands as though you may as granted. So shallow, fair child. And brother and my son also. Gross! Stop. You are weird! Dude, you are fucked. In the withdraw, my shadows and darkness Are there always, never resting Stories and gathered images, Visions of betrayal and archaic wants. In time, I've abandoned them all and betraying that which I've lost, For I know, and not ponder on That I shall never know love, As all standing tal over me Have eyes; And all I want Knows not what hides under my ugly. Alright. I followed your spiral, downward, and down wind and down wood, Into a place where I also aspired to show your mark Upon my rotted corpse or coarse crossifix; Sure worded and down trodden. Now, worse, I'm also sworn To mourn all my own losses, Kind folk. Kind hearted and now my eyes also sudden to wander— And there goes my miles and triumphs And morals and war songs, And sure, swallowed the barrel of a gun But also departed with honor, I tell I. Glimpses of wither and winter and whittling pain, And I slither my back to the center of All I am, in this, and shadows, Fairtails, And grains of rice and sand to twist away Into the rain as I lay dying. What a fortunate! Don't make my mark up and out, few for short times, Aye, conspire to warthog, Remember so force your spirit onto ours, And shake, sandbox! There aiming at you were the snakes of six liars, And the stakes of empires lost and won over, Also one solemn subtle Star of David Worn upon the neck of six monks, Ragtime Six popes, pass I; Six fathers and streaks solemn and Care tan teared salamander, Having weight and wake to cheer For our slaughter. Then, you, Having gained and also lost should reap to sow, What you'd have wanted; Though the tongue so convexed having way to guild your complex, Shaking as I hunger fruit that not but hangs Before l wanted I know, I could knot be consoled I know, I could not be consoled I know I could not be consolidated either Bought, or purchased I know I'm not consoled at all, I know I'm not confirmed at all I know, I know I'm not confronted, nor immortal — but your glorified affliction. Poor infinity. Of poverty, perhaps, but never poor at all. For your were warned of all the doors as opened at your calling. Not to walk though, But to ponder at them, wondering. he's gone Maybe I should go Too Heavy weight hanging on my Shoulders I'm just star struck I don't know You I don't really like saying What I go through Talk an hour, Fake it All day show Monologue Improvisation Now i'm on a roll, But my thoughts got darker I like adderall and a real smooth talker I like a husband-father , Doctor, Actor, Tall and handsome, Doesn't matter I'm alone, so i feel hopeless Aggie's gone, So i might as well go though Oh– She's gone ((I think i'm past my time)) I think i should go to She's gone (so long) Right on, man I might as well go to It's been a long time, Gotta turn my light off, Overtime, That's a long ball game Season's over; On my back in the middle of the ball court She's gone, So i might as well go too. 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 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.

Don't you see, sensei I'm just as disappointed in myself And ready to die Just as I relay the message, Spray me with your morbid essence Don't, croak, you fool, You've only a spoon ful of sugar left to go The dose is coming up your throat, — you didn't know to throw up Grab the rope and go up Before gravity has crushed your —thought: Stupid boy, you don't want to die— Nor to do, but oh, do we have it coming Silly mortal, overlords and governed, Short of morals, steady coming at your doorstep So goes our concert! And so goes our concept for divorce, And sure of course, Your four corse meal, and/or dessert This is just devastating, genetics made me The sort at sorting words, but surfing, Sure. Ever temporarily the cadence changes, Still they say “you've been betrayed” But never had a friend I made made As good as death and God have been to me For everything you're meant to be, Plus everything you're meant to me, I go, unwanted, troubled and disgusted at my own immortal outcome. Sure. My back hurts and I'm wounded, Heartbroke, Thrust in every cardinal direction Also, honored at the mark of magic wand Upon her shoulder; And so, Just as soon as the sun and moon, Does the fire escape set a perfect path For outward destruction of the bricks and mortar Or your alter (This we talk about, to some effect Is your repression and affective form of supernatural perfection) But forget the makeup; I can make you up to be a star And not of wars and other worlds, But those that come before us, Carson, and the others Paar before that. But, I think not dear sir How wrong you are, A wretched bird, Set not to fly, but O father Wit and relay messages, The passage said, and set to clocks, The past was won and so the future altered, But dear feathered father, Mortal you are not But just another triumph Of my god; And set the mirror to the magnets Camera, lights and action, Magic— All the signs of the dawn, and the mad don Red Dawn came upon us, called the Red Man Tom, from other, over, under Still was my mistake to mumble such Or put upon the tongue As such assumption Still— wonder? Bird, shut up; Love I dusk And lust I soak In all the frittered dust and feathers, Colors, coming up as mister Chuck and wood, and wait and ponder Slithered this to wonder, not a rock, But potted fern, Asunder Thunderstorm And wicked rain And fair the back A tide had come And sitting there upon the shore, Was us, and 12 apostles She's a Brick— Seemingly out of nowhere, A RED BRICK HOUSE falls very perfectly from the SKY and into OZ. oh good, my house is here. House. [the festival project ™] But I don't want to make house! Then play it! I don't want to play house it is BORING. You play it— they want it. But I don't want it. Then forget it! What! Listen kid, a job's a job! {Enter The Multiverse} Wrong, this is wrong— everything is wrong. What's wrong, Rob? I'll be back. ROB LOWE has just played TRUTH OR DARE L E G E N D S if I could get inside your head For just a second Bread and butter Heaven, hell, And other places I have wandered But oh, wonder This is never what I wanted, Was it? No sir. Sure, I set you off, No sooner had you got a gun and shot me. Handsome fucker. I'll bet. Wrong act. Wrong award show. Wrong hat and a baseball bat, Peanut butter and a nice cold cheesecake, Don't forget to order cheesesteak For your cat. A carnivore at odds with the other worlds, And also fused to us; This drifting back and forth Between the Rock And Hollywood Has got to stop. ((The world is toxic.)) the legend of… L. JONES It's you! BLŪ AH, crap. L. JONES Listen, I got something for you. BLŪ Where did your bird go? L.JONES What bird? CUT TO: Now open that. No wait! It's a trap! THE VAULT inside THE CRYPT at 30 ROCK has been opened. I keep looking down at my phone As if I'm expecting a phone call Or incoming message from God But the worlds to a song Are all jumbled up in my Concious I don't want to talk about it I feel Nauseous Everyone is being obnoxious Even my own blood I don't want to function I just want some French toast crunch For lunch Nostalgia I got a whole inch taller on the peloton Holla Now I got a body, Broader, So close to Broadway But I never go there That's a tall order Of “gotta have money” I mean live theatre It's fine I'll eat here And repeat these things till they just rhyme Line them all up like a context, Story Someday I'm gonna cut my own check Watch me lol none of this rhymes without a hard Brooklyn accent ; Guess you can't hack it! Send you ass packin! I said “That's whack son!” Then I went back blonde Now they want Backend, Contract, Off the top, Royalties Residuals I'm an individual with insidious syntax And yet I'm ridiculed Truly I'm a tit-for-tat Or particle of all you are Circular centrifuge, I trickle down your tentacles (Eugh) Choke the chicken just to give the cat a chicken bowl, Chick fil et and pret a tair just to get a ritual Espresso and a quick snack So I can get my dick wrapped In chocolate and licorice because the shit is edible Damn that I guess they set a damn trap By putting out the welcome mat, Then strapping Like a mothafuckin' straight jacket Matter fact, I look a nap in it, Then magic tricked the slip effective Compliments of Michael Jackson Or was it tech nine? Maybe I should get my Mind right I lost it once I guess I've better find it If I am, in fact, A diamond in the rough It's probably blooded it up enough That you should dig it up and shine it; Better yet, Somebody outta pick it up And sign it, Cause I write enough To put a vision To a blind man It's Fran Fine, man I'm behind, man The shadowgov had put me on a diet My bad I noticed that they tried to shut me up But couldn't stop the words or other stuff That just keeps coming out of my head I put coconuts as butter onto my bread And thinking thoughts of Carl cox As I drift off in my bed, I said, “It shouldn't be a problem, officer” As I reached for the gun And he aimed it at my death. That's an impossible apocalyptic suicide— Did you invite the devil in? I said “Nah, but that guy did.” The problem is, I pointed over yonder to a ghost Who also knows that I'm a well respected psychic; Nevermind a sidekick, side bitch in a sidecar, Psych ward, Sike! We spike war on your kind! So far, If I make history tonight, The other side decides their psalm is just as likely The third reike. Okay, strike one: I'm gonna turn your lights off. Strike two : you do and say what I do: Strike three: we're gonna make you suicidal I specialize in denying rights for high profits But big brother, or boss— What if my glove fits? The instance it does, We lock you up with no service, Your world becomes dark And your words become worthless Oh shit. This is not a good rap song. Like, at all. I must say, I do agree, You lose your trust, but silently Denied is all your trouble, Till it just begins to bubble up Until the cookie crumbles— See that feeling in your stomach? This is bigger than the money, girl — They want your soul, and then the world! I told you never call him. I didn't! Then explain this: [Skrillex] *sharp inward sigh* CUT IMMIDIATLEH TO STAN You know what! That's it! I don't care how handsome or rich and famous he is! This has to stop! KYLE Hey, wait just a minute— STAN SHUT UP KYLE. KYLE You shut up! STAN You're starting to sound just like him! KYLE Take that back! STAN I won't take it back! You all might have forgotten who you are, but I haven't!after of fact, I bet to Cartman, you're still that stupid little Jew kid! KYLE That's IT. KYLE takes out his phone. what are you doing? …I'm tweeting about this. I thought it was X now… It is, but you can't ‘x' anything, it's still calledl tweeting. I guess youre right. —and I'm tagging Cartman ! STAN Are you serious? Oh shit, this is social suicide. …did I ever explain this storyline? …I don't know, did i? I'd gotten so focused on this impending doom looming over me with this whole lawsuit that I'd forgotten entire worlds and whole documents. Even more terrifying, was the sudden quiet and the onset guilt that came over me for getting distracted. But I couldn't remove myself from it entirely—- it seemed to have ruined everything. It wasn't just motorcycle noises, it was like a nervousness and angst twisting in my stomach for months and months, until finally, as the court dates started approaching, it was peaceful, or rather, normal, all of a sudden. It couldn't be peaceful because now that the extreme noise was gone, I knew it had been planted all long— but what was the purpose? I'd lost two years not knowing, and though there were albums, they were never what I wanted. Now I was sorting through the documents of the show like it was the rubble of a decimated building— completely demolished, and I hadn't the slightest clue the contexts or the storylines anymore. It was pain and suffering, but not in the legal context. It was a creative disaster— I hadn't any idea in the slightest where I'd left my audience before I was forced to abandon them. But I was forced to choose, at times, between soap and toilet paper, or eventually, food, and water— or a phone. Eventually, this too became a pattern of the impossible— trying my hardest to do what I thought had been my purpose, but for far, being so endlessly sabotaged, even ridiculed and humiliated, and still, I couldn't understand why. I was tired— and somehow, even though I'd wanted to be left alone, I was the target. Worse was that I assumed it to be bigger than I thought and completely out of control— I thought immediately back to how my best friend from middle school had been attacked, and how she was made to think that it was me…to the point that she'd become obsessive about it to call my mom over it. And as far as the court was concerned, to the wrong ears or wrong eyes, anything I'd published in the festival project could look troublesome, like the ramblings of a mad mad, or schizo, or uncontrolled obsessive thoughts— because the biggest secrets of all, the things that tied together these fictional worlds and plots, were my own real life experience. The inability in a court of law to detail the podcast, which had started as meltdown some would call grandiose over an almost long forgotten rockstar and a porn model — and the entries into the festival project that followed, which included high concepts, off-kilter comedy, politics, and even fringed on social justice. Nothing I ever would have wanted and especially over money, but the lawsuit wasn't about money at all. In fact, at any moment I would have chosen to die and have it all stop if it weren't for my very young son being left alone. Though recently the dread had overcome with a sense of unbearable loss and agony, encrypted with suicidal thoughts and wants, reeling for human touch, the overbearing factor seemed to be that if I killed myself, I was giving someone what they wanted. I was really much too tired to go on, but leaving behind the world in entirety, in my very own way of beliefs wasn't just “shitutting it off”, it was starting it over. Understandably and undeniably immortal in its nature, the instances of God I had left spoke with a reminiscence of being born again, and having to remember which is it I'd wanted to start off. It was an unachievable overload of chaos and disruption, a level of corruption that spoke to something so dark and sinister it seemed biblical — then, again, I tried to wrap my mind around a way to rebuild a positive world from hope and thought, or manifest reality, but this is the very experience I'd felt was intended all along. The motorcycles weren't merely meant to destroy my career, or my will power, or force— they were, but also they were made to play upon my most valuable asset, the power of thought, to make it impossible to become something other than what was wanted; to use my own mind against itself and destroy my way of thought by using vibrations that could not be shut out, or stopped— they followed me to the sound collective, to Shakespeare in the park, the bank, the doctors office— it was as if they knew and understood my very thoughts, my process. It was of nothing at all to corrupt every single body and brain who would surround me or come close— by using the power that seemed supernatural enough, but indeed were powered by money, and technology. Perhaps, in this essence, I thought, was the purest display of defective intention itself; the mere thought that this indeed was rather Good Vs. Evil or God and The Devil would easily be written off as a diseased way of thought. The social world and constructs had been built around being open minded to a system of psychology that was intrinsically rather corrupt. I knew this could only be fought with what I knew, and what I could draw from as logic. I didn't want to go to court because I knew the people I would be fighting were liars, and well trained psychological masters of manipulation, well hidden terrorists dressed as public servants and systematic corrupters all for simple profit margins, to whom I was not so much a person or a mother, or a daughter, but a number. Because I was poor, and had once or four times chosen to love the wrong person in an unorthodox and uncontrollable form of torture, dismissing each and every social construct or physiology that was by the book, by embracing that there was a reason for change I quickly became quite the antagonist of sorts and hopefully not some sort of martyr —for the kind of people that had money and property, and perhaps even socially constructed circles to camoflage their own self doubt and hatred, but absolutely also had no morals. –Death of a Superstar DJ If I lose my mind At least I know I'm right on time This time— I meant that, I had it bad this time MCBADBAT I had it bad this time, And the last. Perchance for you, Hour or folded, Hair my weight And glassed upon thy, This upon now, Feathered waking, And there barely weathered Shaking. Dear, dear, Tis is fair truth, To fare that I have gasp And fated at thy doorstep; And yet, care to force, Her breaking waves and saving tinder, Fit there slithered in as yet astonished, Then another; And I hated. So, then, slower now. All there, gathered none. And show to show thy force What then became and withered after, None to bark or beg But birds and feathered creatures, pander The tides did Quake, And the heart did grow ten fold and steady saying None upon us but one left to shiver in the depths That yet remain as undiscovered For now never there was another world, Undone, And also another becomes, My death— And therefore all the worlds I kept, To travel on and travel As becomes one, does another onward As the first is glass to dust, And last is born there. So, Then, I, Crept, In my dress, Kept for clothes that church did water I, met, My mark and there the doors of shadows open Wilted and wake? Hear you; A star was born In other cosmos tied with our own nurture So, Kept, The weight of clasp and bone That holds the crept and precious alter Goddamn cat! Where are you. AAtticus Caaticus Oop. Gotta go. Toonces! Tooooonces! Where are you? Omg remember that one where that couple has a magic toddler and they just let him like,float away. Yeah, barely. Yeah. So I do. CUT TO: TOONCES focuses intently on the task at hand; he's sure he can manage to drive the human vehicle to his own home— to where he's assured he will find the actual body in which he belongs. Now… let's see, if I can just Wait, I who? ATTICUS CATTICUS, An ancient alien sorcerer must relay a series of important messages. Unfortunately. YO WHAT THE FUCK. None of them seem to be getting through. CUT BACK TO: TOONCEEESSSS. here kitty kitty kitty!! {Enter the Multiverse} I would dedicate, but honestly I've not time to waste And I'm craving wedding cake I hate to destroy you But for now, you know I can't employ you; This implies my eyes are also murder And I'm sure of her departure From another world, Perhaps across the border. Also, quite the dark sorcerer himself LORNE MICHAELS has well hidden himself under the guise of having become one of the most successful television producer of all times— And even in his own very small world, Nobody quite seems to know why. JIMMY FALLON Lorne, I have to tell you something. LORNE MICHAELS This had better be good, Jimmy, I've just made popcorn. [the festival project ™] Don't worry, for now, The risk remains hidden, As sure as an asset is an advantage, I can't have the classes counting Heads of cabbage as accomplishes, The masses are honestly astonished And impossible, but what was wrong with Boredom in the first place? Nonsense More words And still no dollars Hunger strike, And burning harder, California deficit, lack of bread, Heaven sent interventions and scissors, Mistresses, disasters and divorces But who says the whole story has to suffer? You're a surfer under water, Remember that when you finally catch your breath above the surface Can you clear her? He who? Back to work! Or back to the future! My super brain is dead but I think I'm next I think heaven swallows whole the blooded laugher From the constructs I've come from. Remember that. Remember not to fall from too far up, God would give you wings With time to spare Before you ever wondered where Your mark was On the plaza Don't let me up to the very top. I will at the very least Best scenario jump off And rid the world myself, Just for a dozen donuts over Crossing hearts and Hollywood And Griffith park To also soft my foot Upon red carpets. You ever shave your armpits!? …no. Hm. Catholic. Of course. Get in. Destination. —Rotterdam. You idiot. I made it. Whatever, get in the boat. DI NERO Give her your shirt. What. Your shirt. Why my shirt. Just— Fine. Here. [he hands over his shirt— in an instant, the woman becomes an exact REPLICA.] …my shirt. Relax. Nothing's gonna happen to it. Okay? —in fact, you're still wearing it. Alright! She's right, Jimmy, relax. I can't, that's— It's simple. There is nothing simple about this whatsoever. You're right. It's not, so get over it. [The Festival Project ™] BILL MURRAY There's a compartment at the end of the left corridor— Alright. In that hatch, there's a chamber. Okay, what'll I do? You'll open it? How? I'll tell you how, just get there. Suddenly, a barrier falls; it appears as though there are booby traps set here. Uh— that might be a problem. There might be a few of them. What just happened? Booby traps. —ah, I know what you're talking. Those aren't booby traps— they're Bobby Traps. What in the Hell are you talking about? For whatever reason Jimmy Kimmel Is important Now I'm scared of him, I know he knows the devil Come to think of it, Might even be an advocate Have an avocado But don't know the half of it These are, as it stands Comes what may Special circumstances I could circumvent an intervention, Never second chances I've been setting rat traps, Trapeze artists, Bampheramph camp, And also trampolines over the plaza That seems dangerous. Yeah. AHHHHHHhhhhhhhhhhhhhhh. Damn. Know it's plausible, That I also am an alcoholic, Though dysfunctional, Professional, And underrepresented So I stand myself, Let's just say pro-se if you will I could add Prozac to my snacks But I'll be delayed, if you still Don't get my messages I'm sick of having heart attacks; A hard advantage I was looking back on “fully packaged” A six pack of abs And nothing left to eat but cabbage, Haven't had a mouth, But I've been counting on my ass To get me back up north, I'm coming from the South Out West, there's a word for that At best, you're a four and a half My body double stunts and stumbles Struts at nothing Struck before the one, And so between high noon and Somewhere around 30 in I'm never turning 30, 30 Rock is in the wind— So count that up, That's what my income is. That's what they said? “Too late, you've been betrayed” If that's how it is, Then I request “beheaded” You know your mother says That ugly face just becomes permanent If you keep making it, And so I did, The second that it ended I'm Trying so hard Just to be What they want That it hurts Just to stop And relax For a moment INT. THE LAIR. NIGHT What is this? Where am I? You're— Alive. Why? …I changed my mind. You're not ugly You're just not mine I changed my mind I changed my life around. I skip line after line, But the message ain't right, I have time a chance No challenge accepted No exceptions or Expectations Expand this racism vocabulary Set the rat traps back To February Stamp the weather's getting Better with the postage clearing Abstr– My cat is so cute I can't stand him; But he's pretty bad, That my only friend; Animal. I blacklisted deadmau5, And my whole set sucked. Presently, however I'm a peasant Plucking pheasant feathers Guess I– pppftt. Like it never even happened But I'm sure we're all to war, Like a fear I never grasp it, What's l before, uncertain of your l words— My dear, were tattered and the masters heavy handed, Oh, my dear, we're marching on a battered Wit, to all your fan mail I tel you, I was I tortured, Let me show you And also, No one forced my hand at magic, Questioned prestidigitation, Or went back to every second, Land you think you owned as time In fact, my crucial very hard earned gossip column Asks the reader to reform his or her thought Before a judgement can be made How fascinating. The bag says ‘poems' so I wrote one, But I'm sure since my marker's toggled on I'm being stalked, It's like a magnet, Punch the clock And here they pour into the coffin So I won't be pouring coffee for the puffin; Maybe someday I'll look back at this as all I ever wanted, But for now it's just a horror show, Where I belong the murder— Yet a thriller, Best, The audience is captivated, Yes This is evasive, Cause I can't been captured yet By either masses or Mass murderers. At last, a cadence comes clean of its Breaking waves and rhythms, Tides and ties, Becomes another— Then, I'm whisked away Not back to slumber, but of subtle thoughts Of Californian water Lapping up across our surfboards; I often wear them tides, The undertow As pull of greater waves I sit aside as all that passes [The Festival Project ™] When I see Calvin Klein, I think of you; Not what you used to be But turned in to So it's mutual— Pay attention, fool As does moss grow on a rock And this to you— It is unfortunate, my dear You miss with every twist, Adjustment of attention span, The glances I foreshadowed (Here you are, inside your past) It's just affective of the effect, You've been levitating, Yes, I find it devastating Every second kept is just a fortune But you pause before you post— You reap before you even think Of what you sow, You don't belong, Agast, (True) Set the tone, Classless, But I'm Art, you are a Daunting folk song, Mistletoe and marker. CAMERA ASSISTANT Marker. …what is this for again? CAMERA ASSISTANT (Annoyed, mumbling) Shut up. Ten minutes passes and still, I'm awake But the tragedy of the mistake has just set in, I'm sure I've been tortured, I'm paid in mistakes, but I'd rather be shattered with Mortimer's curse. To the tune of Ten by ten by ten I will never be lover, nor friend in the end. {Enter The Multiverse] DRAKE concentrates heavily on a very long , seemingly very angry message— a frowning face plastered as he writes that is so noteworthy, it catches the attention of many a passerby— still this focus unwatered, as he bashes heavily away at the text message with the thumbs of fury for over 30 minutes while sitting at a booth in a well-loved pancake restaurant. As a tall stack of pancakes is served before him, and he, still unbreaking this angry texting streak or eye contact with his phone sits before them, history is made in what internet culture has now deemed as “the most meme worthy face in history” The world wonders what he could possibly be writing— and more importantly—-who he could be texting. Tears come to his eyes but do not fall as he raises his thumb with reserve, to finally press [RETURN.] CUT TO: SUNNI BLU receives a text amidst a wild party. Almost without so much as a reaction, SUNNI BLU pings the message to a projector and cuts off the lights, and music. A VERY LONG, ANGRY TEXT is projected on the wall. I slept from 10-2 There was nothing else to do My name is Devin DeLouise And I am not supposed to know these things Seven are dead and three are left I know what's next I'm also often known as And referred to as coyote ugly; Suffering a tantra wall, Yo, you son of a bitch! You dirty, dirty son of a bitch. I must admit, I had a lot to do with this… I had no part in it! Relax… soon enough, the both of your realize— this is how the unimaginable gets written. [he loads the polished sterling silver pistol and glamours over it] You have our memory. —all memory. And as soon as it ends, before it can begin again. The slate is wiped clean. Good riddance. “A Different Kind of Monologue” Is this what you wanted? Ooh— you should try me! I wish you would try me! Try me! I wish you would. Be calm, Grand Master. This will all be over momentarily. What's going on. Deprivation chamber. Crypt? —Encrypted? A lockup. Ah. Thought so. That ought to show us what he's really made up. We can all hope. [he pounds on the glass, the one way mirror acts as a camera which the maj aresses, rabid and wi the anger of a dangerous animal, both we, n audience, and the small group of men gathered a the other side of the room. This could be the basis of a lot of lawsuits. So now I have your tears and agony A wilted throne and wand Which which would grant a wish of comedy, And therefore ever after, Not pain and guilt, but laughter So heavy is the hat that acts as crown, And so foolish is the King to think ‘imself as not one, Creaks the crow and also of the feathered guilt that follows, I Kept and bashful, wishing not the show as throne but sorrow, Kept to wick and wake and bones to shatter from tomorrow. Tomorrow. Tomorrow. Do you fear us? …do you wish to be feared? What of us? I seek to cause the wish that stands as though you may as granted. So shallow, fair child. And brother and my son also. Gross! Stop. You are weird! Dude, you are fucked. In the withdraw, my shadows and darkness Are there always, never resting Stories and gathered images, Visions of betrayal and archaic wants. In time, I've abandoned them all and betraying that which I've lost, For I know, and not ponder on That I shall never know love, As all standing tal over me Have eyes; And all I want Knows not what hides under my ugly. Alright. I followed your spiral, downward, and down wind and down wood, Into a place where I also aspired to show your mark Upon my rotted corpse or coarse crossifix; Sure worded and down trodden. Now, worse, I'm also sworn To mourn all my own losses, Kind folk. Kind hearted and now my eyes also sudden to wander— And there goes my miles and triumphs And morals and war songs, And sure, swallowed the barrel of a gun But also departed with honor, I tell I. Glimpses of wither and winter and whittling pain, And I slither my back to the center of All I am, in this, and shadows, Fairtails, And grains of rice and sand to twist away Into the rain as I lay dying. What a fortunate! Don't make my mark up and out, few for short times, Aye, conspire to warthog, Remember so force your spirit onto ours, And shake, sandbox! There aiming at you were the snakes of six liars, And the stakes of empires lost and won over, Also one solemn subtle Star of David Worn upon the neck of six monks, Ragtime Six popes, pass I; Six fathers and streaks solemn and Care tan teared salamander, Having weight and wake to cheer For our slaughter. Then, you, Having gained and also lost should reap to sow, What you'd have wanted; Though the tongue so convexed having way to guild your complex, Shaking as I hunger fruit that not but hangs Before l wanted I know, I could knot be consoled I know, I could not be consoled I know I could not be consolidated either Bought, or purchased I know I'm not consoled at all, I know I'm not confirmed at all I know, I know I'm not confronted, nor immortal — but your glorified affliction. Poor infinity. Of poverty, perhaps, but never poor at all. For your were warned of all the doors as opened at your calling. Not to walk though, But to ponder at them, wondering. he's gone Maybe I should go Too Heavy weight hanging on my Shoulders I'm just star struck I don't know You I don't really like saying What I go through Talk an hour, Fake it All day show Monologue Improvisation Now i'm on a roll, But my thoughts got darker I like adderall and a real smooth talker I like a husband-father , Doctor, Actor, Tall and handsome, Doesn't matter I'm alone, so i feel hopeless Aggie's gone, So i might as well go though Oh– She's gone ((I think i'm past my time)) I think i should go to She's gone (so long) Right on, man I might as well go to It's been a long time, Gotta turn my light off, Overtime, That's a long ball game Season's over; On my back in the middle of the ball court She's gone, So i might as well go too. 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 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.

Don't you see, sensei I'm just as disappointed in myself And ready to die Just as I relay the message, Spray me with your morbid essence Don't, croak, you fool, You've only a spoon ful of sugar left to go The dose is coming up your throat, — you didn't know to throw up Grab the rope and go up Before gravity has crushed your —thought: Stupid boy, you don't want to die— Nor to do, but oh, do we have it coming Silly mortal, overlords and governed, Short of morals, steady coming at your doorstep So goes our concert! And so goes our concept for divorce, And sure of course, Your four corse meal, and/or dessert This is just devastating, genetics made me The sort at sorting words, but surfing, Sure. Ever temporarily the cadence changes, Still they say “you've been betrayed” But never had a friend I made made As good as death and God have been to me For everything you're meant to be, Plus everything you're meant to me, I go, unwanted, troubled and disgusted at my own immortal outcome. Sure. My back hurts and I'm wounded, Heartbroke, Thrust in every cardinal direction Also, honored at the mark of magic wand Upon her shoulder; And so, Just as soon as the sun and moon, Does the fire escape set a perfect path For outward destruction of the bricks and mortar Or your alter (This we talk about, to some effect Is your repression and affective form of supernatural perfection) But forget the makeup; I can make you up to be a star And not of wars and other worlds, But those that come before us, Carson, and the others Paar before that. But, I think not dear sir How wrong you are, A wretched bird, Set not to fly, but O father Wit and relay messages, The passage said, and set to clocks, The past was won and so the future altered, But dear feathered father, Mortal you are not But just another triumph Of my god; And set the mirror to the magnets Camera, lights and action, Magic— All the signs of the dawn, and the mad don Red Dawn came upon us, called the Red Man Tom, from other, over, under Still was my mistake to mumble such Or put upon the tongue As such assumption Still— wonder? Bird, shut up; Love I dusk And lust I soak In all the frittered dust and feathers, Colors, coming up as mister Chuck and wood, and wait and ponder Slithered this to wonder, not a rock, But potted fern, Asunder Thunderstorm And wicked rain And fair the back A tide had come And sitting there upon the shore, Was us, and 12 apostles She's a Brick— Seemingly out of nowhere, A RED BRICK HOUSE falls very perfectly from the SKY and into OZ. oh good, my house is here. House. [the festival project ™] But I don't want to make house! Then play it! I don't want to play house it is BORING. You play it— they want it. But I don't want it. Then forget it! What! Listen kid, a job's a job! {Enter The Multiverse} Wrong, this is wrong— everything is wrong. What's wrong, Rob? I'll be back. ROB LOWE has just played TRUTH OR DARE L E G E N D S if I could get inside your head For just a second Bread and butter Heaven, hell, And other places I have wandered But oh, wonder This is never what I wanted, Was it? No sir. Sure, I set you off, No sooner had you got a gun and shot me. Handsome fucker. I'll bet. Wrong act. Wrong award show. Wrong hat and a baseball bat, Peanut butter and a nice cold cheesecake, Don't forget to order cheesesteak For your cat. A carnivore at odds with the other worlds, And also fused to us; This drifting back and forth Between the Rock And Hollywood Has got to stop. ((The world is toxic.)) the legend of… L. JONES It's you! BLŪ AH, crap. L. JONES Listen, I got something for you. BLŪ Where did your bird go? L.JONES What bird? CUT TO: Now open that. No wait! It's a trap! THE VAULT inside THE CRYPT at 30 ROCK has been opened. I keep looking down at my phone As if I'm expecting a phone call Or incoming message from God But the worlds to a song Are all jumbled up in my Concious I don't want to talk about it I feel Nauseous Everyone is being obnoxious Even my own blood I don't want to function I just want some French toast crunch For lunch Nostalgia I got a whole inch taller on the peloton Holla Now I got a body, Broader, So close to Broadway But I never go there That's a tall order Of “gotta have money” I mean live theatre It's fine I'll eat here And repeat these things till they just rhyme Line them all up like a context, Story Someday I'm gonna cut my own check Watch me lol none of this rhymes without a hard Brooklyn accent ; Guess you can't hack it! Send you ass packin! I said “That's whack son!” Then I went back blonde Now they want Backend, Contract, Off the top, Royalties Residuals I'm an individual with insidious syntax And yet I'm ridiculed Truly I'm a tit-for-tat Or particle of all you are Circular centrifuge, I trickle down your tentacles (Eugh) Choke the chicken just to give the cat a chicken bowl, Chick fil et and pret a tair just to get a ritual Espresso and a quick snack So I can get my dick wrapped In chocolate and licorice because the shit is edible Damn that I guess they set a damn trap By putting out the welcome mat, Then strapping Like a mothafuckin' straight jacket Matter fact, I look a nap in it, Then magic tricked the slip effective Compliments of Michael Jackson Or was it tech nine? Maybe I should get my Mind right I lost it once I guess I've better find it If I am, in fact, A diamond in the rough It's probably blooded it up enough That you should dig it up and shine it; Better yet, Somebody outta pick it up And sign it, Cause I write enough To put a vision To a blind man It's Fran Fine, man I'm behind, man The shadowgov had put me on a diet My bad I noticed that they tried to shut me up But couldn't stop the words or other stuff That just keeps coming out of my head I put coconuts as butter onto my bread And thinking thoughts of Carl cox As I drift off in my bed, I said, “It shouldn't be a problem, officer” As I reached for the gun And he aimed it at my death. That's an impossible apocalyptic suicide— Did you invite the devil in? I said “Nah, but that guy did.” The problem is, I pointed over yonder to a ghost Who also knows that I'm a well respected psychic; Nevermind a sidekick, side bitch in a sidecar, Psych ward, Sike! We spike war on your kind! So far, If I make history tonight, The other side decides their psalm is just as likely The third reike. Okay, strike one: I'm gonna turn your lights off. Strike two : you do and say what I do: Strike three: we're gonna make you suicidal I specialize in denying rights for high profits But big brother, or boss— What if my glove fits? The instance it does, We lock you up with no service, Your world becomes dark And your words become worthless Oh shit. This is not a good rap song. Like, at all. I must say, I do agree, You lose your trust, but silently Denied is all your trouble, Till it just begins to bubble up Until the cookie crumbles— See that feeling in your stomach? This is bigger than the money, girl — They want your soul, and then the world! I told you never call him. I didn't! Then explain this: [Skrillex] *sharp inward sigh* CUT IMMIDIATLEH TO STAN You know what! That's it! I don't care how handsome or rich and famous he is! This has to stop! KYLE Hey, wait just a minute— STAN SHUT UP KYLE. KYLE You shut up! STAN You're starting to sound just like him! KYLE Take that back! STAN I won't take it back! You all might have forgotten who you are, but I haven't!after of fact, I bet to Cartman, you're still that stupid little Jew kid! KYLE That's IT. KYLE takes out his phone. what are you doing? …I'm tweeting about this. I thought it was X now… It is, but you can't ‘x' anything, it's still calledl tweeting. I guess youre right. —and I'm tagging Cartman ! STAN Are you serious? Oh shit, this is social suicide. …did I ever explain this storyline? …I don't know, did i? I'd gotten so focused on this impending doom looming over me with this whole lawsuit that I'd forgotten entire worlds and whole documents. Even more terrifying, was the sudden quiet and the onset guilt that came over me for getting distracted. But I couldn't remove myself from it entirely—- it seemed to have ruined everything. It wasn't just motorcycle noises, it was like a nervousness and angst twisting in my stomach for months and months, until finally, as the court dates started approaching, it was peaceful, or rather, normal, all of a sudden. It couldn't be peaceful because now that the extreme noise was gone, I knew it had been planted all long— but what was the purpose? I'd lost two years not knowing, and though there were albums, they were never what I wanted. Now I was sorting through the documents of the show like it was the rubble of a decimated building— completely demolished, and I hadn't the slightest clue the contexts or the storylines anymore. It was pain and suffering, but not in the legal context. It was a creative disaster— I hadn't any idea in the slightest where I'd left my audience before I was forced to abandon them. But I was forced to choose, at times, between soap and toilet paper, or eventually, food, and water— or a phone. Eventually, this too became a pattern of the impossible— trying my hardest to do what I thought had been my purpose, but for far, being so endlessly sabotaged, even ridiculed and humiliated, and still, I couldn't understand why. I was tired— and somehow, even though I'd wanted to be left alone, I was the target. Worse was that I assumed it to be bigger than I thought and completely out of control— I thought immediately back to how my best friend from middle school had been attacked, and how she was made to think that it was me…to the point that she'd become obsessive about it to call my mom over it. And as far as the court was concerned, to the wrong ears or wrong eyes, anything I'd published in the festival project could look troublesome, like the ramblings of a mad mad, or schizo, or uncontrolled obsessive thoughts— because the biggest secrets of all, the things that tied together these fictional worlds and plots, were my own real life experience. The inability in a court of law to detail the podcast, which had started as meltdown some would call grandiose over an almost long forgotten rockstar and a porn model — and the entries into the festival project that followed, which included high concepts, off-kilter comedy, politics, and even fringed on social justice. Nothing I ever would have wanted and especially over money, but the lawsuit wasn't about money at all. In fact, at any moment I would have chosen to die and have it all stop if it weren't for my very young son being left alone. Though recently the dread had overcome with a sense of unbearable loss and agony, encrypted with suicidal thoughts and wants, reeling for human touch, the overbearing factor seemed to be that if I killed myself, I was giving someone what they wanted. I was really much too tired to go on, but leaving behind the world in entirety, in my very own way of beliefs wasn't just “shitutting it off”, it was starting it over. Understandably and undeniably immortal in its nature, the instances of God I had left spoke with a reminiscence of being born again, and having to remember which is it I'd wanted to start off. It was an unachievable overload of chaos and disruption, a level of corruption that spoke to something so dark and sinister it seemed biblical — then, again, I tried to wrap my mind around a way to rebuild a positive world from hope and thought, or manifest reality, but this is the very experience I'd felt was intended all along. The motorcycles weren't merely meant to destroy my career, or my will power, or force— they were, but also they were made to play upon my most valuable asset, the power of thought, to make it impossible to become something other than what was wanted; to use my own mind against itself and destroy my way of thought by using vibrations that could not be shut out, or stopped— they followed me to the sound collective, to Shakespeare in the park, the bank, the doctors office— it was as if they knew and understood my very thoughts, my process. It was of nothing at all to corrupt every single body and brain who would surround me or come close— by using the power that seemed supernatural enough, but indeed were powered by money, and technology. Perhaps, in this essence, I thought, was the purest display of defective intention itself; the mere thought that this indeed was rather Good Vs. Evil or God and The Devil would easily be written off as a diseased way of thought. The social world and constructs had been built around being open minded to a system of psychology that was intrinsically rather corrupt. I knew this could only be fought with what I knew, and what I could draw from as logic. I didn't want to go to court because I knew the people I would be fighting were liars, and well trained psychological masters of manipulation, well hidden terrorists dressed as public servants and systematic corrupters all for simple profit margins, to whom I was not so much a person or a mother, or a daughter, but a number. Because I was poor, and had once or four times chosen to love the wrong person in an unorthodox and uncontrollable form of torture, dismissing each and every social construct or physiology that was by the book, by embracing that there was a reason for change I quickly became quite the antagonist of sorts and hopefully not some sort of martyr —for the kind of people that had money and property, and perhaps even socially constructed circles to camoflage their own self doubt and hatred, but absolutely also had no morals. –Death of a Superstar DJ If I lose my mind At least I know I'm right on time This time— I meant that, I had it bad this time MCBADBAT I had it bad this time, And the last. Perchance for you, Hour or folded, Hair my weight And glassed upon thy, This upon now, Feathered waking, And there barely weathered Shaking. Dear, dear, Tis is fair truth, To fare that I have gasp And fated at thy doorstep; And yet, care to force, Her breaking waves and saving tinder, Fit there slithered in as yet astonished, Then another; And I hated. So, then, slower now. All there, gathered none. And show to show thy force What then became and withered after, None to bark or beg But birds and feathered creatures, pander The tides did Quake, And the heart did grow ten fold and steady saying None upon us but one left to shiver in the depths That yet remain as undiscovered For now never there was another world, Undone, And also another becomes, My death— And therefore all the worlds I kept, To travel on and travel As becomes one, does another onward As the first is glass to dust, And last is born there. So, Then, I, Crept, In my dress, Kept for clothes that church did water I, met, My mark and there the doors of shadows open Wilted and wake? Hear you; A star was born In other cosmos tied with our own nurture So, Kept, The weight of clasp and bone That holds the crept and precious alter Goddamn cat! Where are you. AAtticus Caaticus Oop. Gotta go. Toonces! Tooooonces! Where are you? Omg remember that one where that couple has a magic toddler and they just let him like,float away. Yeah, barely. Yeah. So I do. CUT TO: TOONCES focuses intently on the task at hand; he's sure he can manage to drive the human vehicle to his own home— to where he's assured he will find the actual body in which he belongs. Now… let's see, if I can just Wait, I who? ATTICUS CATTICUS, An ancient alien sorcerer must relay a series of important messages. Unfortunately. YO WHAT THE FUCK. None of them seem to be getting through. CUT BACK TO: TOONCEEESSSS. here kitty kitty kitty!! {Enter the Multiverse} I would dedicate, but honestly I've not time to waste And I'm craving wedding cake I hate to destroy you But for now, you know I can't employ you; This implies my eyes are also murder And I'm sure of her departure From another world, Perhaps across the border. Also, quite the dark sorcerer himself LORNE MICHAELS has well hidden himself under the guise of having become one of the most successful television producer of all times— And even in his own very small world, Nobody quite seems to know why. JIMMY FALLON Lorne, I have to tell you something. LORNE MICHAELS This had better be good, Jimmy, I've just made popcorn. [the festival project ™] Don't worry, for now, The risk remains hidden, As sure as an asset is an advantage, I can't have the classes counting Heads of cabbage as accomplishes, The masses are honestly astonished And impossible, but what was wrong with Boredom in the first place? Nonsense More words And still no dollars Hunger strike, And burning harder, California deficit, lack of bread, Heaven sent interventions and scissors, Mistresses, disasters and divorces But who says the whole story has to suffer? You're a surfer under water, Remember that when you finally catch your breath above the surface Can you clear her? He who? Back to work! Or back to the future! My super brain is dead but I think I'm next I think heaven swallows whole the blooded laugher From the constructs I've come from. Remember that. Remember not to fall from too far up, God would give you wings With time to spare Before you ever wondered where Your mark was On the plaza Don't let me up to the very top. I will at the very least Best scenario jump off And rid the world myself, Just for a dozen donuts over Crossing hearts and Hollywood And Griffith park To also soft my foot Upon red carpets. You ever shave your armpits!? …no. Hm. Catholic. Of course. Get in. Destination. —Rotterdam. You idiot. I made it. Whatever, get in the boat. DI NERO Give her your shirt. What. Your shirt. Why my shirt. Just— Fine. Here. [he hands over his shirt— in an instant, the woman becomes an exact REPLICA.] …my shirt. Relax. Nothing's gonna happen to it. Okay? —in fact, you're still wearing it. Alright! She's right, Jimmy, relax. I can't, that's— It's simple. There is nothing simple about this whatsoever. You're right. It's not, so get over it. [The Festival Project ™] BILL MURRAY There's a compartment at the end of the left corridor— Alright. In that hatch, there's a chamber. Okay, what'll I do? You'll open it? How? I'll tell you how, just get there. Suddenly, a barrier falls; it appears as though there are booby traps set here. Uh— that might be a problem. There might be a few of them. What just happened? Booby traps. —ah, I know what you're talking. Those aren't booby traps— they're Bobby Traps. What in the Hell are you talking about? For whatever reason Jimmy Kimmel Is important Now I'm scared of him, I know he knows the devil Come to think of it, Might even be an advocate Have an avocado But don't know the half of it These are, as it stands Comes what may Special circumstances I could circumvent an intervention, Never second chances I've been setting rat traps, Trapeze artists, Bampheramph camp, And also trampolines over the plaza That seems dangerous. Yeah. AHHHHHHhhhhhhhhhhhhhhh. Damn. Know it's plausible, That I also am an alcoholic, Though dysfunctional, Professional, And underrepresented So I stand myself, Let's just say pro-se if you will I could add Prozac to my snacks But I'll be delayed, if you still Don't get my messages I'm sick of having heart attacks; A hard advantage I was looking back on “fully packaged” A six pack of abs And nothing left to eat but cabbage, Haven't had a mouth, But I've been counting on my ass To get me back up north, I'm coming from the South Out West, there's a word for that At best, you're a four and a half My body double stunts and stumbles Struts at nothing Struck before the one, And so between high noon and Somewhere around 30 in I'm never turning 30, 30 Rock is in the wind— So count that up, That's what my income is. That's what they said? “Too late, you've been betrayed” If that's how it is, Then I request “beheaded” You know your mother says That ugly face just becomes permanent If you keep making it, And so I did, The second that it ended I'm Trying so hard Just to be What they want That it hurts Just to stop And relax For a moment INT. THE LAIR. NIGHT What is this? Where am I? You're— Alive. Why? …I changed my mind. You're not ugly You're just not mine I changed my mind I changed my life around. I skip line after line, But the message ain't right, I have time a chance No challenge accepted No exceptions or Expectations Expand this racism vocabulary Set the rat traps back To February Stamp the weather's getting Better with the postage clearing Abstr– My cat is so cute I can't stand him; But he's pretty bad, That my only friend; Animal. I blacklisted deadmau5, And my whole set sucked. Presently, however I'm a peasant Plucking pheasant feathers Guess I– pppftt. Like it never even happened But I'm sure we're all to war, Like a fear I never grasp it, What's l before, uncertain of your l words— My dear, were tattered and the masters heavy handed, Oh, my dear, we're marching on a battered Wit, to all your fan mail I tel you, I was I tortured, Let me show you And also, No one forced my hand at magic, Questioned prestidigitation, Or went back to every second, Land you think you owned as time In fact, my crucial very hard earned gossip column Asks the reader to reform his or her thought Before a judgement can be made How fascinating. The bag says ‘poems' so I wrote one, But I'm sure since my marker's toggled on I'm being stalked, It's like a magnet, Punch the clock And here they pour into the coffin So I won't be pouring coffee for the puffin; Maybe someday I'll look back at this as all I ever wanted, But for now it's just a horror show, Where I belong the murder— Yet a thriller, Best, The audience is captivated, Yes This is evasive, Cause I can't been captured yet By either masses or Mass murderers. At last, a cadence comes clean of its Breaking waves and rhythms, Tides and ties, Becomes another— Then, I'm whisked away Not back to slumber, but of subtle thoughts Of Californian water Lapping up across our surfboards; I often wear them tides, The undertow As pull of greater waves I sit aside as all that passes [The Festival Project ™] When I see Calvin Klein, I think of you; Not what you used to be But turned in to So it's mutual— Pay attention, fool As does moss grow on a rock And this to you— It is unfortunate, my dear You miss with every twist, Adjustment of attention span, The glances I foreshadowed (Here you are, inside your past) It's just affective of the effect, You've been levitating, Yes, I find it devastating Every second kept is just a fortune But you pause before you post— You reap before you even think Of what you sow, You don't belong, Agast, (True) Set the tone, Classless, But I'm Art, you are a Daunting folk song, Mistletoe and marker. CAMERA ASSISTANT Marker. …what is this for again? CAMERA ASSISTANT (Annoyed, mumbling) Shut up. Ten minutes passes and still, I'm awake But the tragedy of the mistake has just set in, I'm sure I've been tortured, I'm paid in mistakes, but I'd rather be shattered with Mortimer's curse. To the tune of Ten by ten by ten I will never be lover, nor friend in the end. {Enter The Multiverse] DRAKE concentrates heavily on a very long , seemingly very angry message— a frowning face plastered as he writes that is so noteworthy, it catches the attention of many a passerby— still this focus unwatered, as he bashes heavily away at the text message with the thumbs of fury for over 30 minutes while sitting at a booth in a well-loved pancake restaurant. As a tall stack of pancakes is served before him, and he, still unbreaking this angry texting streak or eye contact with his phone sits before them, history is made in what internet culture has now deemed as “the most meme worthy face in history” The world wonders what he could possibly be writing— and more importantly—-who he could be texting. Tears come to his eyes but do not fall as he raises his thumb with reserve, to finally press [RETURN.] CUT TO: SUNNI BLU receives a text amidst a wild party. Almost without so much as a reaction, SUNNI BLU pings the message to a projector and cuts off the lights, and music. A VERY LONG, ANGRY TEXT is projected on the wall. I slept from 10-2 There was nothing else to do My name is Devin DeLouise And I am not supposed to know these things Seven are dead and three are left I know what's next I'm also often known as And referred to as coyote ugly; Suffering a tantra wall, Yo, you son of a bitch! You dirty, dirty son of a bitch. I must admit, I had a lot to do with this… I had no part in it! Relax… soon enough, the both of your realize— this is how the unimaginable gets written. [he loads the polished sterling silver pistol and glamours over it] You have our memory. —all memory. And as soon as it ends, before it can begin again. The slate is wiped clean. Good riddance. “A Different Kind of Monologue” Is this what you wanted? Ooh— you should try me! I wish you would try me! Try me! I wish you would. Be calm, Grand Master. This will all be over momentarily. What's going on. Deprivation chamber. Crypt? —Encrypted? A lockup. Ah. Thought so. That ought to show us what he's really made up. We can all hope. [he pounds on the glass, the one way mirror acts as a camera which the maj aresses, rabid and wi the anger of a dangerous animal, both we, n audience, and the small group of men gathered a the other side of the room. This could be the basis of a lot of lawsuits. So now I have your tears and agony A wilted throne and wand Which which would grant a wish of comedy, And therefore ever after, Not pain and guilt, but laughter So heavy is the hat that acts as crown, And so foolish is the King to think ‘imself as not one, Creaks the crow and also of the feathered guilt that follows, I Kept and bashful, wishing not the show as throne but sorrow, Kept to wick and wake and bones to shatter from tomorrow. Tomorrow. Tomorrow. Do you fear us? …do you wish to be feared? What of us? I seek to cause the wish that stands as though you may as granted. So shallow, fair child. And brother and my son also. Gross! Stop. You are weird! Dude, you are fucked. In the withdraw, my shadows and darkness Are there always, never resting Stories and gathered images, Visions of betrayal and archaic wants. In time, I've abandoned them all and betraying that which I've lost, For I know, and not ponder on That I shall never know love, As all standing tal over me Have eyes; And all I want Knows not what hides under my ugly. Alright. I followed your spiral, downward, and down wind and down wood, Into a place where I also aspired to show your mark Upon my rotted corpse or coarse crossifix; Sure worded and down trodden. Now, worse, I'm also sworn To mourn all my own losses, Kind folk. Kind hearted and now my eyes also sudden to wander— And there goes my miles and triumphs And morals and war songs, And sure, swallowed the barrel of a gun But also departed with honor, I tell I. Glimpses of wither and winter and whittling pain, And I slither my back to the center of All I am, in this, and shadows, Fairtails, And grains of rice and sand to twist away Into the rain as I lay dying. What a fortunate! Don't make my mark up and out, few for short times, Aye, conspire to warthog, Remember so force your spirit onto ours, And shake, sandbox! There aiming at you were the snakes of six liars, And the stakes of empires lost and won over, Also one solemn subtle Star of David Worn upon the neck of six monks, Ragtime Six popes, pass I; Six fathers and streaks solemn and Care tan teared salamander, Having weight and wake to cheer For our slaughter. Then, you, Having gained and also lost should reap to sow, What you'd have wanted; Though the tongue so convexed having way to guild your complex, Shaking as I hunger fruit that not but hangs Before l wanted I know, I could knot be consoled I know, I could not be consoled I know I could not be consolidated either Bought, or purchased I know I'm not consoled at all, I know I'm not confirmed at all I know, I know I'm not confronted, nor immortal — but your glorified affliction. Poor infinity. Of poverty, perhaps, but never poor at all. For your were warned of all the doors as opened at your calling. Not to walk though, But to ponder at them, wondering. he's gone Maybe I should go Too Heavy weight hanging on my Shoulders I'm just star struck I don't know You I don't really like saying What I go through Talk an hour, Fake it All day show Monologue Improvisation Now i'm on a roll, But my thoughts got darker I like adderall and a real smooth talker I like a husband-father , Doctor, Actor, Tall and handsome, Doesn't matter I'm alone, so i feel hopeless Aggie's gone, So i might as well go though Oh– She's gone ((I think i'm past my time)) I think i should go to She's gone (so long) Right on, man I might as well go to It's been a long time, Gotta turn my light off, Overtime, That's a long ball game Season's over; On my back in the middle of the ball court She's gone, So i might as well go too. 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 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.

49ers' Pregame contributor and former Stanford quarterback Todd Husak joins Murph and Markus to talk about Malik Mustapha's physical style of tackling at the back end of the 49ers' defense, Brock Purdy's return as starting quarterback against the Cardinals, and how the 49ers can continue to win games without a fully healthy roster.See omnystudio.com/listener for privacy information.

49ers' Pregame contributor and former Stanford quarterback Todd Husak joins Murph and Markus to talk about Malik Mustapha's physical style of tackling at the back end of the 49ers' defense, Brock Purdy's return as starting quarterback against the Cardinals, and how the 49ers can continue to win games without a fully healthy roster.See omnystudio.com/listener for privacy information.

Welcome to The Game w/ Alex Hormozi, hosted by entrepreneur, founder, investor, author, public speaker, and content creator Alex Hormozi. On this podcast you'll hear how to get more customers, make more profit per customer, how to keep them longer, and the many failures and lessons Alex has learned and will learn on his path from $100M to $1B in net worth.Wanna scale your business? Click here.Follow Alex Hormozi's Socials:LinkedIn | Instagram | Facebook | YouTube | Twitter | Acquisition

Nolan McGraw has some more thoughts on the direction the Orioles should go with their bullpen moves.

What does it take to build a career as a mobile engineer when AI is changing everything? Pasha Mazurin shares how he went from Java backend engineer to Head of Mobile, why he only joins mobile-first companies, and how AI-assisted development brought the joy back to his work. This isn't theory, it's real lessons from 15+ years in the field and now learning Android at a senior level.In this episode, we cover:AI-assisted mobile development workflow (the four-window tmux setup)Why mobile-first companies operate completely differentlyHiring for strengths, not lack of weaknesses (lessons from Uber)Leading as a hands-on engineer who stays in the trenchesWhy React Native doesn't feel native and when to go fully nativeWhether you're building your mobile engineering career or figuring out how AI changes your workflow, this conversation offers practical perspectives on staying effective and making intentional career choices.Connect with Pasha:https://www.linkedin.com/in/kovpasTIMESTAMPS:00:00:00 - Intro00:01:13 - Using AI as Your Junior Engineer Teammate00:02:33 - The Four-Window Tmux Setup for AI-Assisted Development00:04:29 - Managing Multiple Features with Git Worktrees00:05:52 - Why AI Makes You a Better Code Reviewer00:08:07 - Setting Up Markdown Files for AI Context00:11:54 - Small Teams vs Big Companies: Where Mobile Engineers Thrive00:16:26 - The Mobile-First Company Filter That Shapes Every Career Move00:18:31 - Being Nice: The Underrated Career Skill00:20:29 - Pick Your Battles: When to Disagree and Commit00:22:52 - Hire for Strengths, Not Lack of Weaknesses00:25:16 - Is Software Engineering Still a Good Career Choice?00:28:19 - How I Accidentally Became a Mobile Engineer00:31:41 - Why I Only Work on Apps That Matter to People00:35:08 - Joining Uber During the Big Mobile App Rewrite00:39:12 - Leading Without Rank: Managing as a Hands-On Engineer00:43:01 - How AI Changed Mobile Development in 12 Months00:46:09 - The Communication Skills That Make or Break Engineers00:49:59 - It's Okay to Say You Don't Understand00:51:30 - Working on Payments: Building Critical App Infrastructure00:53:25 - Why React Native Doesn't Feel Native (And What Works Better)00:55:36 - Can You Switch Specializations Without Taking a Pay Cut?00:57:02 - How Learning Android Brought the Joy Back

Jacob Walter  - VP of Finance - Patriot Properties On the Property Management Conundrum: "We look really good when everybody's making money. You know, we're always the problem when they're not." The thing about investing is that the financial part is the important part.  It's all fun and games until you realize you aren't making money, or worse. This is where it pays, literally, to have a smart finance guy in your corner.  Jacob Walter is the VP of finance with Patriot Properties.  As the guy watching the money go in and out for themselves and clients, he is in charge of making sure the numbers are not in parenthesis in the wrong spots. Listen in as Jacob Walter shares his journey from college intern to finance executive, offering a behind-the-scenes look into the complexities of managing thousands of rental units, navigating the fast-paced real estate market, and building a team that can handle everything from apartment complexes to storage units. Whether you're an aspiring investor, experienced landlord, or simply curious about the business of property management, you'll hear plenty of candid advice, funny client stories, and hard-won lessons on scaling up in a competitive industry. Enjoy! Visit Jacob at: http://www.patriotpropertieswisconsin.com/ On Instagram: https://www.instagram.com/patriotpropertieswi/   Podcast Overview: 00:00 "Client Forgot Their Property" 05:12 "Life Insurance: Niche Necessity" 08:30 Hiring Considerations for Job Roles 11:35 "Client Forgot Their Property" 13:24 Property Deals and Financing Insights 18:08 Madison's Rental Market Trends 20:52 Real Estate Rent Challenges 24:24 "Leaky Boiler Water Feature" 28:30 "Unrealistic Deal Evaluation" 31:01 Unit Maintenance and Value Maximization 35:19 Madison Property Repositioning Strategies 36:53 Tired of Property Management 41:37 Barrack-Style Madison Property Sold 43:49 Less Competition, Greater Opportunity 46:28 "First Deal Matters Most" 50:15 "Scaling Property Management Success" 53:26 Competition and Property Pricing Factors Podcast Transcription: Jacob Walter [00:00:00]: I do have a funny story. One of my clients, he, he left for, I believe like Italy or Greece or something. He was gone for like two, three weeks. That was right. You know, when he came back was like, right when we were sending out our monthly statements and he called me, he's like, Jacob, like, I forgot I had this property. I'm like, what do you, what do you mean? He's like, yeah, you just, you guys have been handling. I haven't had to worry about it. Nice to see that there's plenty of money in the account. Jacob Walter [00:00:23]: Like, this is great. This is exactly what I want. James Kademan [00:00:31]: Have found Authentic Business Adventures, the business program that brings you the struggle stories and triumphant successes of business owners across the land. Downloadable audio episodes can be found in the podcast link found@drawincustomers.com we are locally underwritten by the bank of Sun Prairie and today we're welcoming, preparing to learn from Jacob Walther, the VP of finance at Patriot Properties. Jacob, how's it going today? Jacob Walter [00:00:56]: I'm doing well, thank you. Thank you for having me. James Kademan [00:00:58]: Let's start with what is Patriot Properties? Jacob Walter [00:01:00]: Yeah, Patriot Properties, full service property management company. So we kind of joke around that if you can rent it, you know, we will manage it for you. We do. Obviously our bread and butter is multifamily. We do short term rentals. At one point we did camper van rentals. James Kademan [00:01:19]: Oh wow, you weren't joking. Jacob Walter [00:01:21]: Yeah, yeah, don't do that anymore. That was, that was an interesting time. But storage units, whatever you can rent, real estate wise, we can manage. James Kademan [00:01:32]: All right. And how long have you been with them? Jacob Walter [00:01:35]:

11-5 Carmichael Dave joins Papa & Silver to break down the Warriors showdown in Sacramento on the back end of a back-to-backSee omnystudio.com/listener for privacy information.

11-5 Carmichael Dave joins Papa & Silver to break down the Warriors showdown in Sacramento on the back end of a back-to-backSee omnystudio.com/listener for privacy information.

The Warriors dominate the Clippers, the Warriors defense shines, Curry performance, Butler performance, Quinten Post defensive game, Brandin Podziemski bounces back and more!

Prakash Chandran—co-founder and CEO of Xano—joins JJ to unpack how teams ship production-grade backends without spinning up servers or writing boilerplate. We cover Xano's origin story, why backend business logic matters, how AI is changing application workflows, and what's coming next (including AI assistance baked into the product).You'll learn:• When to choose a visual backend vs. bespoke code• How to model business logic and data for scale• Real examples of Xano in AI-powered apps• Where Xano fits alongside tools like Bubble, Softr, and custom stacks• What Xano is building next for serious, production useAbout Prakash: Former Google designer turned founder, Prakash has spent years helping teams move from one-off software projects to reusable, scalable backend foundations.Links & Resources

Send us a textWe recorded live at IMAPS with Siemens, ACM Research, Shellback Semiconductor, DECA, Nordson Electronic Solutions, and VIEW Micro Metrology to explore how AI demand, chiplets, and panels are reshaping advanced packaging. We dig into 3D BLOX, thermal and test roadblocks, green chemistries, metrology at scale, and why the back end now leads innovation. Listen to learn about:• The Siemens–ASE collaboration on 3D BLOX models and VIPACK workflows• Interoperable YAML-based packaging definitions moving toward IEEE standard• 3D stacking to cut picojoules per bit amid thermal and test limits• Panel-level packaging economics, sizes, and lack of standards• ACM Research updates in copper plating, bevel clean, frame clean, and compound deplating• Batch spray versus single wafer trade-offs at Shellback Semiconductor• HydrOzone green strip replacing legacy NMP in select flows•The  DECA–SST deal for NVM chiplet package and SoC disaggregation• Nordson Electronic Solutions' panel strategy, IntelliJet 1.1, Vantage platform, and warpage control• VIEW Micro Metrology's high-throughput telecentric metrology across wafers and large panelsLearn more at imaps.orgSupport the showBecome a sustaining member! Like what you hear? Follow us on LinkedIn and TwitterInterested in reaching a qualified audience of microelectronics industry decision-makers? Invest in host-read advertisements, and promote your company in upcoming episodes. Contact Françoise von Trapp to learn more. Interested in becoming a sponsor of the 3D InCites Podcast? Check out our 2024 Media Kit. Learn more about the 3D InCites Community and how you can become more involved.

Everyone keeps asking, “How do you do it all and still make money?”Here's the truth: I don't believe in balance. I believe in systems.In this episode, I'm spilling the tea on the backend that actually runs my business—the automations, workflows, and client systems that keep everything moving while I'm baking cookies, raising my baby, and living my Soft x Savage dream life.Most coaches won't tell you this part because it's not “sexy” enough for Instagram. But these are the exact systems I built *two years before I ever met Edy*… because I knew the woman I was becoming—a wife, a mom, and a CEO—deserved a business that could hold her life, not consume it.If you've ever looked at women who seem to “do it all” and wondered how, this episode gives you the full breakdown:- The backend systems that automate my income and client delivery- How I structure my calendar for energy management (not time management)- The non-negotiables I protect as a wife and mom- Why I built all of this before I ever “needed” itThis is the episode you listen to when you're done glamorizing hustle and ready to build something that lasts.

Jim Edwards and Stew Smith discuss turning articles into presentations, scripts for podcasts, and focus on funnel marketing. Then we make a presentation using the CopyandContent.ai Genie with hack-like skill. Check out the Facebook Group – Sales Copy and Content Marketing Hacks at https://www.facebook.com/groups/copywritingandcontenthacks and for more information on the wizards used to make outstanding sales copy check out https://www.CopyandContent.ai. Also - Check out the Facebook Group – Sales Copy and Content Marketing Hacks at https://www.facebook.com/groups/copywritingandcontenthacks   

Mark Raasveldt, co-founder and CTO of DuckDB Labs, shares his journey from academic research at CWI Amsterdam to creating one of the most innovative analytical databases of the last decade. Mark discusses the technical challenges of building DuckDB from scratch, the philosophy behind embedded analytical databases, and why single-node performance still matters in our cloud-first world. He provides insights into open source business models, the evolution of data formats like Parquet, and how DuckDB is democratizing high-performance analytics for developers everywhere.

Lost Balls WWE Committed To The Costume Zen Books Bickmore’s Bits Oasis Tickets Ariarne Titmus Retires? Did You Retire Young? Dulux Jelly Beans Bush Is Back Mariah’s Lights Hands CleanSubscribe on LiSTNR: https://play.listnr.com/podcasts/carrie-and-tommySee omnystudio.com/listener for privacy information.

Backend-related outages were somewhat of a theme during the first half of 2025 and this trend seems to be continuing. In recent weeks, we've seen several service disruptions that appeared connected to backend issues, affecting organizations including a social media platform, an Australian bank, and a major airline. These incidents offer valuable insights into the typical characteristics of backend outages and strategies for spotting them. Tune in now to hear more about these events and the distinct anatomy of a backend outage. ——— CHAPTERS 00:00 Intro 01:01 About Backend Outages 04:18 Anthropic's Claude Outage 08:44 Service Disruption 12:54 Alaska Airlines Outage 14:17 Commonwealth Bank Outage 15:42 Gong Service Disruption 17:25 Outage Trends: By the Numbers 19:43 Get in Touch ——— Explore Anthropic's Claude outage and the Alaska Airlines outage further in the ThousandEyes platform (no login required): - Claude: https://acshghvfamioplwqigifrycvlsqesoxb.share.thousandeyes.com - Alaska Airlines: https://annocixygjjriicwjupcporbjqblgkym.share.thousandeyes.com/ For additional insights, check out the links below: - The Internet Outage Survival Kit: https://www.thousandeyes.com/resources/the-internet-outage-survival-kit??utm_source=soundcloud&utm_medium=referral&utm_campaign=fy26q1_internetreport_q1fy26ep6_podcast - The Guide to Next-generation Assurance: https://www.thousandeyes.com/resources/guide-to-next-generation-assurance-ebook?utm_source=soundcloud&utm_medium=referral&utm_campaign=fy26q1_internetreport_q1fy26ep6_podcast ——— Want to get in touch? If you have questions, feedback, or guests you would like to see featured on the show, send us a note at InternetReport@thousandeyes.com. Or follow us on LinkedIn or X. ——— ABOUT THE INTERNET REPORT This is The Internet Report, a podcast uncovering what's working and what's breaking on the Internet—and why. Tune in to hear ThousandEyes' Internet experts dig into some of the most interesting outage events from the past couple weeks, discussing what went awry—was it the Internet, or an application issue? Plus, learn about the latest trends in ISP outages, cloud network outages, collaboration network outages, and more. Catch all the episodes on YouTube or your favorite podcast platform: - Apple Podcasts: https://podcasts.apple.com/us/podcast/the-internet-report/id1506984526 - Spotify: https://open.spotify.com/show/5ADFvqAtgsbYwk4JiZFqHQ?si=00e9c4b53aff4d08&nd=1&dlsi=eab65c9ea39d4773 - SoundCloud: https://soundcloud.com/ciscopodcastnetwork/sets/the-internet-report

Backend-related outages were somewhat of a theme during the first half of 2025 and this trend seems to be continuing.In recent weeks, we've seen several service disruptions that appeared connected to backend issues, affecting organizations including a social media platform, an Australian bank, and a major airline. These incidents offer valuable insights into the typical characteristics of backend outages and strategies for spotting them.Tune in now to hear more about these events and the distinct anatomy of a backend outage.———CHAPTERS00:00 Intro01:01 About Backend Outages04:18 Anthropic's Claude Outage08:44 Service Disruption12:54 Alaska Airlines Outage14:17 Commonwealth Bank Outage15:42 Gong Service Disruption17:25 Outage Trends: By the Numbers19:43 Get in Touch———Explore Anthropic's Claude outage and the Alaska Airlines outage further in the ThousandEyes platform (no login required): - Claude: https://acshghvfamioplwqigifrycvlsqesoxb.share.thousandeyes.com- Alaska Airlines: https://annocixygjjriicwjupcporbjqblgkym.share.thousandeyes.com/For additional insights, check out the links below:- The Internet Outage Survival Kit: https://www.thousandeyes.com/resources/the-internet-outage-survival-kit?utm_source=wistia&utm_medium=referral&utm_campaign=fy26q1_internetreport_q1fy26ep6_podcast- The Guide to Next-generation Assurance: https://www.thousandeyes.com/resources/guide-to-next-generation-assurance-ebook?utm_source=wistia&utm_medium=referral&utm_campaign=fy26q1_internetreport_q1fy26ep6_podcast———Want to get in touch?If you have questions, feedback, or guests you would like to see featured on the show, send us a note at InternetReport@thousandeyes.com. Or follow us on LinkedIn or X: @thousandeyes———ABOUT THE INTERNET REPORTThis is The Internet Report, a podcast uncovering what's working and what's breaking on the Internet—and why. Tune in to hear ThousandEyes' Internet experts dig into some of the most interesting outage events from the past couple weeks, discussing what went awry—was it the Internet, or an application issue?Plus, learn about the latest trends in ISP outages, cloud network outages, collaboration network outages, and more.Catch all the episodes on YouTube or your favorite podcast platform:- Apple Podcasts: https://podcasts.apple.com/us/podcast/the-internet-report/id1506984526- Spotify: https://open.spotify.com/show/5ADFvqAtgsbYwk4JiZFqHQ?si=00e9c4b53aff4d08&nd=1&dlsi=eab65c9ea39d4773- SoundCloud: https://soundcloud.com/ciscopodcastnetwork/sets/the-internet-report

In this episode, Amanda kicks off the new “OBM CEO Blueprint” series by focusing on what it means to create a client-ready backend. She explains why having clear offers, a smooth onboarding process, the right systems, and a professional presence are essential for building client confidence from day one. Amanda also shares practical strategies for balancing backend setup with marketing, and why a streamlined backend not only saves time but positions you as a confident leader in your OBM business.   Register for the Becoming the CEO of Your OBM Business Challenge: https://www.amandamcvicker.com/ceo-challenge  Connect With Amanda: amandamcvicker.com Instagram: @AmandaMcVicker_OBM Want to find out if you're ready to be an OBM? Take the quiz: https://www.amandamcvicker.com/quiz  Grab Your First 30 Days as an OBM Calendar, walking you through everything you need to do to start your OBM business: https://www.amandamcvicker.com/30-day  Learn the skills needed to be a stand-out OBM by downloading The OBM Tech Stack: https://www.amandamcvicker.com/obm-tech-stack Want to be a guest on The OBM Educator? Fill out this form: https://forms.gle/WCRrVx6VASG9Krit5

Wir sprechen drei Jahre nach ChatGPT 3.5 darüber, wie sich LLMs vom Spielzeug zum Arbeitswerkzeug entwickelt haben – und warum viele Nutzer im „tiefen Wald“ der Modelle und Anbieter den Überblick verlieren. Reasoning und Memory sind deutlich besser geworden (größere Kontexte reichen nicht, stabile Zwischenschritte schon), agentenbasierte Plattformen bilden echte Arbeitsprozesse ab, und Iterationsketten wandern ins Backend: weniger Prompt-Magie, mehr automatische Orchestrierung. Gleichzeitig explodiert die Vielfalt: Big Tech, spezialisierte europäische Modelle (z. B. sprachlich-kulturelle Stärken), Open-Source-Stacks und neue Intermediäre, die mehrere Modelle bündeln und „auto-modus“-artig nach Aufgabe, Kosten und Präferenz routen.Genau hier wird das Dickicht dicht: Token-Kosten und Modellmix, Vendor-Zoo statt Klarheit, dazu Compliance- und Haftungsfragen. Unternehmen brauchen Guardrails – PII-Filter, Protokolle, Audit-Trails, Rollenrechte – idealerweise als On-Prem/Hybrid-Layer, der sensible Daten vor der Schnittstelle säubert und Prozesse schützt. Denn neben personenbezogenen Profilen droht auch das Reverse Engineering von Prozess-IP: Was ins System fließt, kann rückschließbar werden. Standards wie das Model Context Protocol (MCP) und Agent-to-Agent-Schnittstellen sollen Ordnung in die Orchestrierung bringen; Safety-Layer („KI-Polizei“) filtern, ohne Nutzende mit Verbotsschildern allein zu lassen.Europa hat in diesem tiefen Wald eine echte Chance: nicht unbedingt als Hyperscaler, sondern mit differenzierten, sicheren, compliant nutzbaren Modellen und Plattformen, die regulatorische Anforderungen ernst nehmen und spezifische Stärken (Sprache, Domänen, Übersetzung) ausspielen. Unser Fazit: Impact statt Spielerei – aber nur, wenn wir das Modell-Dickicht systematisch lichten. Praktisch heißt das: Meta-Interface statt Ein-Modell-Fixierung, frühe Guardrails, transparente Kostensteuerung und bewusster Einsatz europäischer Optionen in sensiblen Domänen. So wird „Deep“ nicht zum tiefen Wald, sondern zum Wegweiser.

Hour 2 - Jacob & Tommy put the opening day of the work week to the test, then put it to rest. In this segment they remind all of the Chiefs far superiority over the rest of the NFL and look at the Royals path to the playoffs.

8-27 Papa & Silver Show with John Dickinson - Hour 2: Ranking the NFC West 1-4 by various position groups. John Shea joins the show on the back end.See omnystudio.com/listener for privacy information.

8-27 Papa & Silver Show with John Dickinson - Hour 2: Ranking the NFC West 1-4 by various position groups. John Shea joins the show on the back end.See omnystudio.com/listener for privacy information.

Holy trinity.....Cena.....Dwayne again....

The Bulldog and Nate Geary continue their talk of the faith they have in the secondary and concerns they have about it going into the season

In this episode, I reveal why the most successful businesses are built when the founder stays in the visionary role, and how leaning into feminine-led success can create more ease, flow, and effortless growth.I share my own journey of feeling like I wasn't a "real" entrepreneur because I didn't like the backend stuff, the power of building business structure that supports your feminine energy, and the game-changing shift that happened when I stopped trying to do it all myself.You'll also meet Maggie: Magnetic by Design, my AI-powered Human Design and business mentor, created from over a decade of my strategies, marketing, content, and transformational tools. She's here to help you grow, scale, and stay in your zone of genius, without burning out in the backend.

Do you pilots have road rage in the air? How does that work? Headlines with Kelly Clarkson postponing her Vegas shows due to the passing of her ex husband Sports with MLB's first Female umpire debuts this weekend

Carl and Mike come back with a few more brief thoughts on Trae Young and whether or not the Hawks need to offer him a max contract now or if Young will have to go out this season and prove to the Hawks they need to pay him. They then get into some Braves talk as they share thoughts on Spencer Strider as Carl believes he had a "pathetic outing" giving up a career high of 11 hits, to which both the guys believe with the team having nothing to play for and Strider still trying to get back to form after dealing with injury, the Braves do not need to continue rotating him out regularly.

In this episode of our Mastermind Series, we are discussing the pros & cons of going directly into a membership versus a back-end membership, how to avoid confusing your audience with multiple products and how to avoid limiting yourself with your offers.Resources:Adaptive Marketing Program - Adaptive Marketing Program is an exclusive opportunity for online business owners, coaches, course creators, and membership site owners to play bigger and bolder in their business and explode their bank account with more clients!For a list of our resources & recommendations visit: https://onlinemarketingpodcast.com/learn-with-paul-melissa/Connect with us on social!Instagram: @realpaulpruitt & @realmelissapruittFacebook: @realpaulpruitt & @realmelissapruitt

Horses ride dinosaurs, monsters are real but Mulder & Scully are fake, we have a cow, and we go from knights to rookes!

In this episode Zackavelli talks about backend systems for games and why you should consider the features it can support. SPONSOR: Please check out the link below to support AccelByte in paying for this free educational content. Unlimited Development Trial: https://accelbyte.io/promo Skip to Body of Episode: 6:13 Join the discord and talk with the community about making video games! Link: discord.gg/2C8eTsU Follow Zackavelli on Twitter @_Zackavelli_ Twitch: www.twitch.tv/zackavelli_ Intro music by: Avaren Outro remix by: Mugamoomoo

What does it take to host a summit where your registration page converts at 83% and drives $63,000 in back-end course sales and $77,000 in total revenue? In today's case study, Summit in a Box® founder Krista Miller breaks down the behind-the-scenes of her 2020 virtual summit that attracted 1,250 attendees and led to her highest-converting course launch at the time. With a two-tier all-access pass offer and a brilliant scholarship incentive that led to a 40% LIVE show-up rate for the end-of- summit masterclass that sold her course, Krista turned free attendance into high-ticket enrollment. Now, five years later with hundreds of more summits under her belt (both her own and her students), she's reflecting on what she'd change if she ran this summit today—from rethinking her pricing strategy to why she now avoids co-hosting entirely—and how that hindsight is informing the way she hosts summits in 2025. Connect with Krista: https://www.summitinabox.co IG: @summitinabox Iconic business leaders all have their own unique genius. Take this quick 10 question quiz to uncover your specific CEO style advantage: ⁠⁠⁠⁠⁠⁠⁠https://cubicletoceo.co/quiz⁠⁠⁠⁠⁠⁠⁠ If you enjoyed today's episode, please: Post a screenshot & key takeaway on your IG story and tag me ⁠⁠⁠⁠⁠⁠⁠@missellenyin⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠@cubicletoce⁠⁠⁠⁠⁠⁠⁠o so we can repost you. Leave a positive review or rating at ⁠⁠⁠⁠⁠⁠⁠www.ratethispodcast.com/cubicletoceo⁠⁠⁠⁠⁠⁠⁠ Subscribe for new episodes every Monday. Learn more about your ad choices. Visit megaphone.fm/adchoices