Podcasts about Beautification

In this episode of the Kindling Project podcast, host Melissa Halpin speaks with Jessica York, founder of Coterie Detroit and owner of Breathe Bodywork and Beautification. They discuss the importance of community building, wellness, and self-care, particularly for women. Jessica shares her journey in the wellness industry, the holistic treatments offered at her spa, and the significance of reconnecting with our humanity in a tech-driven world. They also explore the impact of technology on mental health, the importance of modeling self-care for future generations, and the role of hobbies in personal fulfillment. Jessica introduces her new sound healing initiative and emphasizes the difference between entrepreneurship and business ownership, encouraging listeners to pursue their passions for personal satisfaction. Find all things Jessica!https://www.linkedin.com/in/jessica-york-breathe/https://coteriedetroit.com/https://www.breathebodyworkandbeautification.com/Take Action Now!Learn more about The Kindling Project at our website and join our Facebook group for women looking for that extra kindling to start their next big fire! Contact us via email at podcast@thekindlingproject.com for further inquiries or discussions.

-Detachment from identity and gender. -Equanimity arises not from changing external perceptions but from relinquishing ownership of the body and its attributes. -Praise and blame affect only those who mistakenly identify with their form, but letting it go will require abandoning of the pursuit of validation, desire, and self-image. -Beautification and social approval reinforce attachment, while seeing the body as impermanent and not-self leads to freedom from suffering.If you wish to support the Hillside Hermitage Sangha and this channel you are very welcome to do so via:https://www.hillsidehermitage.org/support-us/

Beautification and Environmental Advisory Committee Meeting - 2/27/25 5:00 PM @ City Hall (160 Lake Avenue)

The Wilson County Beautification Association (WCBA) held a meet-and-greet Feb. 12 in La Vernia. Participants discussed plans for our future activities, projects, and events! Here are a few projects the association will be working on this year. We welcome you to participate in any of the projects to help us make a difference in Wilson County! You can pick and choose the projects that interest you. •Texas Department of Transportation (TxDOT) Adopt-A-Highway •Beautification awards by precinct •Keep Texas Beautiful •Dark Sky Texas and Dark Skies International •New: Adopt-A-Spot •San Antonio River Authority — Helton and Jackson nature parks in Wilson...Article Link

The Wilson County Beautification Association is hosting a Meet and Greet for the public to learn more about them on Wednesday, Feb. 12, at 7 p.m., at Witte's Barbeque in La Vernia. The organization's mission is to preserve and enhance the beauty of Wilson County, by engaging citizens, neighborhoods, organizations, and businesses through education and activities to sustain a lifelong stewardship of our county. The nonprofit's activities include recognizing and presenting awards for outstanding efforts to beautify local business locations, working with Keep Texas Beautiful and the many resources they provide, hosting speaker forums, encouraging paint-up, plant-up, fix-up, and pick-up...Article Link

Beautification and Environmental Advisory Committee Meeting - 1/23/25 5:00 PM @ City Hall (160 Lake Avenue)

Mandeep engages with Dr. Sewak Singh to uncover the implications of the ongoing renovations led by SGPC, Nishkam Sewa Society, and Karsewa. While the project aims to enhance the site's aesthetic appeal, many argue that it threatens the integrity of this historic and sacred location. This News/Article Sacred Geography of Anandpur Vs Beautification Project of 1999: Talk with Dr. Sewak Singh (Part 1) appeared first on Sikh Siyasat News.

A colourful account of women's health, beauty, and cosmetic aids, from stays and corsets to today's viral trends. Victorian women ate arsenic to achieve an ideal, pale complexion, while in the 1790s balloon corsets were all the rage, designed to make the wearer appear pregnant. Women of the eighteenth century applied blood from a black cat's tail to problem skin, while doctors in the 1880s promoted woollen underwear to keep colds at bay. Beautification and the pursuit of health may seem all-consuming today, but their history is long and fantastically varied. Ranging across the last four hundred years, Margarette Lincoln examines women's health and beauty in fascinating detail. Through first-hand accounts and reports of physicians, quacks, and advertising, Lincoln captures women's lived experience of consuming beauty products, and the excitement--and trauma--of adopting the latest fashion trends. Considering everything from body sculpture, diet, and exercise to skin, teeth, and hair, Perfection: 400 Years of Women's Quest for Beauty (Yale UP, 2024) is a vibrant account of women's body-fashioning--and shows how intimately these practices are related to community and identity throughout history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A colourful account of women's health, beauty, and cosmetic aids, from stays and corsets to today's viral trends. Victorian women ate arsenic to achieve an ideal, pale complexion, while in the 1790s balloon corsets were all the rage, designed to make the wearer appear pregnant. Women of the eighteenth century applied blood from a black cat's tail to problem skin, while doctors in the 1880s promoted woollen underwear to keep colds at bay. Beautification and the pursuit of health may seem all-consuming today, but their history is long and fantastically varied. Ranging across the last four hundred years, Margarette Lincoln examines women's health and beauty in fascinating detail. Through first-hand accounts and reports of physicians, quacks, and advertising, Lincoln captures women's lived experience of consuming beauty products, and the excitement--and trauma--of adopting the latest fashion trends. Considering everything from body sculpture, diet, and exercise to skin, teeth, and hair, Perfection: 400 Years of Women's Quest for Beauty (Yale UP, 2024) is a vibrant account of women's body-fashioning--and shows how intimately these practices are related to community and identity throughout history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

A colourful account of women's health, beauty, and cosmetic aids, from stays and corsets to today's viral trends. Victorian women ate arsenic to achieve an ideal, pale complexion, while in the 1790s balloon corsets were all the rage, designed to make the wearer appear pregnant. Women of the eighteenth century applied blood from a black cat's tail to problem skin, while doctors in the 1880s promoted woollen underwear to keep colds at bay. Beautification and the pursuit of health may seem all-consuming today, but their history is long and fantastically varied. Ranging across the last four hundred years, Margarette Lincoln examines women's health and beauty in fascinating detail. Through first-hand accounts and reports of physicians, quacks, and advertising, Lincoln captures women's lived experience of consuming beauty products, and the excitement--and trauma--of adopting the latest fashion trends. Considering everything from body sculpture, diet, and exercise to skin, teeth, and hair, Perfection: 400 Years of Women's Quest for Beauty (Yale UP, 2024) is a vibrant account of women's body-fashioning--and shows how intimately these practices are related to community and identity throughout history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

A colourful account of women's health, beauty, and cosmetic aids, from stays and corsets to today's viral trends. Victorian women ate arsenic to achieve an ideal, pale complexion, while in the 1790s balloon corsets were all the rage, designed to make the wearer appear pregnant. Women of the eighteenth century applied blood from a black cat's tail to problem skin, while doctors in the 1880s promoted woollen underwear to keep colds at bay. Beautification and the pursuit of health may seem all-consuming today, but their history is long and fantastically varied. Ranging across the last four hundred years, Margarette Lincoln examines women's health and beauty in fascinating detail. Through first-hand accounts and reports of physicians, quacks, and advertising, Lincoln captures women's lived experience of consuming beauty products, and the excitement--and trauma--of adopting the latest fashion trends. Considering everything from body sculpture, diet, and exercise to skin, teeth, and hair, Perfection: 400 Years of Women's Quest for Beauty (Yale UP, 2024) is a vibrant account of women's body-fashioning--and shows how intimately these practices are related to community and identity throughout history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

A colourful account of women's health, beauty, and cosmetic aids, from stays and corsets to today's viral trends. Victorian women ate arsenic to achieve an ideal, pale complexion, while in the 1790s balloon corsets were all the rage, designed to make the wearer appear pregnant. Women of the eighteenth century applied blood from a black cat's tail to problem skin, while doctors in the 1880s promoted woollen underwear to keep colds at bay. Beautification and the pursuit of health may seem all-consuming today, but their history is long and fantastically varied. Ranging across the last four hundred years, Margarette Lincoln examines women's health and beauty in fascinating detail. Through first-hand accounts and reports of physicians, quacks, and advertising, Lincoln captures women's lived experience of consuming beauty products, and the excitement--and trauma--of adopting the latest fashion trends. Considering everything from body sculpture, diet, and exercise to skin, teeth, and hair, Perfection: 400 Years of Women's Quest for Beauty (Yale UP, 2024) is a vibrant account of women's body-fashioning--and shows how intimately these practices are related to community and identity throughout history. Learn more about your ad choices. Visit megaphone.fm/adchoices

A colourful account of women's health, beauty, and cosmetic aids, from stays and corsets to today's viral trends. Victorian women ate arsenic to achieve an ideal, pale complexion, while in the 1790s balloon corsets were all the rage, designed to make the wearer appear pregnant. Women of the eighteenth century applied blood from a black cat's tail to problem skin, while doctors in the 1880s promoted woollen underwear to keep colds at bay. Beautification and the pursuit of health may seem all-consuming today, but their history is long and fantastically varied. Ranging across the last four hundred years, Margarette Lincoln examines women's health and beauty in fascinating detail. Through first-hand accounts and reports of physicians, quacks, and advertising, Lincoln captures women's lived experience of consuming beauty products, and the excitement--and trauma--of adopting the latest fashion trends. Considering everything from body sculpture, diet, and exercise to skin, teeth, and hair, Perfection: 400 Years of Women's Quest for Beauty (Yale UP, 2024) is a vibrant account of women's body-fashioning--and shows how intimately these practices are related to community and identity throughout history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

While it's technically fall in Wisconsin, people are still out with their lawnmowers, sprayers, and hoses as if it's already time to get ready for spring. It just so happens that these last months before winter are key to a successful lawn for next year. Professor and Turfgrass Extension Specialist Paul Koch works with commercial businesses and homeowners alike on their lawns. He says mowing, mulching, herbicide application, and seeding this fall could improve your property for spring. Paul gives us detailed instructions. See omnystudio.com/listener for privacy information.

This week Kelsey gives Zach the rundown of what women spend on BEAUTIFICATION in their 20s, 30s, 40s, 50s and beyond (guess who doles out the most of their sweet sweet cash

The Festival Project, Inc.™ is a multidimensional multimedia platform which encompasses exploratory and artistic social personifications and expressions on cosmic theory, spirituality, growth, health & wellness, philosophy and theoretic dynamics in entertainment such as music, design, film, television, radio, dance and festival culture, art, fashion, literature, and science. The Festival Project™ and it's subsidiary Non-Profit, The Collective Complex © aims to challenge modern artistic and philosophical ideals, break commonplace barriers, forage new creative mediums, and provoke inspired and reformed thought and actions toward evolution and overall societal improvement and ecological sustenance through a new-wave and post-modern, avant-garde and philanthropic hyperawareness driven by a unique culture of global values mediating global respect and preservation via open consciousness, multi-sensory and synesthetic (multi-preceptory) expansions of sound, language, vibration, movement, color, emotion, and ritual governed conceptually by the aspect(s) of love, truth, unity, understanding, and peace. Thank you graciously for your time, consideration, understanding, and support. ^.^ To Donate Please Visit,please visit gofundme.com/thecomplexcolletive TRIGGER WARNING! ⚠️ VIEWER, LISTENER, and READER DISCRETION IS ADVISED. ⚠️ This series contains adult content not suitable for children or under the legal age of majority. Listener and reader discretion is advised as this publication and / or broadcast and its selected readings and projected writings may contain explicit language, provocative wordplay, profanity, open expression of suicidal ideation, discussion of evolved/ de-institutionalized theories concerning depression and mental health, race relations and colorism, socio-economic inequality, political injustice and media politicism/ mass media manipulation, unresearched/undocumented scientific hypothesis , modern philosophical ideals and spiritual explorations, crude/ adult humor and may also include and contain pornographic content, references to fictionalized interpretations of celebrities and/or public figures (fan-fiction), caricatures or references to pop culture, modern art, music, science and other entertainment references which may evoke biased emotion, inspire adverse reactions, contemplative thought, discontentment, or discomfort. The views and opinions expressed by this series and its subsequent editions, additions, chapters, broadcasts, and publications are solely the writers' interpretations as expressed with artistic and entertainment purposes only. The artist reserves all rights to intellectual property maintained and produced by any and all publications of this series and is thereby protected under any applicable copyright law and/or trademark. All fictionalizations of persons living or dead are meant to be perceived as characterized and/or fictional (fan-fiction) are for entertainment purposes only, and are not to be perceived as real re-enactments, dramatizations of events past or present, media dialogues or agendas, or factual exchanges pertaining to and surrounding real-life circumstances. The dialogues and entires expressed in this project are in no way liable for any action, expression, disagreements, entitlements held by the reader at his or her/ their own discretion. [The Festival Project ™] Apparently, the Yeah Yeah Yeah's are a real band. No fucking way. Apparently. I had no idea at all when I wrote that…. –Wrote what? …nothing. [The Festival Project™ ] … ‘Mm. More protein.' I knew protein wasn't exactly entirely going to help me lose weight, but I had lost a lot of muscle only cycling and being bombarded at the gym— and the inferior protein I had purchased earlier in the month was less than inferior, as it turned out— it simply wasn't working. How the fuck is this a real rock group?! I don't know! I thought I made it up. I thought you made everything up. I MADE EVERYTHING UPz. Well, this is turning out to be a disaster. Hm. No spouse listed. You fucked a drummer? You could say I hopped on the bandwagon. Ew. Gross. What do you want from me?! Shut up! {Enter The Multiverse} ___ I'm going to need you to feed my dragon. Uhm. Okay. Don't worry. She doesn't bite. Uh. Give her a kiss. …no. Do it, or she'll set you on fire. *kisses dragon* ..Okay. Good girl. She's soft. For a dragon. Yes, she's very friendly. So. What does she eat? People. +.+ –Agh?! —but only purple ones. What? She's not going to eat you, Fredrick. Who the fuck is “Fredrick”?! (We don't know.) My name's not— —you're not purple. I'm not. No. Don't worry. I'm—worried. I said don't. Well; wait— what color am I, then? That's not important. *shiny* Oh, good. A gatekeeper. What in the actual circumstance is this. Length? 8.5 inches. Girth? A hearty 3.5 Circumference. What the fuck is “circumference”? [VOID.] Well, that's was fun. What was? …nothing. OH GOF— GOD Go to sleep. …I just want to know, though. Just ask Google. I'm not asking Google that! Hey Google… GOOGLE /incognito {Enter The Multiverse} Body shopping on the internet Not worth following Got to find the father who bought me the body I can self publish books, but can't do it all myself My artform costs money. Performances put off till I can afford to look adorable By New York standards, On California stereotypes No work darlin' An escort service Will cost Two dumb dollars more In your karma jar Than you've got goin. Call Tony Hawk, A star struck hallmark card For the workman's comp You were offered —Subpoena the penis. —oh that's right, I need actual ink pens. Oh God, he bought secrets on stop signs; —someone's daughter #stop for comedy DO NOT PUT FOOD ON MY VAGINA. DO NOT— No. My vagina IS food. You don't put— No. No. You want peanut butter all over your dick and balls? Awesome. You want whipped cream on the shit? Fine. Chocolate? (Non dairy, if you will.) But DO NOT. I repeat: DO NOT PUT FOOD ON MY VAGINA. Toppings are for ice cream. This here is sorbet. #lilbitz {Enter The Multiverse} So I did the math the other day— And I finally figured it out, That the reason the world is such a fucked up place Is that 80 percent of dudes have short dicks. That's why the “ideal” woman has always been small waisted, short, petite, tiny. — 80% of men have penis lengths smaller than 5 inches. That's statistics. I'm just saying— There's a reason why super models are super skinny. That's so dudes can hit it and really feel like they're fucking shit up. With their little short dicks. These tiny short girls make their little dicks feel LARGE, okay? Doesn't even matter. I just figured out the whole world is fake. I want to go somewhere the fuck else. I want to go somewhere selfies don't exist. {Enter The Multiverse} MOO-HAHA HA-HA HahAHa-HAHA! WHAT! That's my evil laugh. NO ITS NOT. What do you mean, it's not? “MOO-HAHA” NOBODY LAUGHS LIKE THAT. That's my evil laugh! No, it's not. Well, how am i supposed to laugh, then? Justnfucking— “Mwa-ha-ha”? There you go. That's perfect. What!? That's simple. That's just like everybody else. Be simple then. What! You're also just like everybody else! I am not! What makes you different? I'm—going to take over the world. See. See—what?! You're just like everybody—all the other villains. I am not! You are, though, for real. Like— Ugh. Just—do your laugh. MOO-HAH— Not that one. :( The other one. What— Do the other one. …mwa-haha… That's better. :( Come on. This opener is running lo— [TITLE SEQUENCE] I earned two tattoos and a crown From loving a man Who can't love me back I won the pawn, the aces, the sword Chariot, gardens and graces A house full of waivers Could you uncover the arc of the architect? Probably not, As it changes upon discovery Could you uncover the mask of the rabbit? The tantra of habit? The cruel suffering of the crucifix? Neverwell you, Harper Son of Sam And Harlem's daughter The forever golden one —a forager. Arches— Hark, you call, cruel summer Never forward Wondering blossom, Talking of longshores, sportsman's, Wailers, down coats Fools for orphans, are you all! Proof of the word for the propaganda, Mother Sandra Bullocks and Bulletwounds (But Bullock would have wanted one next, Just to summon a role for her.) Passion projects! Here they are, now! Bulletproof and, Table readings— Don't be greedy! Your agents and managers Also are facing inflations On yachts and at parties And meanwhile, The projects of poverty are awestruck With guttural proportions Of treasures uncovered from rubble Of sidewalks And storm gutters —how was your morning? Celebrity, aren't you? Well, aren't I then? Relax rabbit, I have a new task for you— Go bring me back what you haven't yet, And try staying on task without habits at all Or adderall— (Won't be that hard on an all organic diet, Proper programming and parental encouragement, Plus support, recommended.) Here you are again, to bother anyone around you. There I go again, not caring a fuck less. Here we are both a genius and robot Deciding to go walk the dog, At the wrong time Just a reminder I'm less of myself, In a room full of anyone else, Nevermind A few thousand —the likely cause of my invisibility. Battlegrounds as the brainless have managed to outnumber us. Beyonce became the first black woman to headline Coachella in 2018. Halle Berry, just shortly before that in 2001 became the first black woman to win an academy award for best actress. I'm just realizing what era of time I've been born into—and I have to continue to keep wondering to myself—‘why do they hate us?' For the first time in my life, advertisements for a Disney movie which will showcase an African American girl as its lead character—not as a frog, or a lion, or a mermaid—but as a human being—and one of the first animations in my lifetime to feature a female character with brown eyes—and not the usual blue, green, purple, or pink the media often uses to dehumanize or water down the blackness of dark skinned characters— saddens me, as although she is wearing braids, she is still made to look light skinned, with freckles—as beautiful some girls are, but still, this alerted me to the fact that white audiences still hate seeing black women in the spotlight, and solidified the truth that white audiences will not adapt to watching dark skinned women as the leading role in almost anything. Is the intrinsic hatred and jealousy of the white supremacy the underlying cause in the continual disadvantage of darker skinned women and the portrayals as such as strong leading characters—why does the success and happiness of the black woman seem to be such an imposing threat to whites so much so that the entire media has been, even of late, a parade of forced diversification, further colorism, and the solidification of light skinned people being seen as more beautiful, acceptable, and prioritized, in the media and otherwise? Has the obsession of white hatred towards black woman been the underlying cause in the justification of white supremacy in the media in order to create more steady sources of revenues for entertainment provisioners, programmers, and networks—appealing to largely white audiences with whitewashed and Eurocentric classification of diversity amongst the new generation's subset standards? The dark skinned woman continues to be undermined and unappreciated — it seems out of deep seated fear— fear of dark skin, fear of dark eyes—fear of having to share a world which used to revolve around eurocentricity—with diversified beauty—fear of actual equality. Why Do They Hate Us? Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But ya'll out of order) Bitch, buy me a bottle! Nobody else can hear the Motorcycles Cause I'm the Only one sober Writing in fours because After all This is A drama Not a Comedy, no (Nope, not at all) I get wronged for it when I black out— Funny thing about it is, That ain't never happened Colonizer poison all of the water Code of conduct I promise the karma For carnival circus I promise when I die The rest of it goes out with me (But not coming home with us) The darker the berry, The longer the story —the older we are Y'all out of order Ain't it funny when The whole world is Sons and your daughters Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But yall out of order) I tie the rope, Then I slit my wrists (Pull the trigger) Amen, I'm three times dead, And ain't left my apartment Bitch, buy me a bottle. Yo. I don't hate white peoples. At all, bro. But— They're just scary. Sometimes. Like ey— Stop trying to kill us. They're like, “We're not! …Just… …the ugly ones…” But then that's like… They're the ones that set the standards in the first place on who's “ugly.” “Ok! Ok! Everyone's beautiful!” [That's good.] “…Just the stupid ones!” lol. But they run all the fuckin systems, So the education system is like, Unequal and shit. They're like, “It's okay! Everything's better now.” But all the dark skinned people in movies are either like, Men, or like, Off to the side and shit. Morbidly obese and shit— Like, “Here's your representation.” What in the fuck though— I swear to God I don't hate white people. I don't. But it's like… Every time we get too far ahead— Or no, Try to catch up to them, They're like, “GET THE FUCK BACK!!” AHEM. I mean— Ahem. “Ahem.” They got gatekeepers. Like the only way they can handle dark skinned people, Especially women, Exceeding is if it's by being ghetto, Or standing on some soapbox, Or going above and beyond in some way. We only get centered representation of color, If it's in some ways, in total, flawed. Watching the Olympics, I almost thought they had Simone Biles hair messed up on purpose. Like, “Here's your representation.” That is our representation. How Americans actually feel about black women in general. Like, we couldn't have our best and be our best. Nobody's gonna pull this girl to the side and comb down those flyaways? An Olympic champion! A fucking Gold medalist— a perfect representation of the fact that America can't let black American women be “all the way the best”. Something looks wrong! I don't hate white people. But now I'm like… … … …Why do they hate us? Ahem. {Enter The Multiverse} After an intense round of furious masturbation, I had the sudden onset feeling that I may have written something interesting over the last 3 months. … Mm…perhaps….maybe. —but first, some heavy deep cleaning. I don't like the way it smells in here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. Sleep on it Sure. Maybe we omit everything about race? Probably. Could just put that with— —with the other race war stuff. Probably should. Maybe just release the uncensored copy on the Skrillex podcast where it might be more well received? Probably that. Yeah. The Complex Collective © is committed to serving the independent artist community by providing a safe and welcoming environment, performance opportunities, rehearsal spaces, and outlets in which they can grow, enhance their skills and master their craft, and create bonds with one another, to form friendships, professional connections and networking opportunities outside of the restrictions and limitations of social media, mass surveillance, and algorithmic privilege/ preference tactics governed by corporate media enterprises without judgement or interference by outside influence, while creating an open-concept and free-form space as an artistic springboard and color-palate for all artists wishing to expand each's own mindset to involve out-of-the box thinking, outer consciousness, awareness, inner peace, and overall health and wellbeing, promoting a clean, modern and evolved, hyperrealistic lifestyle. The Complex Collective © is open to writers, musicians, graphic and visual artists, filmmakers, fashion designers, spiritual enthusiasts, world travelers, and others seeking a safe space to bond, heal, and create through collaboration, exploration, and self improvement. Up Next: Re-examining mental health conditions which affect those facing poverty or at risk environmental circumstances. Killing Me Softly is an organization established to help de-victimize and support survivors of un/reported violent crimes; an answer and antithesis to the #metoo movement, Killing Me Softly promotes the ideology of the safety in anonymity, as survivors of violent crimes often forego seeking traditional treatment or filing reports against such violence in fear or persecution or retaliation. Historically, reporters of violent crimes (particularly against women) are met with accusations of falsifying or fabrication, social exclusion, defamation of character, and even revenge and punishment enacted by the perpetrator of such crimes in defense– which in today's current justice system has proven to derail survivors livelihoods, wellbeing, and put their safety at risk. Killing Me Softly seeks to maintain a safe and anonymous space for survivors of violent crimes, welcoming all genders, races, orientations and those who identify across all spectrums who identify as survivors of un/reported violent crimes seek by to remain anonymous or maintain a change of identity due to violent crime, allowing the de-victimization and empowerment of survivors of all acts of abuse, physical and/or psychological, neglect, psychological terrorism, gangstalking and other forms of ridicule, terror, torture, or abuse overlooked and systemized and/or classified by standard systematic institutions as disabilities or disorders, incapabilities which include misdiagnoses due to medical inequality, colorism, racism, biased, or sociopolitical inequality such as, but not limited to; mislabeling as paranoia, hallucinations, conspiracy, fabrications or other under-recognized or deprioritized documentation of incidents and intent to cause harm to others by a singular abuser and/or groups, hate groups and organizations designed or designated to attack and subdue diversified others, minorities, and ‘lesser-persons', those represented in the media or otherwise as second-class citezens, and treatment by organizations or authorities aimed towards dismantling the peace of mind or livelihoods of others for personal, political, or socioeconomical reasons. The Complex Collective © | New York, New York 2024 Created as a music warehouse project based in Brooklyn New York in 2023, The Complex Collective as a non-profit seeks to encompass a large industrial space which will serve as a multi-use facility which includes a kitchen and food pantry, dance floor/event space, black box theater, cafe/ small stage, fitness spaces (Yoga/Dance) Boxing Club, media room and recording spaces designed to open the minds of artists to a bustling mecca of creativity and opportunity. The space will be used to hold flea markets, host seminars, community meetings, and lectures, as well as provide an operational and practical multimedia space to screen films, stage plays, musicals, and other theatrical productions, as well as host musical events and artists, such as DJs and live bands, poetry readings, dance recitals and other community geared events. {Enter The Multiverse} [The Festival Project.™] The Complex Collective © COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. {We appreciate your time, charitable donations & support.} [Thank You.] gofundme.com/thecomplexcollective givebutter.com/thefestivalproject Sometimes no matter what you do Black is ugly It don't matter— That's just the way things are Dark skin, negro hair, brown eyes You must grow to understand that to the oppotite race, Those things are lesser than We love blonde With blue eyes preferably And only a hint of olive in the lightest skin tone We like a carefree, fun loving girl Who doesn't worry about trauma She doesn't worry about oppression Or the right hair Because the “right” hair grows out of her head There's just something too harsh for us About dark skin And dark eyes There's something so intense about Frizzy hair And black features That we cost ourselves hundreds in “Beautification” to look like them So they respect us more While inwardly, they become relieved That they don't have to spend money on Weaves and wigs and when they wear braids It's a costume Or a statement piece Not a way of life Because it has to be To Submit Your Artist Portfolio, Track or Demo for distribution on our record label, please contact: Email Us At: festivalproject.tv@gmail.com For Membership Information and Opportunities, please visit http://thefestivalproject.bandzoogle.com

The Festival Project, Inc.™ is a multidimensional multimedia platform which encompasses exploratory and artistic social personifications and expressions on cosmic theory, spirituality, growth, health & wellness, philosophy and theoretic dynamics in entertainment such as music, design, film, television, radio, dance and festival culture, art, fashion, literature, and science. The Festival Project™ and it's subsidiary Non-Profit, The Collective Complex © aims to challenge modern artistic and philosophical ideals, break commonplace barriers, forage new creative mediums, and provoke inspired and reformed thought and actions toward evolution and overall societal improvement and ecological sustenance through a new-wave and post-modern, avant-garde and philanthropic hyperawareness driven by a unique culture of global values mediating global respect and preservation via open consciousness, multi-sensory and synesthetic (multi-preceptory) expansions of sound, language, vibration, movement, color, emotion, and ritual governed conceptually by the aspect(s) of love, truth, unity, understanding, and peace. Thank you graciously for your time, consideration, understanding, and support. ^.^ To Donate Please Visit,please visit gofundme.com/thecomplexcolletive TRIGGER WARNING! ⚠️ VIEWER, LISTENER, and READER DISCRETION IS ADVISED. ⚠️ This series contains adult content not suitable for children or under the legal age of majority. Listener and reader discretion is advised as this publication and / or broadcast and its selected readings and projected writings may contain explicit language, provocative wordplay, profanity, open expression of suicidal ideation, discussion of evolved/ de-institutionalized theories concerning depression and mental health, race relations and colorism, socio-economic inequality, political injustice and media politicism/ mass media manipulation, unresearched/undocumented scientific hypothesis , modern philosophical ideals and spiritual explorations, crude/ adult humor and may also include and contain pornographic content, references to fictionalized interpretations of celebrities and/or public figures (fan-fiction), caricatures or references to pop culture, modern art, music, science and other entertainment references which may evoke biased emotion, inspire adverse reactions, contemplative thought, discontentment, or discomfort. The views and opinions expressed by this series and its subsequent editions, additions, chapters, broadcasts, and publications are solely the writers' interpretations as expressed with artistic and entertainment purposes only. The artist reserves all rights to intellectual property maintained and produced by any and all publications of this series and is thereby protected under any applicable copyright law and/or trademark. All fictionalizations of persons living or dead are meant to be perceived as characterized and/or fictional (fan-fiction) are for entertainment purposes only, and are not to be perceived as real re-enactments, dramatizations of events past or present, media dialogues or agendas, or factual exchanges pertaining to and surrounding real-life circumstances. The dialogues and entires expressed in this project are in no way liable for any action, expression, disagreements, entitlements held by the reader at his or her/ their own discretion. [The Festival Project ™] Apparently, the Yeah Yeah Yeah's are a real band. No fucking way. Apparently. I had no idea at all when I wrote that…. –Wrote what? …nothing. [The Festival Project™ ] … ‘Mm. More protein.' I knew protein wasn't exactly entirely going to help me lose weight, but I had lost a lot of muscle only cycling and being bombarded at the gym— and the inferior protein I had purchased earlier in the month was less than inferior, as it turned out— it simply wasn't working. How the fuck is this a real rock group?! I don't know! I thought I made it up. I thought you made everything up. I MADE EVERYTHING UPz. Well, this is turning out to be a disaster. Hm. No spouse listed. You fucked a drummer? You could say I hopped on the bandwagon. Ew. Gross. What do you want from me?! Shut up! {Enter The Multiverse} ___ I'm going to need you to feed my dragon. Uhm. Okay. Don't worry. She doesn't bite. Uh. Give her a kiss. …no. Do it, or she'll set you on fire. *kisses dragon* ..Okay. Good girl. She's soft. For a dragon. Yes, she's very friendly. So. What does she eat? People. +.+ –Agh?! —but only purple ones. What? She's not going to eat you, Fredrick. Who the fuck is “Fredrick”?! (We don't know.) My name's not— —you're not purple. I'm not. No. Don't worry. I'm—worried. I said don't. Well; wait— what color am I, then? That's not important. *shiny* Oh, good. A gatekeeper. What in the actual circumstance is this. Length? 8.5 inches. Girth? A hearty 3.5 Circumference. What the fuck is “circumference”? [VOID.] Well, that's was fun. What was? …nothing. OH GOF— GOD Go to sleep. …I just want to know, though. Just ask Google. I'm not asking Google that! Hey Google… GOOGLE /incognito {Enter The Multiverse} Body shopping on the internet Not worth following Got to find the father who bought me the body I can self publish books, but can't do it all myself My artform costs money. Performances put off till I can afford to look adorable By New York standards, On California stereotypes No work darlin' An escort service Will cost Two dumb dollars more In your karma jar Than you've got goin. Call Tony Hawk, A star struck hallmark card For the workman's comp You were offered —Subpoena the penis. —oh that's right, I need actual ink pens. Oh God, he bought secrets on stop signs; —someone's daughter #stop for comedy DO NOT PUT FOOD ON MY VAGINA. DO NOT— No. My vagina IS food. You don't put— No. No. You want peanut butter all over your dick and balls? Awesome. You want whipped cream on the shit? Fine. Chocolate? (Non dairy, if you will.) But DO NOT. I repeat: DO NOT PUT FOOD ON MY VAGINA. Toppings are for ice cream. This here is sorbet. #lilbitz {Enter The Multiverse} So I did the math the other day— And I finally figured it out, That the reason the world is such a fucked up place Is that 80 percent of dudes have short dicks. That's why the “ideal” woman has always been small waisted, short, petite, tiny. — 80% of men have penis lengths smaller than 5 inches. That's statistics. I'm just saying— There's a reason why super models are super skinny. That's so dudes can hit it and really feel like they're fucking shit up. With their little short dicks. These tiny short girls make their little dicks feel LARGE, okay? Doesn't even matter. I just figured out the whole world is fake. I want to go somewhere the fuck else. I want to go somewhere selfies don't exist. {Enter The Multiverse} MOO-HAHA HA-HA HahAHa-HAHA! WHAT! That's my evil laugh. NO ITS NOT. What do you mean, it's not? “MOO-HAHA” NOBODY LAUGHS LIKE THAT. That's my evil laugh! No, it's not. Well, how am i supposed to laugh, then? Justnfucking— “Mwa-ha-ha”? There you go. That's perfect. What!? That's simple. That's just like everybody else. Be simple then. What! You're also just like everybody else! I am not! What makes you different? I'm—going to take over the world. See. See—what?! You're just like everybody—all the other villains. I am not! You are, though, for real. Like— Ugh. Just—do your laugh. MOO-HAH— Not that one. :( The other one. What— Do the other one. …mwa-haha… That's better. :( Come on. This opener is running lo— [TITLE SEQUENCE] I earned two tattoos and a crown From loving a man Who can't love me back I won the pawn, the aces, the sword Chariot, gardens and graces A house full of waivers Could you uncover the arc of the architect? Probably not, As it changes upon discovery Could you uncover the mask of the rabbit? The tantra of habit? The cruel suffering of the crucifix? Neverwell you, Harper Son of Sam And Harlem's daughter The forever golden one —a forager. Arches— Hark, you call, cruel summer Never forward Wondering blossom, Talking of longshores, sportsman's, Wailers, down coats Fools for orphans, are you all! Proof of the word for the propaganda, Mother Sandra Bullocks and Bulletwounds (But Bullock would have wanted one next, Just to summon a role for her.) Passion projects! Here they are, now! Bulletproof and, Table readings— Don't be greedy! Your agents and managers Also are facing inflations On yachts and at parties And meanwhile, The projects of poverty are awestruck With guttural proportions Of treasures uncovered from rubble Of sidewalks And storm gutters —how was your morning? Celebrity, aren't you? Well, aren't I then? Relax rabbit, I have a new task for you— Go bring me back what you haven't yet, And try staying on task without habits at all Or adderall— (Won't be that hard on an all organic diet, Proper programming and parental encouragement, Plus support, recommended.) Here you are again, to bother anyone around you. There I go again, not caring a fuck less. Here we are both a genius and robot Deciding to go walk the dog, At the wrong time Just a reminder I'm less of myself, In a room full of anyone else, Nevermind A few thousand —the likely cause of my invisibility. Battlegrounds as the brainless have managed to outnumber us. Beyonce became the first black woman to headline Coachella in 2018. Halle Berry, just shortly before that in 2001 became the first black woman to win an academy award for best actress. I'm just realizing what era of time I've been born into—and I have to continue to keep wondering to myself—‘why do they hate us?' For the first time in my life, advertisements for a Disney movie which will showcase an African American girl as its lead character—not as a frog, or a lion, or a mermaid—but as a human being—and one of the first animations in my lifetime to feature a female character with brown eyes—and not the usual blue, green, purple, or pink the media often uses to dehumanize or water down the blackness of dark skinned characters— saddens me, as although she is wearing braids, she is still made to look light skinned, with freckles—as beautiful some girls are, but still, this alerted me to the fact that white audiences still hate seeing black women in the spotlight, and solidified the truth that white audiences will not adapt to watching dark skinned women as the leading role in almost anything. Is the intrinsic hatred and jealousy of the white supremacy the underlying cause in the continual disadvantage of darker skinned women and the portrayals as such as strong leading characters—why does the success and happiness of the black woman seem to be such an imposing threat to whites so much so that the entire media has been, even of late, a parade of forced diversification, further colorism, and the solidification of light skinned people being seen as more beautiful, acceptable, and prioritized, in the media and otherwise? Has the obsession of white hatred towards black woman been the underlying cause in the justification of white supremacy in the media in order to create more steady sources of revenues for entertainment provisioners, programmers, and networks—appealing to largely white audiences with whitewashed and Eurocentric classification of diversity amongst the new generation's subset standards? The dark skinned woman continues to be undermined and unappreciated — it seems out of deep seated fear— fear of dark skin, fear of dark eyes—fear of having to share a world which used to revolve around eurocentricity—with diversified beauty—fear of actual equality. Why Do They Hate Us? Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But ya'll out of order) Bitch, buy me a bottle! Nobody else can hear the Motorcycles Cause I'm the Only one sober Writing in fours because After all This is A drama Not a Comedy, no (Nope, not at all) I get wronged for it when I black out— Funny thing about it is, That ain't never happened Colonizer poison all of the water Code of conduct I promise the karma For carnival circus I promise when I die The rest of it goes out with me (But not coming home with us) The darker the berry, The longer the story —the older we are Y'all out of order Ain't it funny when The whole world is Sons and your daughters Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But yall out of order) I tie the rope, Then I slit my wrists (Pull the trigger) Amen, I'm three times dead, And ain't left my apartment Bitch, buy me a bottle. Yo. I don't hate white peoples. At all, bro. But— They're just scary. Sometimes. Like ey— Stop trying to kill us. They're like, “We're not! …Just… …the ugly ones…” But then that's like… They're the ones that set the standards in the first place on who's “ugly.” “Ok! Ok! Everyone's beautiful!” [That's good.] “…Just the stupid ones!” lol. But they run all the fuckin systems, So the education system is like, Unequal and shit. They're like, “It's okay! Everything's better now.” But all the dark skinned people in movies are either like, Men, or like, Off to the side and shit. Morbidly obese and shit— Like, “Here's your representation.” What in the fuck though— I swear to God I don't hate white people. I don't. But it's like… Every time we get too far ahead— Or no, Try to catch up to them, They're like, “GET THE FUCK BACK!!” AHEM. I mean— Ahem. “Ahem.” They got gatekeepers. Like the only way they can handle dark skinned people, Especially women, Exceeding is if it's by being ghetto, Or standing on some soapbox, Or going above and beyond in some way. We only get centered representation of color, If it's in some ways, in total, flawed. Watching the Olympics, I almost thought they had Simone Biles hair messed up on purpose. Like, “Here's your representation.” That is our representation. How Americans actually feel about black women in general. Like, we couldn't have our best and be our best. Nobody's gonna pull this girl to the side and comb down those flyaways? An Olympic champion! A fucking Gold medalist— a perfect representation of the fact that America can't let black American women be “all the way the best”. Something looks wrong! I don't hate white people. But now I'm like… … … …Why do they hate us? Ahem. {Enter The Multiverse} After an intense round of furious masturbation, I had the sudden onset feeling that I may have written something interesting over the last 3 months. … Mm…perhaps….maybe. —but first, some heavy deep cleaning. I don't like the way it smells in here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. Sleep on it Sure. Maybe we omit everything about race? Probably. Could just put that with— —with the other race war stuff. Probably should. Maybe just release the uncensored copy on the Skrillex podcast where it might be more well received? Probably that. Yeah. The Complex Collective © is committed to serving the independent artist community by providing a safe and welcoming environment, performance opportunities, rehearsal spaces, and outlets in which they can grow, enhance their skills and master their craft, and create bonds with one another, to form friendships, professional connections and networking opportunities outside of the restrictions and limitations of social media, mass surveillance, and algorithmic privilege/ preference tactics governed by corporate media enterprises without judgement or interference by outside influence, while creating an open-concept and free-form space as an artistic springboard and color-palate for all artists wishing to expand each's own mindset to involve out-of-the box thinking, outer consciousness, awareness, inner peace, and overall health and wellbeing, promoting a clean, modern and evolved, hyperrealistic lifestyle. The Complex Collective © is open to writers, musicians, graphic and visual artists, filmmakers, fashion designers, spiritual enthusiasts, world travelers, and others seeking a safe space to bond, heal, and create through collaboration, exploration, and self improvement. Up Next: Re-examining mental health conditions which affect those facing poverty or at risk environmental circumstances. Killing Me Softly is an organization established to help de-victimize and support survivors of un/reported violent crimes; an answer and antithesis to the #metoo movement, Killing Me Softly promotes the ideology of the safety in anonymity, as survivors of violent crimes often forego seeking traditional treatment or filing reports against such violence in fear or persecution or retaliation. Historically, reporters of violent crimes (particularly against women) are met with accusations of falsifying or fabrication, social exclusion, defamation of character, and even revenge and punishment enacted by the perpetrator of such crimes in defense– which in today's current justice system has proven to derail survivors livelihoods, wellbeing, and put their safety at risk. Killing Me Softly seeks to maintain a safe and anonymous space for survivors of violent crimes, welcoming all genders, races, orientations and those who identify across all spectrums who identify as survivors of un/reported violent crimes seek by to remain anonymous or maintain a change of identity due to violent crime, allowing the de-victimization and empowerment of survivors of all acts of abuse, physical and/or psychological, neglect, psychological terrorism, gangstalking and other forms of ridicule, terror, torture, or abuse overlooked and systemized and/or classified by standard systematic institutions as disabilities or disorders, incapabilities which include misdiagnoses due to medical inequality, colorism, racism, biased, or sociopolitical inequality such as, but not limited to; mislabeling as paranoia, hallucinations, conspiracy, fabrications or other under-recognized or deprioritized documentation of incidents and intent to cause harm to others by a singular abuser and/or groups, hate groups and organizations designed or designated to attack and subdue diversified others, minorities, and ‘lesser-persons', those represented in the media or otherwise as second-class citezens, and treatment by organizations or authorities aimed towards dismantling the peace of mind or livelihoods of others for personal, political, or socioeconomical reasons. The Complex Collective © | New York, New York 2024 Created as a music warehouse project based in Brooklyn New York in 2023, The Complex Collective as a non-profit seeks to encompass a large industrial space which will serve as a multi-use facility which includes a kitchen and food pantry, dance floor/event space, black box theater, cafe/ small stage, fitness spaces (Yoga/Dance) Boxing Club, media room and recording spaces designed to open the minds of artists to a bustling mecca of creativity and opportunity. The space will be used to hold flea markets, host seminars, community meetings, and lectures, as well as provide an operational and practical multimedia space to screen films, stage plays, musicals, and other theatrical productions, as well as host musical events and artists, such as DJs and live bands, poetry readings, dance recitals and other community geared events. {Enter The Multiverse} [The Festival Project.™] The Complex Collective © COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. {We appreciate your time, charitable donations & support.} [Thank You.] gofundme.com/thecomplexcollective givebutter.com/thefestivalproject Sometimes no matter what you do Black is ugly It don't matter— That's just the way things are Dark skin, negro hair, brown eyes You must grow to understand that to the oppotite race, Those things are lesser than We love blonde With blue eyes preferably And only a hint of olive in the lightest skin tone We like a carefree, fun loving girl Who doesn't worry about trauma She doesn't worry about oppression Or the right hair Because the “right” hair grows out of her head There's just something too harsh for us About dark skin And dark eyes There's something so intense about Frizzy hair And black features That we cost ourselves hundreds in “Beautification” to look like them So they respect us more While inwardly, they become relieved That they don't have to spend money on Weaves and wigs and when they wear braids It's a costume Or a statement piece Not a way of life Because it has to be To Submit Your Artist Portfolio, Track or Demo for distribution on our record label, please contact: Email Us At: festivalproject.tv@gmail.com For Membership Information and Opportunities, please visit http://thefestivalproject.bandzoogle.com

{Black- ish} 2014. Sitcom. 8 seasons Dre Johnson (Anthony Anderson) has it all - a great job, beautiful wife Rainbow (Tracee Ellis Ross), four kids and a big home in a classy neighbourhood - but as a black man, he begins to question whether all his success has brought too much cultural assimilation for his family. With the help of his father (Laurence Fishburne), Dre begins to try to create a sense of ethnic identity for the members of his family that will allow them to honour their background while preparing them to embrace the future. Mix story: Two traditionally stereotypical black(ish) dudes decide on a whim to buy some electronic musical festival tickets, which come with a mystery suprise dosage of an unknown psychoactive hallucinogen which takes them on a in unguided journey through time and space through strange and unfamiliar, bizzare and unknown music—unguided, that is, besides for by the light provided by the hands of the DJ, who acts as a spiritual guide, immersing the partygoers into a new world of bass heavy drops, Kandi coated ravers, and freedoms yet unbeknownst. The Festival Project, Inc.™ is a multidimensional multimedia platform which encompasses exploratory and artistic social personifications and expressions on cosmic theory, spirituality, growth, health & wellness, philosophy and theoretic dynamics in entertainment such as music, design, film, television, radio, dance and festival culture, art, fashion, literature, and science. The Festival Project™ and it's subsidiary Non-Profit, The Collective Complex © aims to challenge modern artistic and philosophical ideals, break commonplace barriers, forage new creative mediums, and provoke inspired and reformed thought and actions toward evolution and overall societal improvement and ecological sustenance through a new-wave and post-modern, avant-garde and philanthropic hyperawareness driven by a unique culture of global values mediating global respect and preservation via open consciousness, multi-sensory and synesthetic (multi-preceptory) expansions of sound, language, vibration, movement, color, emotion, and ritual governed conceptually by the aspect(s) of love, truth, unity, understanding, and peace. Thank you graciously for your time, consideration, understanding, and support. ^.^ To Donate Please Visit,please visit gofundme.com/thecomplexcolletive TRIGGER WARNING! ⚠️ VIEWER, LISTENER, and READER DISCRETION IS ADVISED. ⚠️ This series contains adult content not suitable for children or under the legal age of majority. Listener and reader discretion is advised as this publication and / or broadcast and its selected readings and projected writings may contain explicit language, provocative wordplay, profanity, open expression of suicidal ideation, discussion of evolved/ de-institutionalized theories concerning depression and mental health, race relations and colorism, socio-economic inequality, political injustice and media politicism/ mass media manipulation, unresearched/undocumented scientific hypothesis , modern philosophical ideals and spiritual explorations, crude/ adult humor and may also include and contain pornographic content, references to fictionalized interpretations of celebrities and/or public figures (fan-fiction), caricatures or references to pop culture, modern art, music, science and other entertainment references which may evoke biased emotion, inspire adverse reactions, contemplative thought, discontentment, or discomfort. The views and opinions expressed by this series and its subsequent editions, additions, chapters, broadcasts, and publications are solely the writers' interpretations as expressed with artistic and entertainment purposes only. The artist reserves all rights to intellectual property maintained and produced by any and all publications of this series and is thereby protected under any applicable copyright law and/or trademark. All fictionalizations of persons living or dead are meant to be perceived as characterized and/or fictional (fan-fiction) are for entertainment purposes only, and are not to be perceived as real re-enactments, dramatizations of events past or present, media dialogues or agendas, or factual exchanges pertaining to and surrounding real-life circumstances. The dialogues and entires expressed in this project are in no way liable for any action, expression, disagreements, entitlements held by the reader at his or her/ their own discretion. [The Festival Project ™] Apparently, the Yeah Yeah Yeah's are a real band. No fucking way. Apparently. I had no idea at all when I wrote that…. –Wrote what? …nothing. [The Festival Project™ ] … ‘Mm. More protein.' I knew protein wasn't exactly entirely going to help me lose weight, but I had lost a lot of muscle only cycling and being bombarded at the gym— and the inferior protein I had purchased earlier in the month was less than inferior, as it turned out— it simply wasn't working. How the fuck is this a real rock group?! I don't know! I thought I made it up. I thought you made everything up. I MADE EVERYTHING UPz. Well, this is turning out to be a disaster. Hm. No spouse listed. You fucked a drummer? You could say I hopped on the bandwagon. Ew. Gross. What do you want from me?! Shut up! {Enter The Multiverse} ___ I'm going to need you to feed my dragon. Uhm. Okay. Don't worry. She doesn't bite. Uh. Give her a kiss. …no. Do it, or she'll set you on fire. *kisses dragon* ..Okay. Good girl. She's soft. For a dragon. Yes, she's very friendly. So. What does she eat? People. +.+ –Agh?! —but only purple ones. What? She's not going to eat you, Fredrick. Who the fuck is “Fredrick”?! (We don't know.) My name's not— —you're not purple. I'm not. No. Don't worry. I'm—worried. I said don't. Well; wait— what color am I, then? That's not important. *shiny* Oh, good. A gatekeeper. What in the actual circumstance is this. Length? 8.5 inches. Girth? A hearty 3.5 Circumference. What the fuck is “circumference”? [VOID.] Well, that's was fun. What was? …nothing. OH GOF— GOD Go to sleep. …I just want to know, though. Just ask Google. I'm not asking Google that! Hey Google… GOOGLE /incognito {Enter The Multiverse} Body shopping on the internet Not worth following Got to find the father who bought me the body I can self publish books, but can't do it all myself My artform costs money. Performances put off till I can afford to look adorable By New York standards, On California stereotypes No work darlin' An escort service Will cost Two dumb dollars more In your karma jar Than you've got goin. Call Tony Hawk, A star struck hallmark card For the workman's comp You were offered —Subpoena the penis. —oh that's right, I need actual ink pens. Oh God, he bought secrets on stop signs; —someone's daughter #stop for comedy DO NOT PUT FOOD ON MY VAGINA. DO NOT— No. My vagina IS food. You don't put— No. No. You want peanut butter all over your dick and balls? Awesome. You want whipped cream on the shit? Fine. Chocolate? (Non dairy, if you will.) But DO NOT. I repeat: DO NOT PUT FOOD ON MY VAGINA. Toppings are for ice cream. This here is sorbet. #lilbitz {Enter The Multiverse} So I did the math the other day— And I finally figured it out, That the reason the world is such a fucked up place Is that 80 percent of dudes have short dicks. That's why the “ideal” woman has always been small waisted, short, petite, tiny. — 80% of men have penis lengths smaller than 5 inches. That's statistics. I'm just saying— There's a reason why super models are super skinny. That's so dudes can hit it and really feel like they're fucking shit up. With their little short dicks. These tiny short girls make their little dicks feel LARGE, okay? Doesn't even matter. I just figured out the whole world is fake. I want to go somewhere the fuck else. I want to go somewhere selfies don't exist. {Enter The Multiverse} MOO-HAHA HA-HA HahAHa-HAHA! WHAT! That's my evil laugh. NO ITS NOT. What do you mean, it's not? “MOO-HAHA” NOBODY LAUGHS LIKE THAT. That's my evil laugh! No, it's not. Well, how am i supposed to laugh, then? Justnfucking— “Mwa-ha-ha”? There you go. That's perfect. What!? That's simple. That's just like everybody else. Be simple then. What! You're also just like everybody else! I am not! What makes you different? I'm—going to take over the world. See. See—what?! You're just like everybody—all the other villains. I am not! You are, though, for real. Like— Ugh. Just—do your laugh. MOO-HAH— Not that one. :( The other one. What— Do the other one. …mwa-haha… That's better. :( Come on. This opener is running lo— [TITLE SEQUENCE] I earned two tattoos and a crown From loving a man Who can't love me back I won the pawn, the aces, the sword Chariot, gardens and graces A house full of waivers Could you uncover the arc of the architect? Probably not, As it changes upon discovery Could you uncover the mask of the rabbit? The tantra of habit? The cruel suffering of the crucifix? Neverwell you, Harper Son of Sam And Harlem's daughter The forever golden one —a forager. Arches— Hark, you call, cruel summer Never forward Wondering blossom, Talking of longshores, sportsman's, Wailers, down coats Fools for orphans, are you all! Proof of the word for the propaganda, Mother Sandra Bullocks and Bulletwounds (But Bullock would have wanted one next, Just to summon a role for her.) Passion projects! Here they are, now! Bulletproof and, Table readings— Don't be greedy! Your agents and managers Also are facing inflations On yachts and at parties And meanwhile, The projects of poverty are awestruck With guttural proportions Of treasures uncovered from rubble Of sidewalks And storm gutters —how was your morning? Celebrity, aren't you? Well, aren't I then? Relax rabbit, I have a new task for you— Go bring me back what you haven't yet, And try staying on task without habits at all Or adderall— (Won't be that hard on an all organic diet, Proper programming and parental encouragement, Plus support, recommended.) Here you are again, to bother anyone around you. There I go again, not caring a fuck less. Here we are both a genius and robot Deciding to go walk the dog, At the wrong time Just a reminder I'm less of myself, In a room full of anyone else, Nevermind A few thousand —the likely cause of my invisibility. Battlegrounds as the brainless have managed to outnumber us. Beyonce became the first black woman to headline Coachella in 2018. Halle Berry, just shortly before that in 2001 became the first black woman to win an academy award for best actress. I'm just realizing what era of time I've been born into—and I have to continue to keep wondering to myself—‘why do they hate us?' For the first time in my life, advertisements for a Disney movie which will showcase an African American girl as its lead character—not as a frog, or a lion, or a mermaid—but as a human being—and one of the first animations in my lifetime to feature a female character with brown eyes—and not the usual blue, green, purple, or pink the media often uses to dehumanize or water down the blackness of dark skinned characters— saddens me, as although she is wearing braids, she is still made to look light skinned, with freckles—as beautiful some girls are, but still, this alerted me to the fact that white audiences still hate seeing black women in the spotlight, and solidified the truth that white audiences will not adapt to watching dark skinned women as the leading role in almost anything. Is the intrinsic hatred and jealousy of the white supremacy the underlying cause in the continual disadvantage of darker skinned women and the portrayals as such as strong leading characters—why does the success and happiness of the black woman seem to be such an imposing threat to whites so much so that the entire media has been, even of late, a parade of forced diversification, further colorism, and the solidification of light skinned people being seen as more beautiful, acceptable, and prioritized, in the media and otherwise? Has the obsession of white hatred towards black woman been the underlying cause in the justification of white supremacy in the media in order to create more steady sources of revenues for entertainment provisioners, programmers, and networks—appealing to largely white audiences with whitewashed and Eurocentric classification of diversity amongst the new generation's subset standards? The dark skinned woman continues to be undermined and unappreciated — it seems out of deep seated fear— fear of dark skin, fear of dark eyes—fear of having to share a world which used to revolve around eurocentricity—with diversified beauty—fear of actual equality. Why Do They Hate Us? Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But ya'll out of order) Bitch, buy me a bottle! Nobody else can hear the Motorcycles Cause I'm the Only one sober Writing in fours because After all This is A drama Not a Comedy, no (Nope, not at all) I get wronged for it when I black out— Funny thing about it is, That ain't never happened Colonizer poison all of the water Code of conduct I promise the karma For carnival circus I promise when I die The rest of it goes out with me (But not coming home with us) The darker the berry, The longer the story —the older we are Y'all out of order Ain't it funny when The whole world is Sons and your daughters Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But yall out of order) I tie the rope, Then I slit my wrists (Pull the trigger) Amen, I'm three times dead, And ain't left my apartment Bitch, buy me a bottle. Yo. I don't hate white peoples. At all, bro. But— They're just scary. Sometimes. Like ey— Stop trying to kill us. They're like, “We're not! …Just… …the ugly ones…” But then that's like… They're the ones that set the standards in the first place on who's “ugly.” “Ok! Ok! Everyone's beautiful!” [That's good.] “…Just the stupid ones!” lol. But they run all the fuckin systems, So the education system is like, Unequal and shit. They're like, “It's okay! Everything's better now.” But all the dark skinned people in movies are either like, Men, or like, Off to the side and shit. Morbidly obese and shit— Like, “Here's your representation.” What in the fuck though— I swear to God I don't hate white people. I don't. But it's like… Every time we get too far ahead— Or no, Try to catch up to them, They're like, “GET THE FUCK BACK!!” AHEM. I mean— Ahem. “Ahem.” They got gatekeepers. Like the only way they can handle dark skinned people, Especially women, Exceeding is if it's by being ghetto, Or standing on some soapbox, Or going above and beyond in some way. We only get centered representation of color, If it's in some ways, in total, flawed. Watching the Olympics, I almost thought they had Simone Biles hair messed up on purpose. Like, “Here's your representation.” That is our representation. How Americans actually feel about black women in general. Like, we couldn't have our best and be our best. Nobody's gonna pull this girl to the side and comb down those flyaways? An Olympic champion! A fucking Gold medalist— a perfect representation of the fact that America can't let black American women be “all the way the best”. Something looks wrong! I don't hate white people. But now I'm like… … … …Why do they hate us? Ahem. {Enter The Multiverse} After an intense round of furious masturbation, I had the sudden onset feeling that I may have written something interesting over the last 3 months. … Mm…perhaps….maybe. —but first, some heavy deep cleaning. I don't like the way it smells in here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. Sleep on it Sure. Maybe we omit everything about race? Probably. Could just put that with— —with the other race war stuff. Probably should. Maybe just release the uncensored copy on the Skrillex podcast where it might be more well received? Probably that. Yeah. The Complex Collective © is committed to serving the independent artist community by providing a safe and welcoming environment, performance opportunities, rehearsal spaces, and outlets in which they can grow, enhance their skills and master their craft, and create bonds with one another, to form friendships, professional connections and networking opportunities outside of the restrictions and limitations of social media, mass surveillance, and algorithmic privilege/ preference tactics governed by corporate media enterprises without judgement or interference by outside influence, while creating an open-concept and free-form space as an artistic springboard and color-palate for all artists wishing to expand each's own mindset to involve out-of-the box thinking, outer consciousness, awareness, inner peace, and overall health and wellbeing, promoting a clean, modern and evolved, hyperrealistic lifestyle. The Complex Collective © is open to writers, musicians, graphic and visual artists, filmmakers, fashion designers, spiritual enthusiasts, world travelers, and others seeking a safe space to bond, heal, and create through collaboration, exploration, and self improvement. Up Next: Re-examining mental health conditions which affect those facing poverty or at risk environmental circumstances. Killing Me Softly is an organization established to help de-victimize and support survivors of un/reported violent crimes; an answer and antithesis to the #metoo movement, Killing Me Softly promotes the ideology of the safety in anonymity, as survivors of violent crimes often forego seeking traditional treatment or filing reports against such violence in fear or persecution or retaliation. Historically, reporters of violent crimes (particularly against women) are met with accusations of falsifying or fabrication, social exclusion, defamation of character, and even revenge and punishment enacted by the perpetrator of such crimes in defense– which in today's current justice system has proven to derail survivors livelihoods, wellbeing, and put their safety at risk. Killing Me Softly seeks to maintain a safe and anonymous space for survivors of violent crimes, welcoming all genders, races, orientations and those who identify across all spectrums who identify as survivors of un/reported violent crimes seek by to remain anonymous or maintain a change of identity due to violent crime, allowing the de-victimization and empowerment of survivors of all acts of abuse, physical and/or psychological, neglect, psychological terrorism, gangstalking and other forms of ridicule, terror, torture, or abuse overlooked and systemized and/or classified by standard systematic institutions as disabilities or disorders, incapabilities which include misdiagnoses due to medical inequality, colorism, racism, biased, or sociopolitical inequality such as, but not limited to; mislabeling as paranoia, hallucinations, conspiracy, fabrications or other under-recognized or deprioritized documentation of incidents and intent to cause harm to others by a singular abuser and/or groups, hate groups and organizations designed or designated to attack and subdue diversified others, minorities, and ‘lesser-persons', those represented in the media or otherwise as second-class citezens, and treatment by organizations or authorities aimed towards dismantling the peace of mind or livelihoods of others for personal, political, or socioeconomical reasons. The Complex Collective © | New York, New York 2024 Created as a music warehouse project based in Brooklyn New York in 2023, The Complex Collective as a non-profit seeks to encompass a large industrial space which will serve as a multi-use facility which includes a kitchen and food pantry, dance floor/event space, black box theater, cafe/ small stage, fitness spaces (Yoga/Dance) Boxing Club, media room and recording spaces designed to open the minds of artists to a bustling mecca of creativity and opportunity. The space will be used to hold flea markets, host seminars, community meetings, and lectures, as well as provide an operational and practical multimedia space to screen films, stage plays, musicals, and other theatrical productions, as well as host musical events and artists, such as DJs and live bands, poetry readings, dance recitals and other community geared events. {Enter The Multiverse} [The Festival Project.™] The Complex Collective © COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. {We appreciate your time, charitable donations & support.} [Thank You.] gofundme.com/thecomplexcollective givebutter.com/thefestivalproject Sometimes no matter what you do Black is ugly It don't matter— That's just the way things are Dark skin, negro hair, brown eyes You must grow to understand that to the oppotite race, Those things are lesser than We love blonde With blue eyes preferably And only a hint of olive in the lightest skin tone We like a carefree, fun loving girl Who doesn't worry about trauma She doesn't worry about oppression Or the right hair Because the “right” hair grows out of her head There's just something too harsh for us About dark skin And dark eyes There's something so intense about Frizzy hair And black features That we cost ourselves hundreds in “Beautification” to look like them So they respect us more While inwardly, they become relieved That they don't have to spend money on Weaves and wigs and when they wear braids It's a costume Or a statement piece Not a way of life Because it has to be To Submit Your Artist Portfolio, Track or Demo for distribution on our record label, please contact: Email Us At: festivalproject.tv@gmail.com For Membership Information and Opportunities, please visit http://thefestivalproject.bandzoogle.com

{Black- ish} 2014. Sitcom. 8 seasons Dre Johnson (Anthony Anderson) has it all - a great job, beautiful wife Rainbow (Tracee Ellis Ross), four kids and a big home in a classy neighbourhood - but as a black man, he begins to question whether all his success has brought too much cultural assimilation for his family. With the help of his father (Laurence Fishburne), Dre begins to try to create a sense of ethnic identity for the members of his family that will allow them to honour their background while preparing them to embrace the future. Mix story: Two traditionally stereotypical black(ish) dudes decide on a whim to buy some electronic musical festival tickets, which come with a mystery suprise dosage of an unknown psychoactive hallucinogen which takes them on a in unguided journey through time and space through strange and unfamiliar, bizzare and unknown music—unguided, that is, besides for by the light provided by the hands of the DJ, who acts as a spiritual guide, immersing the partygoers into a new world of bass heavy drops, Kandi coated ravers, and freedoms yet unbeknownst. The Festival Project, Inc.™ is a multidimensional multimedia platform which encompasses exploratory and artistic social personifications and expressions on cosmic theory, spirituality, growth, health & wellness, philosophy and theoretic dynamics in entertainment such as music, design, film, television, radio, dance and festival culture, art, fashion, literature, and science. The Festival Project™ and it's subsidiary Non-Profit, The Collective Complex © aims to challenge modern artistic and philosophical ideals, break commonplace barriers, forage new creative mediums, and provoke inspired and reformed thought and actions toward evolution and overall societal improvement and ecological sustenance through a new-wave and post-modern, avant-garde and philanthropic hyperawareness driven by a unique culture of global values mediating global respect and preservation via open consciousness, multi-sensory and synesthetic (multi-preceptory) expansions of sound, language, vibration, movement, color, emotion, and ritual governed conceptually by the aspect(s) of love, truth, unity, understanding, and peace. Thank you graciously for your time, consideration, understanding, and support. ^.^ To Donate Please Visit,please visit gofundme.com/thecomplexcolletive TRIGGER WARNING! ⚠️ VIEWER, LISTENER, and READER DISCRETION IS ADVISED. ⚠️ This series contains adult content not suitable for children or under the legal age of majority. Listener and reader discretion is advised as this publication and / or broadcast and its selected readings and projected writings may contain explicit language, provocative wordplay, profanity, open expression of suicidal ideation, discussion of evolved/ de-institutionalized theories concerning depression and mental health, race relations and colorism, socio-economic inequality, political injustice and media politicism/ mass media manipulation, unresearched/undocumented scientific hypothesis , modern philosophical ideals and spiritual explorations, crude/ adult humor and may also include and contain pornographic content, references to fictionalized interpretations of celebrities and/or public figures (fan-fiction), caricatures or references to pop culture, modern art, music, science and other entertainment references which may evoke biased emotion, inspire adverse reactions, contemplative thought, discontentment, or discomfort. The views and opinions expressed by this series and its subsequent editions, additions, chapters, broadcasts, and publications are solely the writers' interpretations as expressed with artistic and entertainment purposes only. The artist reserves all rights to intellectual property maintained and produced by any and all publications of this series and is thereby protected under any applicable copyright law and/or trademark. All fictionalizations of persons living or dead are meant to be perceived as characterized and/or fictional (fan-fiction) are for entertainment purposes only, and are not to be perceived as real re-enactments, dramatizations of events past or present, media dialogues or agendas, or factual exchanges pertaining to and surrounding real-life circumstances. The dialogues and entires expressed in this project are in no way liable for any action, expression, disagreements, entitlements held by the reader at his or her/ their own discretion. [The Festival Project ™] Apparently, the Yeah Yeah Yeah's are a real band. No fucking way. Apparently. I had no idea at all when I wrote that…. –Wrote what? …nothing. [The Festival Project™ ] … ‘Mm. More protein.' I knew protein wasn't exactly entirely going to help me lose weight, but I had lost a lot of muscle only cycling and being bombarded at the gym— and the inferior protein I had purchased earlier in the month was less than inferior, as it turned out— it simply wasn't working. How the fuck is this a real rock group?! I don't know! I thought I made it up. I thought you made everything up. I MADE EVERYTHING UPz. Well, this is turning out to be a disaster. Hm. No spouse listed. You fucked a drummer? You could say I hopped on the bandwagon. Ew. Gross. What do you want from me?! Shut up! {Enter The Multiverse} ___ I'm going to need you to feed my dragon. Uhm. Okay. Don't worry. She doesn't bite. Uh. Give her a kiss. …no. Do it, or she'll set you on fire. *kisses dragon* ..Okay. Good girl. She's soft. For a dragon. Yes, she's very friendly. So. What does she eat? People. +.+ –Agh?! —but only purple ones. What? She's not going to eat you, Fredrick. Who the fuck is “Fredrick”?! (We don't know.) My name's not— —you're not purple. I'm not. No. Don't worry. I'm—worried. I said don't. Well; wait— what color am I, then? That's not important. *shiny* Oh, good. A gatekeeper. What in the actual circumstance is this. Length? 8.5 inches. Girth? A hearty 3.5 Circumference. What the fuck is “circumference”? [VOID.] Well, that's was fun. What was? …nothing. OH GOF— GOD Go to sleep. …I just want to know, though. Just ask Google. I'm not asking Google that! Hey Google… GOOGLE /incognito {Enter The Multiverse} Body shopping on the internet Not worth following Got to find the father who bought me the body I can self publish books, but can't do it all myself My artform costs money. Performances put off till I can afford to look adorable By New York standards, On California stereotypes No work darlin' An escort service Will cost Two dumb dollars more In your karma jar Than you've got goin. Call Tony Hawk, A star struck hallmark card For the workman's comp You were offered —Subpoena the penis. —oh that's right, I need actual ink pens. Oh God, he bought secrets on stop signs; —someone's daughter #stop for comedy DO NOT PUT FOOD ON MY VAGINA. DO NOT— No. My vagina IS food. You don't put— No. No. You want peanut butter all over your dick and balls? Awesome. You want whipped cream on the shit? Fine. Chocolate? (Non dairy, if you will.) But DO NOT. I repeat: DO NOT PUT FOOD ON MY VAGINA. Toppings are for ice cream. This here is sorbet. #lilbitz {Enter The Multiverse} So I did the math the other day— And I finally figured it out, That the reason the world is such a fucked up place Is that 80 percent of dudes have short dicks. That's why the “ideal” woman has always been small waisted, short, petite, tiny. — 80% of men have penis lengths smaller than 5 inches. That's statistics. I'm just saying— There's a reason why super models are super skinny. That's so dudes can hit it and really feel like they're fucking shit up. With their little short dicks. These tiny short girls make their little dicks feel LARGE, okay? Doesn't even matter. I just figured out the whole world is fake. I want to go somewhere the fuck else. I want to go somewhere selfies don't exist. {Enter The Multiverse} MOO-HAHA HA-HA HahAHa-HAHA! WHAT! That's my evil laugh. NO ITS NOT. What do you mean, it's not? “MOO-HAHA” NOBODY LAUGHS LIKE THAT. That's my evil laugh! No, it's not. Well, how am i supposed to laugh, then? Justnfucking— “Mwa-ha-ha”? There you go. That's perfect. What!? That's simple. That's just like everybody else. Be simple then. What! You're also just like everybody else! I am not! What makes you different? I'm—going to take over the world. See. See—what?! You're just like everybody—all the other villains. I am not! You are, though, for real. Like— Ugh. Just—do your laugh. MOO-HAH— Not that one. :( The other one. What— Do the other one. …mwa-haha… That's better. :( Come on. This opener is running lo— [TITLE SEQUENCE] I earned two tattoos and a crown From loving a man Who can't love me back I won the pawn, the aces, the sword Chariot, gardens and graces A house full of waivers Could you uncover the arc of the architect? Probably not, As it changes upon discovery Could you uncover the mask of the rabbit? The tantra of habit? The cruel suffering of the crucifix? Neverwell you, Harper Son of Sam And Harlem's daughter The forever golden one —a forager. Arches— Hark, you call, cruel summer Never forward Wondering blossom, Talking of longshores, sportsman's, Wailers, down coats Fools for orphans, are you all! Proof of the word for the propaganda, Mother Sandra Bullocks and Bulletwounds (But Bullock would have wanted one next, Just to summon a role for her.) Passion projects! Here they are, now! Bulletproof and, Table readings— Don't be greedy! Your agents and managers Also are facing inflations On yachts and at parties And meanwhile, The projects of poverty are awestruck With guttural proportions Of treasures uncovered from rubble Of sidewalks And storm gutters —how was your morning? Celebrity, aren't you? Well, aren't I then? Relax rabbit, I have a new task for you— Go bring me back what you haven't yet, And try staying on task without habits at all Or adderall— (Won't be that hard on an all organic diet, Proper programming and parental encouragement, Plus support, recommended.) Here you are again, to bother anyone around you. There I go again, not caring a fuck less. Here we are both a genius and robot Deciding to go walk the dog, At the wrong time Just a reminder I'm less of myself, In a room full of anyone else, Nevermind A few thousand —the likely cause of my invisibility. Battlegrounds as the brainless have managed to outnumber us. Beyonce became the first black woman to headline Coachella in 2018. Halle Berry, just shortly before that in 2001 became the first black woman to win an academy award for best actress. I'm just realizing what era of time I've been born into—and I have to continue to keep wondering to myself—‘why do they hate us?' For the first time in my life, advertisements for a Disney movie which will showcase an African American girl as its lead character—not as a frog, or a lion, or a mermaid—but as a human being—and one of the first animations in my lifetime to feature a female character with brown eyes—and not the usual blue, green, purple, or pink the media often uses to dehumanize or water down the blackness of dark skinned characters— saddens me, as although she is wearing braids, she is still made to look light skinned, with freckles—as beautiful some girls are, but still, this alerted me to the fact that white audiences still hate seeing black women in the spotlight, and solidified the truth that white audiences will not adapt to watching dark skinned women as the leading role in almost anything. Is the intrinsic hatred and jealousy of the white supremacy the underlying cause in the continual disadvantage of darker skinned women and the portrayals as such as strong leading characters—why does the success and happiness of the black woman seem to be such an imposing threat to whites so much so that the entire media has been, even of late, a parade of forced diversification, further colorism, and the solidification of light skinned people being seen as more beautiful, acceptable, and prioritized, in the media and otherwise? Has the obsession of white hatred towards black woman been the underlying cause in the justification of white supremacy in the media in order to create more steady sources of revenues for entertainment provisioners, programmers, and networks—appealing to largely white audiences with whitewashed and Eurocentric classification of diversity amongst the new generation's subset standards? The dark skinned woman continues to be undermined and unappreciated — it seems out of deep seated fear— fear of dark skin, fear of dark eyes—fear of having to share a world which used to revolve around eurocentricity—with diversified beauty—fear of actual equality. Why Do They Hate Us? Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But ya'll out of order) Bitch, buy me a bottle! Nobody else can hear the Motorcycles Cause I'm the Only one sober Writing in fours because After all This is A drama Not a Comedy, no (Nope, not at all) I get wronged for it when I black out— Funny thing about it is, That ain't never happened Colonizer poison all of the water Code of conduct I promise the karma For carnival circus I promise when I die The rest of it goes out with me (But not coming home with us) The darker the berry, The longer the story —the older we are Y'all out of order Ain't it funny when The whole world is Sons and your daughters Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But yall out of order) I tie the rope, Then I slit my wrists (Pull the trigger) Amen, I'm three times dead, And ain't left my apartment Bitch, buy me a bottle. Yo. I don't hate white peoples. At all, bro. But— They're just scary. Sometimes. Like ey— Stop trying to kill us. They're like, “We're not! …Just… …the ugly ones…” But then that's like… They're the ones that set the standards in the first place on who's “ugly.” “Ok! Ok! Everyone's beautiful!” [That's good.] “…Just the stupid ones!” lol. But they run all the fuckin systems, So the education system is like, Unequal and shit. They're like, “It's okay! Everything's better now.” But all the dark skinned people in movies are either like, Men, or like, Off to the side and shit. Morbidly obese and shit— Like, “Here's your representation.” What in the fuck though— I swear to God I don't hate white people. I don't. But it's like… Every time we get too far ahead— Or no, Try to catch up to them, They're like, “GET THE FUCK BACK!!” AHEM. I mean— Ahem. “Ahem.” They got gatekeepers. Like the only way they can handle dark skinned people, Especially women, Exceeding is if it's by being ghetto, Or standing on some soapbox, Or going above and beyond in some way. We only get centered representation of color, If it's in some ways, in total, flawed. Watching the Olympics, I almost thought they had Simone Biles hair messed up on purpose. Like, “Here's your representation.” That is our representation. How Americans actually feel about black women in general. Like, we couldn't have our best and be our best. Nobody's gonna pull this girl to the side and comb down those flyaways? An Olympic champion! A fucking Gold medalist— a perfect representation of the fact that America can't let black American women be “all the way the best”. Something looks wrong! I don't hate white people. But now I'm like… … … …Why do they hate us? Ahem. {Enter The Multiverse} After an intense round of furious masturbation, I had the sudden onset feeling that I may have written something interesting over the last 3 months. … Mm…perhaps….maybe. —but first, some heavy deep cleaning. I don't like the way it smells in here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. Sleep on it Sure. Maybe we omit everything about race? Probably. Could just put that with— —with the other race war stuff. Probably should. Maybe just release the uncensored copy on the Skrillex podcast where it might be more well received? Probably that. Yeah. The Complex Collective © is committed to serving the independent artist community by providing a safe and welcoming environment, performance opportunities, rehearsal spaces, and outlets in which they can grow, enhance their skills and master their craft, and create bonds with one another, to form friendships, professional connections and networking opportunities outside of the restrictions and limitations of social media, mass surveillance, and algorithmic privilege/ preference tactics governed by corporate media enterprises without judgement or interference by outside influence, while creating an open-concept and free-form space as an artistic springboard and color-palate for all artists wishing to expand each's own mindset to involve out-of-the box thinking, outer consciousness, awareness, inner peace, and overall health and wellbeing, promoting a clean, modern and evolved, hyperrealistic lifestyle. The Complex Collective © is open to writers, musicians, graphic and visual artists, filmmakers, fashion designers, spiritual enthusiasts, world travelers, and others seeking a safe space to bond, heal, and create through collaboration, exploration, and self improvement. Up Next: Re-examining mental health conditions which affect those facing poverty or at risk environmental circumstances. Killing Me Softly is an organization established to help de-victimize and support survivors of un/reported violent crimes; an answer and antithesis to the #metoo movement, Killing Me Softly promotes the ideology of the safety in anonymity, as survivors of violent crimes often forego seeking traditional treatment or filing reports against such violence in fear or persecution or retaliation. Historically, reporters of violent crimes (particularly against women) are met with accusations of falsifying or fabrication, social exclusion, defamation of character, and even revenge and punishment enacted by the perpetrator of such crimes in defense– which in today's current justice system has proven to derail survivors livelihoods, wellbeing, and put their safety at risk. Killing Me Softly seeks to maintain a safe and anonymous space for survivors of violent crimes, welcoming all genders, races, orientations and those who identify across all spectrums who identify as survivors of un/reported violent crimes seek by to remain anonymous or maintain a change of identity due to violent crime, allowing the de-victimization and empowerment of survivors of all acts of abuse, physical and/or psychological, neglect, psychological terrorism, gangstalking and other forms of ridicule, terror, torture, or abuse overlooked and systemized and/or classified by standard systematic institutions as disabilities or disorders, incapabilities which include misdiagnoses due to medical inequality, colorism, racism, biased, or sociopolitical inequality such as, but not limited to; mislabeling as paranoia, hallucinations, conspiracy, fabrications or other under-recognized or deprioritized documentation of incidents and intent to cause harm to others by a singular abuser and/or groups, hate groups and organizations designed or designated to attack and subdue diversified others, minorities, and ‘lesser-persons', those represented in the media or otherwise as second-class citezens, and treatment by organizations or authorities aimed towards dismantling the peace of mind or livelihoods of others for personal, political, or socioeconomical reasons. The Complex Collective © | New York, New York 2024 Created as a music warehouse project based in Brooklyn New York in 2023, The Complex Collective as a non-profit seeks to encompass a large industrial space which will serve as a multi-use facility which includes a kitchen and food pantry, dance floor/event space, black box theater, cafe/ small stage, fitness spaces (Yoga/Dance) Boxing Club, media room and recording spaces designed to open the minds of artists to a bustling mecca of creativity and opportunity. The space will be used to hold flea markets, host seminars, community meetings, and lectures, as well as provide an operational and practical multimedia space to screen films, stage plays, musicals, and other theatrical productions, as well as host musical events and artists, such as DJs and live bands, poetry readings, dance recitals and other community geared events. {Enter The Multiverse} [The Festival Project.™] The Complex Collective © COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. {We appreciate your time, charitable donations & support.} [Thank You.] gofundme.com/thecomplexcollective givebutter.com/thefestivalproject Sometimes no matter what you do Black is ugly It don't matter— That's just the way things are Dark skin, negro hair, brown eyes You must grow to understand that to the oppotite race, Those things are lesser than We love blonde With blue eyes preferably And only a hint of olive in the lightest skin tone We like a carefree, fun loving girl Who doesn't worry about trauma She doesn't worry about oppression Or the right hair Because the “right” hair grows out of her head There's just something too harsh for us About dark skin And dark eyes There's something so intense about Frizzy hair And black features That we cost ourselves hundreds in “Beautification” to look like them So they respect us more While inwardly, they become relieved That they don't have to spend money on Weaves and wigs and when they wear braids It's a costume Or a statement piece Not a way of life Because it has to be To Submit Your Artist Portfolio, Track or Demo for distribution on our record label, please contact: Email Us At: festivalproject.tv@gmail.com For Membership Information and Opportunities, please visit http://thefestivalproject.bandzoogle.com

The Festival Project, Inc.™ is a multidimensional multimedia platform which encompasses exploratory and artistic social personifications and expressions on cosmic theory, spirituality, growth, health & wellness, philosophy and theoretic dynamics in entertainment such as music, design, film, television, radio, dance and festival culture, art, fashion, literature, and science. The Festival Project™ and it's subsidiary Non-Profit, The Collective Complex © aims to challenge modern artistic and philosophical ideals, break commonplace barriers, forage new creative mediums, and provoke inspired and reformed thought and actions toward evolution and overall societal improvement and ecological sustenance through a new-wave and post-modern, avant-garde and philanthropic hyperawareness driven by a unique culture of global values mediating global respect and preservation via open consciousness, multi-sensory and synesthetic (multi-preceptory) expansions of sound, language, vibration, movement, color, emotion, and ritual governed conceptually by the aspect(s) of love, truth, unity, understanding, and peace. Thank you graciously for your time, consideration, understanding, and support. ^.^ To Donate Please Visit,please visit gofundme.com/thecomplexcolletive TRIGGER WARNING! ⚠️ VIEWER, LISTENER, and READER DISCRETION IS ADVISED. ⚠️ This series contains adult content not suitable for children or under the legal age of majority. Listener and reader discretion is advised as this publication and / or broadcast and its selected readings and projected writings may contain explicit language, provocative wordplay, profanity, open expression of suicidal ideation, discussion of evolved/ de-institutionalized theories concerning depression and mental health, race relations and colorism, socio-economic inequality, political injustice and media politicism/ mass media manipulation, unresearched/undocumented scientific hypothesis , modern philosophical ideals and spiritual explorations, crude/ adult humor and may also include and contain pornographic content, references to fictionalized interpretations of celebrities and/or public figures (fan-fiction), caricatures or references to pop culture, modern art, music, science and other entertainment references which may evoke biased emotion, inspire adverse reactions, contemplative thought, discontentment, or discomfort. The views and opinions expressed by this series and its subsequent editions, additions, chapters, broadcasts, and publications are solely the writers' interpretations as expressed with artistic and entertainment purposes only. The artist reserves all rights to intellectual property maintained and produced by any and all publications of this series and is thereby protected under any applicable copyright law and/or trademark. All fictionalizations of persons living or dead are meant to be perceived as characterized and/or fictional (fan-fiction) are for entertainment purposes only, and are not to be perceived as real re-enactments, dramatizations of events past or present, media dialogues or agendas, or factual exchanges pertaining to and surrounding real-life circumstances. The dialogues and entires expressed in this project are in no way liable for any action, expression, disagreements, entitlements held by the reader at his or her/ their own discretion. [The Festival Project ™] Apparently, the Yeah Yeah Yeah's are a real band. No fucking way. Apparently. I had no idea at all when I wrote that…. –Wrote what? …nothing. [The Festival Project™ ] … ‘Mm. More protein.' I knew protein wasn't exactly entirely going to help me lose weight, but I had lost a lot of muscle only cycling and being bombarded at the gym— and the inferior protein I had purchased earlier in the month was less than inferior, as it turned out— it simply wasn't working. How the fuck is this a real rock group?! I don't know! I thought I made it up. I thought you made everything up. I MADE EVERYTHING UPz. Well, this is turning out to be a disaster. Hm. No spouse listed. You fucked a drummer? You could say I hopped on the bandwagon. Ew. Gross. What do you want from me?! Shut up! {Enter The Multiverse} ___ I'm going to need you to feed my dragon. Uhm. Okay. Don't worry. She doesn't bite. Uh. Give her a kiss. …no. Do it, or she'll set you on fire. *kisses dragon* ..Okay. Good girl. She's soft. For a dragon. Yes, she's very friendly. So. What does she eat? People. +.+ –Agh?! —but only purple ones. What? She's not going to eat you, Fredrick. Who the fuck is “Fredrick”?! (We don't know.) My name's not— —you're not purple. I'm not. No. Don't worry. I'm—worried. I said don't. Well; wait— what color am I, then? That's not important. *shiny* Oh, good. A gatekeeper. What in the actual circumstance is this. Length? 8.5 inches. Girth? A hearty 3.5 Circumference. What the fuck is “circumference”? [VOID.] Well, that's was fun. What was? …nothing. OH GOF— GOD Go to sleep. …I just want to know, though. Just ask Google. I'm not asking Google that! Hey Google… GOOGLE /incognito {Enter The Multiverse} Body shopping on the internet Not worth following Got to find the father who bought me the body I can self publish books, but can't do it all myself My artform costs money. Performances put off till I can afford to look adorable By New York standards, On California stereotypes No work darlin' An escort service Will cost Two dumb dollars more In your karma jar Than you've got goin. Call Tony Hawk, A star struck hallmark card For the workman's comp You were offered —Subpoena the penis. —oh that's right, I need actual ink pens. Oh God, he bought secrets on stop signs; —someone's daughter #stop for comedy DO NOT PUT FOOD ON MY VAGINA. DO NOT— No. My vagina IS food. You don't put— No. No. You want peanut butter all over your dick and balls? Awesome. You want whipped cream on the shit? Fine. Chocolate? (Non dairy, if you will.) But DO NOT. I repeat: DO NOT PUT FOOD ON MY VAGINA. Toppings are for ice cream. This here is sorbet. #lilbitz {Enter The Multiverse} So I did the math the other day— And I finally figured it out, That the reason the world is such a fucked up place Is that 80 percent of dudes have short dicks. That's why the “ideal” woman has always been small waisted, short, petite, tiny. — 80% of men have penis lengths smaller than 5 inches. That's statistics. I'm just saying— There's a reason why super models are super skinny. That's so dudes can hit it and really feel like they're fucking shit up. With their little short dicks. These tiny short girls make their little dicks feel LARGE, okay? Doesn't even matter. I just figured out the whole world is fake. I want to go somewhere the fuck else. I want to go somewhere selfies don't exist. {Enter The Multiverse} MOO-HAHA HA-HA HahAHa-HAHA! WHAT! That's my evil laugh. NO ITS NOT. What do you mean, it's not? “MOO-HAHA” NOBODY LAUGHS LIKE THAT. That's my evil laugh! No, it's not. Well, how am i supposed to laugh, then? Justnfucking— “Mwa-ha-ha”? There you go. That's perfect. What!? That's simple. That's just like everybody else. Be simple then. What! You're also just like everybody else! I am not! What makes you different? I'm—going to take over the world. See. See—what?! You're just like everybody—all the other villains. I am not! You are, though, for real. Like— Ugh. Just—do your laugh. MOO-HAH— Not that one. :( The other one. What— Do the other one. …mwa-haha… That's better. :( Come on. This opener is running lo— [TITLE SEQUENCE] I earned two tattoos and a crown From loving a man Who can't love me back I won the pawn, the aces, the sword Chariot, gardens and graces A house full of waivers Could you uncover the arc of the architect? Probably not, As it changes upon discovery Could you uncover the mask of the rabbit? The tantra of habit? The cruel suffering of the crucifix? Neverwell you, Harper Son of Sam And Harlem's daughter The forever golden one —a forager. Arches— Hark, you call, cruel summer Never forward Wondering blossom, Talking of longshores, sportsman's, Wailers, down coats Fools for orphans, are you all! Proof of the word for the propaganda, Mother Sandra Bullocks and Bulletwounds (But Bullock would have wanted one next, Just to summon a role for her.) Passion projects! Here they are, now! Bulletproof and, Table readings— Don't be greedy! Your agents and managers Also are facing inflations On yachts and at parties And meanwhile, The projects of poverty are awestruck With guttural proportions Of treasures uncovered from rubble Of sidewalks And storm gutters —how was your morning? Celebrity, aren't you? Well, aren't I then? Relax rabbit, I have a new task for you— Go bring me back what you haven't yet, And try staying on task without habits at all Or adderall— (Won't be that hard on an all organic diet, Proper programming and parental encouragement, Plus support, recommended.) Here you are again, to bother anyone around you. There I go again, not caring a fuck less. Here we are both a genius and robot Deciding to go walk the dog, At the wrong time Just a reminder I'm less of myself, In a room full of anyone else, Nevermind A few thousand —the likely cause of my invisibility. Battlegrounds as the brainless have managed to outnumber us. Beyonce became the first black woman to headline Coachella in 2018. Halle Berry, just shortly before that in 2001 became the first black woman to win an academy award for best actress. I'm just realizing what era of time I've been born into—and I have to continue to keep wondering to myself—‘why do they hate us?' For the first time in my life, advertisements for a Disney movie which will showcase an African American girl as its lead character—not as a frog, or a lion, or a mermaid—but as a human being—and one of the first animations in my lifetime to feature a female character with brown eyes—and not the usual blue, green, purple, or pink the media often uses to dehumanize or water down the blackness of dark skinned characters— saddens me, as although she is wearing braids, she is still made to look light skinned, with freckles—as beautiful some girls are, but still, this alerted me to the fact that white audiences still hate seeing black women in the spotlight, and solidified the truth that white audiences will not adapt to watching dark skinned women as the leading role in almost anything. Is the intrinsic hatred and jealousy of the white supremacy the underlying cause in the continual disadvantage of darker skinned women and the portrayals as such as strong leading characters—why does the success and happiness of the black woman seem to be such an imposing threat to whites so much so that the entire media has been, even of late, a parade of forced diversification, further colorism, and the solidification of light skinned people being seen as more beautiful, acceptable, and prioritized, in the media and otherwise? Has the obsession of white hatred towards black woman been the underlying cause in the justification of white supremacy in the media in order to create more steady sources of revenues for entertainment provisioners, programmers, and networks—appealing to largely white audiences with whitewashed and Eurocentric classification of diversity amongst the new generation's subset standards? The dark skinned woman continues to be undermined and unappreciated — it seems out of deep seated fear— fear of dark skin, fear of dark eyes—fear of having to share a world which used to revolve around eurocentricity—with diversified beauty—fear of actual equality. Why Do They Hate Us? Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But ya'll out of order) Bitch, buy me a bottle! Nobody else can hear the Motorcycles Cause I'm the Only one sober Writing in fours because After all This is A drama Not a Comedy, no (Nope, not at all) I get wronged for it when I black out— Funny thing about it is, That ain't never happened Colonizer poison all of the water Code of conduct I promise the karma For carnival circus I promise when I die The rest of it goes out with me (But not coming home with us) The darker the berry, The longer the story —the older we are Y'all out of order Ain't it funny when The whole world is Sons and your daughters Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But yall out of order) I tie the rope, Then I slit my wrists (Pull the trigger) Amen, I'm three times dead, And ain't left my apartment Bitch, buy me a bottle. Yo. I don't hate white peoples. At all, bro. But— They're just scary. Sometimes. Like ey— Stop trying to kill us. They're like, “We're not! …Just… …the ugly ones…” But then that's like… They're the ones that set the standards in the first place on who's “ugly.” “Ok! Ok! Everyone's beautiful!” [That's good.] “…Just the stupid ones!” lol. But they run all the fuckin systems, So the education system is like, Unequal and shit. They're like, “It's okay! Everything's better now.” But all the dark skinned people in movies are either like, Men, or like, Off to the side and shit. Morbidly obese and shit— Like, “Here's your representation.” What in the fuck though— I swear to God I don't hate white people. I don't. But it's like… Every time we get too far ahead— Or no, Try to catch up to them, They're like, “GET THE FUCK BACK!!” AHEM. I mean— Ahem. “Ahem.” They got gatekeepers. Like the only way they can handle dark skinned people, Especially women, Exceeding is if it's by being ghetto, Or standing on some soapbox, Or going above and beyond in some way. We only get centered representation of color, If it's in some ways, in total, flawed. Watching the Olympics, I almost thought they had Simone Biles hair messed up on purpose. Like, “Here's your representation.” That is our representation. How Americans actually feel about black women in general. Like, we couldn't have our best and be our best. Nobody's gonna pull this girl to the side and comb down those flyaways? An Olympic champion! A fucking Gold medalist— a perfect representation of the fact that America can't let black American women be “all the way the best”. Something looks wrong! I don't hate white people. But now I'm like… … … …Why do they hate us? Ahem. {Enter The Multiverse} After an intense round of furious masturbation, I had the sudden onset feeling that I may have written something interesting over the last 3 months. … Mm…perhaps….maybe. —but first, some heavy deep cleaning. I don't like the way it smells in here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. Sleep on it Sure. Maybe we omit everything about race? Probably. Could just put that with— —with the other race war stuff. Probably should. Maybe just release the uncensored copy on the Skrillex podcast where it might be more well received? Probably that. Yeah. The Complex Collective © is committed to serving the independent artist community by providing a safe and welcoming environment, performance opportunities, rehearsal spaces, and outlets in which they can grow, enhance their skills and master their craft, and create bonds with one another, to form friendships, professional connections and networking opportunities outside of the restrictions and limitations of social media, mass surveillance, and algorithmic privilege/ preference tactics governed by corporate media enterprises without judgement or interference by outside influence, while creating an open-concept and free-form space as an artistic springboard and color-palate for all artists wishing to expand each's own mindset to involve out-of-the box thinking, outer consciousness, awareness, inner peace, and overall health and wellbeing, promoting a clean, modern and evolved, hyperrealistic lifestyle. The Complex Collective © is open to writers, musicians, graphic and visual artists, filmmakers, fashion designers, spiritual enthusiasts, world travelers, and others seeking a safe space to bond, heal, and create through collaboration, exploration, and self improvement. Up Next: Re-examining mental health conditions which affect those facing poverty or at risk environmental circumstances. Killing Me Softly is an organization established to help de-victimize and support survivors of un/reported violent crimes; an answer and antithesis to the #metoo movement, Killing Me Softly promotes the ideology of the safety in anonymity, as survivors of violent crimes often forego seeking traditional treatment or filing reports against such violence in fear or persecution or retaliation. Historically, reporters of violent crimes (particularly against women) are met with accusations of falsifying or fabrication, social exclusion, defamation of character, and even revenge and punishment enacted by the perpetrator of such crimes in defense– which in today's current justice system has proven to derail survivors livelihoods, wellbeing, and put their safety at risk. Killing Me Softly seeks to maintain a safe and anonymous space for survivors of violent crimes, welcoming all genders, races, orientations and those who identify across all spectrums who identify as survivors of un/reported violent crimes seek by to remain anonymous or maintain a change of identity due to violent crime, allowing the de-victimization and empowerment of survivors of all acts of abuse, physical and/or psychological, neglect, psychological terrorism, gangstalking and other forms of ridicule, terror, torture, or abuse overlooked and systemized and/or classified by standard systematic institutions as disabilities or disorders, incapabilities which include misdiagnoses due to medical inequality, colorism, racism, biased, or sociopolitical inequality such as, but not limited to; mislabeling as paranoia, hallucinations, conspiracy, fabrications or other under-recognized or deprioritized documentation of incidents and intent to cause harm to others by a singular abuser and/or groups, hate groups and organizations designed or designated to attack and subdue diversified others, minorities, and ‘lesser-persons', those represented in the media or otherwise as second-class citezens, and treatment by organizations or authorities aimed towards dismantling the peace of mind or livelihoods of others for personal, political, or socioeconomical reasons. The Complex Collective © | New York, New York 2024 Created as a music warehouse project based in Brooklyn New York in 2023, The Complex Collective as a non-profit seeks to encompass a large industrial space which will serve as a multi-use facility which includes a kitchen and food pantry, dance floor/event space, black box theater, cafe/ small stage, fitness spaces (Yoga/Dance) Boxing Club, media room and recording spaces designed to open the minds of artists to a bustling mecca of creativity and opportunity. The space will be used to hold flea markets, host seminars, community meetings, and lectures, as well as provide an operational and practical multimedia space to screen films, stage plays, musicals, and other theatrical productions, as well as host musical events and artists, such as DJs and live bands, poetry readings, dance recitals and other community geared events. {Enter The Multiverse} [The Festival Project.™] The Complex Collective © COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. {We appreciate your time, charitable donations & support.} [Thank You.] gofundme.com/thecomplexcollective givebutter.com/thefestivalproject Sometimes no matter what you do Black is ugly It don't matter— That's just the way things are Dark skin, negro hair, brown eyes You must grow to understand that to the oppotite race, Those things are lesser than We love blonde With blue eyes preferably And only a hint of olive in the lightest skin tone We like a carefree, fun loving girl Who doesn't worry about trauma She doesn't worry about oppression Or the right hair Because the “right” hair grows out of her head There's just something too harsh for us About dark skin And dark eyes There's something so intense about Frizzy hair And black features That we cost ourselves hundreds in “Beautification” to look like them So they respect us more While inwardly, they become relieved That they don't have to spend money on Weaves and wigs and when they wear braids It's a costume Or a statement piece Not a way of life Because it has to be To Submit Your Artist Portfolio, Track or Demo for distribution on our record label, please contact: Email Us At: festivalproject.tv@gmail.com For Membership Information and Opportunities, please visit http://thefestivalproject.bandzoogle.com

{Black- ish} 2014. Sitcom. 8 seasons Dre Johnson (Anthony Anderson) has it all - a great job, beautiful wife Rainbow (Tracee Ellis Ross), four kids and a big home in a classy neighbourhood - but as a black man, he begins to question whether all his success has brought too much cultural assimilation for his family. With the help of his father (Laurence Fishburne), Dre begins to try to create a sense of ethnic identity for the members of his family that will allow them to honour their background while preparing them to embrace the future. Mix story: Two traditionally stereotypical black(ish) dudes decide on a whim to buy some electronic musical festival tickets, which come with a mystery suprise dosage of an unknown psychoactive hallucinogen which takes them on a in unguided journey through time and space through strange and unfamiliar, bizzare and unknown music—unguided, that is, besides for by the light provided by the hands of the DJ, who acts as a spiritual guide, immersing the partygoers into a new world of bass heavy drops, Kandi coated ravers, and freedoms yet unbeknownst. The Festival Project, Inc.™ is a multidimensional multimedia platform which encompasses exploratory and artistic social personifications and expressions on cosmic theory, spirituality, growth, health & wellness, philosophy and theoretic dynamics in entertainment such as music, design, film, television, radio, dance and festival culture, art, fashion, literature, and science. The Festival Project™ and it's subsidiary Non-Profit, The Collective Complex © aims to challenge modern artistic and philosophical ideals, break commonplace barriers, forage new creative mediums, and provoke inspired and reformed thought and actions toward evolution and overall societal improvement and ecological sustenance through a new-wave and post-modern, avant-garde and philanthropic hyperawareness driven by a unique culture of global values mediating global respect and preservation via open consciousness, multi-sensory and synesthetic (multi-preceptory) expansions of sound, language, vibration, movement, color, emotion, and ritual governed conceptually by the aspect(s) of love, truth, unity, understanding, and peace. Thank you graciously for your time, consideration, understanding, and support. ^.^ To Donate Please Visit,please visit gofundme.com/thecomplexcolletive TRIGGER WARNING! ⚠️ VIEWER, LISTENER, and READER DISCRETION IS ADVISED. ⚠️ This series contains adult content not suitable for children or under the legal age of majority. Listener and reader discretion is advised as this publication and / or broadcast and its selected readings and projected writings may contain explicit language, provocative wordplay, profanity, open expression of suicidal ideation, discussion of evolved/ de-institutionalized theories concerning depression and mental health, race relations and colorism, socio-economic inequality, political injustice and media politicism/ mass media manipulation, unresearched/undocumented scientific hypothesis , modern philosophical ideals and spiritual explorations, crude/ adult humor and may also include and contain pornographic content, references to fictionalized interpretations of celebrities and/or public figures (fan-fiction), caricatures or references to pop culture, modern art, music, science and other entertainment references which may evoke biased emotion, inspire adverse reactions, contemplative thought, discontentment, or discomfort. The views and opinions expressed by this series and its subsequent editions, additions, chapters, broadcasts, and publications are solely the writers' interpretations as expressed with artistic and entertainment purposes only. The artist reserves all rights to intellectual property maintained and produced by any and all publications of this series and is thereby protected under any applicable copyright law and/or trademark. All fictionalizations of persons living or dead are meant to be perceived as characterized and/or fictional (fan-fiction) are for entertainment purposes only, and are not to be perceived as real re-enactments, dramatizations of events past or present, media dialogues or agendas, or factual exchanges pertaining to and surrounding real-life circumstances. The dialogues and entires expressed in this project are in no way liable for any action, expression, disagreements, entitlements held by the reader at his or her/ their own discretion. [The Festival Project ™] Apparently, the Yeah Yeah Yeah's are a real band. No fucking way. Apparently. I had no idea at all when I wrote that…. –Wrote what? …nothing. [The Festival Project™ ] … ‘Mm. More protein.' I knew protein wasn't exactly entirely going to help me lose weight, but I had lost a lot of muscle only cycling and being bombarded at the gym— and the inferior protein I had purchased earlier in the month was less than inferior, as it turned out— it simply wasn't working. How the fuck is this a real rock group?! I don't know! I thought I made it up. I thought you made everything up. I MADE EVERYTHING UPz. Well, this is turning out to be a disaster. Hm. No spouse listed. You fucked a drummer? You could say I hopped on the bandwagon. Ew. Gross. What do you want from me?! Shut up! {Enter The Multiverse} ___ I'm going to need you to feed my dragon. Uhm. Okay. Don't worry. She doesn't bite. Uh. Give her a kiss. …no. Do it, or she'll set you on fire. *kisses dragon* ..Okay. Good girl. She's soft. For a dragon. Yes, she's very friendly. So. What does she eat? People. +.+ –Agh?! —but only purple ones. What? She's not going to eat you, Fredrick. Who the fuck is “Fredrick”?! (We don't know.) My name's not— —you're not purple. I'm not. No. Don't worry. I'm—worried. I said don't. Well; wait— what color am I, then? That's not important. *shiny* Oh, good. A gatekeeper. What in the actual circumstance is this. Length? 8.5 inches. Girth? A hearty 3.5 Circumference. What the fuck is “circumference”? [VOID.] Well, that's was fun. What was? …nothing. OH GOF— GOD Go to sleep. …I just want to know, though. Just ask Google. I'm not asking Google that! Hey Google… GOOGLE /incognito {Enter The Multiverse} Body shopping on the internet Not worth following Got to find the father who bought me the body I can self publish books, but can't do it all myself My artform costs money. Performances put off till I can afford to look adorable By New York standards, On California stereotypes No work darlin' An escort service Will cost Two dumb dollars more In your karma jar Than you've got goin. Call Tony Hawk, A star struck hallmark card For the workman's comp You were offered —Subpoena the penis. —oh that's right, I need actual ink pens. Oh God, he bought secrets on stop signs; —someone's daughter #stop for comedy DO NOT PUT FOOD ON MY VAGINA. DO NOT— No. My vagina IS food. You don't put— No. No. You want peanut butter all over your dick and balls? Awesome. You want whipped cream on the shit? Fine. Chocolate? (Non dairy, if you will.) But DO NOT. I repeat: DO NOT PUT FOOD ON MY VAGINA. Toppings are for ice cream. This here is sorbet. #lilbitz {Enter The Multiverse} So I did the math the other day— And I finally figured it out, That the reason the world is such a fucked up place Is that 80 percent of dudes have short dicks. That's why the “ideal” woman has always been small waisted, short, petite, tiny. — 80% of men have penis lengths smaller than 5 inches. That's statistics. I'm just saying— There's a reason why super models are super skinny. That's so dudes can hit it and really feel like they're fucking shit up. With their little short dicks. These tiny short girls make their little dicks feel LARGE, okay? Doesn't even matter. I just figured out the whole world is fake. I want to go somewhere the fuck else. I want to go somewhere selfies don't exist. {Enter The Multiverse} MOO-HAHA HA-HA HahAHa-HAHA! WHAT! That's my evil laugh. NO ITS NOT. What do you mean, it's not? “MOO-HAHA” NOBODY LAUGHS LIKE THAT. That's my evil laugh! No, it's not. Well, how am i supposed to laugh, then? Justnfucking— “Mwa-ha-ha”? There you go. That's perfect. What!? That's simple. That's just like everybody else. Be simple then. What! You're also just like everybody else! I am not! What makes you different? I'm—going to take over the world. See. See—what?! You're just like everybody—all the other villains. I am not! You are, though, for real. Like— Ugh. Just—do your laugh. MOO-HAH— Not that one. :( The other one. What— Do the other one. …mwa-haha… That's better. :( Come on. This opener is running lo— [TITLE SEQUENCE] I earned two tattoos and a crown From loving a man Who can't love me back I won the pawn, the aces, the sword Chariot, gardens and graces A house full of waivers Could you uncover the arc of the architect? Probably not, As it changes upon discovery Could you uncover the mask of the rabbit? The tantra of habit? The cruel suffering of the crucifix? Neverwell you, Harper Son of Sam And Harlem's daughter The forever golden one —a forager. Arches— Hark, you call, cruel summer Never forward Wondering blossom, Talking of longshores, sportsman's, Wailers, down coats Fools for orphans, are you all! Proof of the word for the propaganda, Mother Sandra Bullocks and Bulletwounds (But Bullock would have wanted one next, Just to summon a role for her.) Passion projects! Here they are, now! Bulletproof and, Table readings— Don't be greedy! Your agents and managers Also are facing inflations On yachts and at parties And meanwhile, The projects of poverty are awestruck With guttural proportions Of treasures uncovered from rubble Of sidewalks And storm gutters —how was your morning? Celebrity, aren't you? Well, aren't I then? Relax rabbit, I have a new task for you— Go bring me back what you haven't yet, And try staying on task without habits at all Or adderall— (Won't be that hard on an all organic diet, Proper programming and parental encouragement, Plus support, recommended.) Here you are again, to bother anyone around you. There I go again, not caring a fuck less. Here we are both a genius and robot Deciding to go walk the dog, At the wrong time Just a reminder I'm less of myself, In a room full of anyone else, Nevermind A few thousand —the likely cause of my invisibility. Battlegrounds as the brainless have managed to outnumber us. Beyonce became the first black woman to headline Coachella in 2018. Halle Berry, just shortly before that in 2001 became the first black woman to win an academy award for best actress. I'm just realizing what era of time I've been born into—and I have to continue to keep wondering to myself—‘why do they hate us?' For the first time in my life, advertisements for a Disney movie which will showcase an African American girl as its lead character—not as a frog, or a lion, or a mermaid—but as a human being—and one of the first animations in my lifetime to feature a female character with brown eyes—and not the usual blue, green, purple, or pink the media often uses to dehumanize or water down the blackness of dark skinned characters— saddens me, as although she is wearing braids, she is still made to look light skinned, with freckles—as beautiful some girls are, but still, this alerted me to the fact that white audiences still hate seeing black women in the spotlight, and solidified the truth that white audiences will not adapt to watching dark skinned women as the leading role in almost anything. Is the intrinsic hatred and jealousy of the white supremacy the underlying cause in the continual disadvantage of darker skinned women and the portrayals as such as strong leading characters—why does the success and happiness of the black woman seem to be such an imposing threat to whites so much so that the entire media has been, even of late, a parade of forced diversification, further colorism, and the solidification of light skinned people being seen as more beautiful, acceptable, and prioritized, in the media and otherwise? Has the obsession of white hatred towards black woman been the underlying cause in the justification of white supremacy in the media in order to create more steady sources of revenues for entertainment provisioners, programmers, and networks—appealing to largely white audiences with whitewashed and Eurocentric classification of diversity amongst the new generation's subset standards? The dark skinned woman continues to be undermined and unappreciated — it seems out of deep seated fear— fear of dark skin, fear of dark eyes—fear of having to share a world which used to revolve around eurocentricity—with diversified beauty—fear of actual equality. Why Do They Hate Us? Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But ya'll out of order) Bitch, buy me a bottle! Nobody else can hear the Motorcycles Cause I'm the Only one sober Writing in fours because After all This is A drama Not a Comedy, no (Nope, not at all) I get wronged for it when I black out— Funny thing about it is, That ain't never happened Colonizer poison all of the water Code of conduct I promise the karma For carnival circus I promise when I die The rest of it goes out with me (But not coming home with us) The darker the berry, The longer the story —the older we are Y'all out of order Ain't it funny when The whole world is Sons and your daughters Wine glass— Bloodstains (My blood four hundred proof) —I disappear for about Three days Come back golden (But yall out of order) I tie the rope, Then I slit my wrists (Pull the trigger) Amen, I'm three times dead, And ain't left my apartment Bitch, buy me a bottle. Yo. I don't hate white peoples. At all, bro. But— They're just scary. Sometimes. Like ey— Stop trying to kill us. They're like, “We're not! …Just… …the ugly ones…” But then that's like… They're the ones that set the standards in the first place on who's “ugly.” “Ok! Ok! Everyone's beautiful!” [That's good.] “…Just the stupid ones!” lol. But they run all the fuckin systems, So the education system is like, Unequal and shit. They're like, “It's okay! Everything's better now.” But all the dark skinned people in movies are either like, Men, or like, Off to the side and shit. Morbidly obese and shit— Like, “Here's your representation.” What in the fuck though— I swear to God I don't hate white people. I don't. But it's like… Every time we get too far ahead— Or no, Try to catch up to them, They're like, “GET THE FUCK BACK!!” AHEM. I mean— Ahem. “Ahem.” They got gatekeepers. Like the only way they can handle dark skinned people, Especially women, Exceeding is if it's by being ghetto, Or standing on some soapbox, Or going above and beyond in some way. We only get centered representation of color, If it's in some ways, in total, flawed. Watching the Olympics, I almost thought they had Simone Biles hair messed up on purpose. Like, “Here's your representation.” That is our representation. How Americans actually feel about black women in general. Like, we couldn't have our best and be our best. Nobody's gonna pull this girl to the side and comb down those flyaways? An Olympic champion! A fucking Gold medalist— a perfect representation of the fact that America can't let black American women be “all the way the best”. Something looks wrong! I don't hate white people. But now I'm like… … … …Why do they hate us? Ahem. {Enter The Multiverse} After an intense round of furious masturbation, I had the sudden onset feeling that I may have written something interesting over the last 3 months. … Mm…perhaps….maybe. —but first, some heavy deep cleaning. I don't like the way it smells in here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. Sleep on it Sure. Maybe we omit everything about race? Probably. Could just put that with— —with the other race war stuff. Probably should. Maybe just release the uncensored copy on the Skrillex podcast where it might be more well received? Probably that. Yeah. The Complex Collective © is committed to serving the independent artist community by providing a safe and welcoming environment, performance opportunities, rehearsal spaces, and outlets in which they can grow, enhance their skills and master their craft, and create bonds with one another, to form friendships, professional connections and networking opportunities outside of the restrictions and limitations of social media, mass surveillance, and algorithmic privilege/ preference tactics governed by corporate media enterprises without judgement or interference by outside influence, while creating an open-concept and free-form space as an artistic springboard and color-palate for all artists wishing to expand each's own mindset to involve out-of-the box thinking, outer consciousness, awareness, inner peace, and overall health and wellbeing, promoting a clean, modern and evolved, hyperrealistic lifestyle. The Complex Collective © is open to writers, musicians, graphic and visual artists, filmmakers, fashion designers, spiritual enthusiasts, world travelers, and others seeking a safe space to bond, heal, and create through collaboration, exploration, and self improvement. Up Next: Re-examining mental health conditions which affect those facing poverty or at risk environmental circumstances. Killing Me Softly is an organization established to help de-victimize and support survivors of un/reported violent crimes; an answer and antithesis to the #metoo movement, Killing Me Softly promotes the ideology of the safety in anonymity, as survivors of violent crimes often forego seeking traditional treatment or filing reports against such violence in fear or persecution or retaliation. Historically, reporters of violent crimes (particularly against women) are met with accusations of falsifying or fabrication, social exclusion, defamation of character, and even revenge and punishment enacted by the perpetrator of such crimes in defense– which in today's current justice system has proven to derail survivors livelihoods, wellbeing, and put their safety at risk. Killing Me Softly seeks to maintain a safe and anonymous space for survivors of violent crimes, welcoming all genders, races, orientations and those who identify across all spectrums who identify as survivors of un/reported violent crimes seek by to remain anonymous or maintain a change of identity due to violent crime, allowing the de-victimization and empowerment of survivors of all acts of abuse, physical and/or psychological, neglect, psychological terrorism, gangstalking and other forms of ridicule, terror, torture, or abuse overlooked and systemized and/or classified by standard systematic institutions as disabilities or disorders, incapabilities which include misdiagnoses due to medical inequality, colorism, racism, biased, or sociopolitical inequality such as, but not limited to; mislabeling as paranoia, hallucinations, conspiracy, fabrications or other under-recognized or deprioritized documentation of incidents and intent to cause harm to others by a singular abuser and/or groups, hate groups and organizations designed or designated to attack and subdue diversified others, minorities, and ‘lesser-persons', those represented in the media or otherwise as second-class citezens, and treatment by organizations or authorities aimed towards dismantling the peace of mind or livelihoods of others for personal, political, or socioeconomical reasons. The Complex Collective © | New York, New York 2024 Created as a music warehouse project based in Brooklyn New York in 2023, The Complex Collective as a non-profit seeks to encompass a large industrial space which will serve as a multi-use facility which includes a kitchen and food pantry, dance floor/event space, black box theater, cafe/ small stage, fitness spaces (Yoga/Dance) Boxing Club, media room and recording spaces designed to open the minds of artists to a bustling mecca of creativity and opportunity. The space will be used to hold flea markets, host seminars, community meetings, and lectures, as well as provide an operational and practical multimedia space to screen films, stage plays, musicals, and other theatrical productions, as well as host musical events and artists, such as DJs and live bands, poetry readings, dance recitals and other community geared events. {Enter The Multiverse} [The Festival Project.™] The Complex Collective © COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū. {We appreciate your time, charitable donations & support.} [Thank You.] gofundme.com/thecomplexcollective givebutter.com/thefestivalproject Sometimes no matter what you do Black is ugly It don't matter— That's just the way things are Dark skin, negro hair, brown eyes You must grow to understand that to the oppotite race, Those things are lesser than We love blonde With blue eyes preferably And only a hint of olive in the lightest skin tone We like a carefree, fun loving girl Who doesn't worry about trauma She doesn't worry about oppression Or the right hair Because the “right” hair grows out of her head There's just something too harsh for us About dark skin And dark eyes There's something so intense about Frizzy hair And black features That we cost ourselves hundreds in “Beautification” to look like them So they respect us more While inwardly, they become relieved That they don't have to spend money on Weaves and wigs and when they wear braids It's a costume Or a statement piece Not a way of life Because it has to be To Submit Your Artist Portfolio, Track or Demo for distribution on our record label, please contact: Email Us At: festivalproject.tv@gmail.com For Membership Information and Opportunities, please visit http://thefestivalproject.bandzoogle.com

How much does a person's appearance play in to their success in an election? Producer Hannah recaps last night's "30 Under 30" event with the Missouri Times, and also the strange reason why raccoons seem to love Teslas.

The discussion focuses on the role of economic development agencies, such as RDAs and CDAs, in the development process. RDAs, with state-granted powers, create CRAs to enable tax increment financing, aiming to boost job creation, sales tax, and city beautification. Developers should collaborate with these agencies, securing political and taxing entity support for success. The Salt Lake City RDA is noted for its significant resources, including a loan fund for affordable housing and downtown revitalization. The conversation also highlights the importance of relationships with site selectors, brokers, and developers, as well as using incentives like tax increment financing to attract businesses. Beautification, walkability, and high-quality buildings are emphasized as key factors in development projects.Chapters00:00Introduction and Setting00:38Different Government Agencies Involved in Development01:26Role of the Redevelopment Agency (RDA)04:24Community Reinvestment Areas (CRA) and Project Specifics07:10Utilizing Economic Development Tools for Impediments09:33City Goals: Jobs, Sales Tax, and Beautification10:31Different Economic Development Goals for Each Community13:02Sales Tax as the Main Revenue Generator for Cities14:24Involvement of Taxing Entities for Personal and Real Property Projects19:36Role of the Economic Development Director and Collaboration21:24Approaching Economic Development Agencies and Building Relationships24:06Political Buy-In and Involvement of Taxing Entities30:24Redevelopment Agencies and Low to Moderate Income Housing32:23Funding and Financing Options for Developers33:56Activating Downtown Areas and Reinvesting in Communities34:31Supporting Small Businesses and Economic Development38:38Attracting Businesses and Initiating Conversations39:08Understanding Motivators for Businesses and Developers47:45Incentives for Developers and Aesthetics of Projects49:51Beautification and Walkability in Community Development56:12Other Tools and Incentives for Economic Development

The Joe Louis Greenway has gotten a lot of buzz locally and nationally. But what's the bigger vision? What's ahead? How will this integrate with the communities it serves? Joe Louis Greenway Partnership Executive Director Leona Medley joins us to discus the formation and goals of the newly formed nonprofit dedicated to supporting the Joe Louis Greenway project in Detroit.  The partnership focuses on community engagement, ongoing beautification, programming, and maintaining the greenway to ensure it is a safe, clean, and enjoyable space for residents and visitors. Key topics we talk about... Formation of the Partnership: Established in 2022 to support the public project, with Liana joining in 2023. Community Engagement: Involvement with residents and municipalities like Highland Park, Dearborn, and Hamtramck. Programming and Events: Family-friendly, free programming, including fitness classes, yoga, and bike events. Beautification and Maintenance: Ensuring the greenway remains clean and well-maintained for a pleasant user experience. Future Vision: Expanding construction through 2025, increasing programming, and fostering economic opportunities for local entrepreneurs. Community Involvement: We discuss the importance of community involvement and the impact of the greenway on local neighborhoods.  There's an emphasis on: The significance of providing a clean, safe, and beautiful public space while also creating economic opportunities for residents and entrepreneurs. Don't miss another episode of the podcast! We do this every weekday. Follow us on Apple Podcasts, Spotify, or wherever you get shows. 

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Bring to light the sins that so easily entangle you and live in a way that really pleases the Lord. -------- Thank you for listening! Your support of Joni and Friends helps make this show possible.   Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Become part of the global movement today at www.joniandfriends.org.   Find more encouragement on Instagram, TikTok, Facebook, and YouTube.

This morning, as we close out our sermon series called "Under Construction" we are looking at the necessity of taking care and investing in our spiritual lives!

TO FACILITATE BEAUTIFICATION •Advance PDF's from BOOM! Studios and Image. •Shelf Sponsorship—more details! •Website Changes? Dark Mode! •Cute Animal Videos •Rifters #1!•Manga Contest of Challengers #689

Britain is a nation of gardeners; the suburban garden, with its roses and privet hedges, is widely admired and copied across the world. But it is little understood how millions across the nation developed an obsession with their colourful plots of land. Behind the Privet Hedge: Richard Sudell, the Suburban Garden and the Beautification of Britain (Reaktion, 2024) by Michael Gilson explores the history of this development and how, despite their stereotype as symbols of dull, middle-class conformity, these new open spaces were seen as a means to bring about social change in the early twentieth century. Gilson restores to the story a remarkable but long-forgotten figure, Richard Sudell, who spent a lifetime ‘evangelising' that the garden be in the vanguard of progress towards a new egalitarian society with everyday beauty at its centre. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Britain is a nation of gardeners; the suburban garden, with its roses and privet hedges, is widely admired and copied across the world. But it is little understood how millions across the nation developed an obsession with their colourful plots of land. Behind the Privet Hedge: Richard Sudell, the Suburban Garden and the Beautification of Britain (Reaktion, 2024) by Michael Gilson explores the history of this development and how, despite their stereotype as symbols of dull, middle-class conformity, these new open spaces were seen as a means to bring about social change in the early twentieth century. Gilson restores to the story a remarkable but long-forgotten figure, Richard Sudell, who spent a lifetime ‘evangelising' that the garden be in the vanguard of progress towards a new egalitarian society with everyday beauty at its centre. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Britain is a nation of gardeners; the suburban garden, with its roses and privet hedges, is widely admired and copied across the world. But it is little understood how millions across the nation developed an obsession with their colourful plots of land. Behind the Privet Hedge: Richard Sudell, the Suburban Garden and the Beautification of Britain (Reaktion, 2024) by Michael Gilson explores the history of this development and how, despite their stereotype as symbols of dull, middle-class conformity, these new open spaces were seen as a means to bring about social change in the early twentieth century. Gilson restores to the story a remarkable but long-forgotten figure, Richard Sudell, who spent a lifetime ‘evangelising' that the garden be in the vanguard of progress towards a new egalitarian society with everyday beauty at its centre. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Britain is a nation of gardeners; the suburban garden, with its roses and privet hedges, is widely admired and copied across the world. But it is little understood how millions across the nation developed an obsession with their colourful plots of land. Behind the Privet Hedge: Richard Sudell, the Suburban Garden and the Beautification of Britain (Reaktion, 2024) by Michael Gilson explores the history of this development and how, despite their stereotype as symbols of dull, middle-class conformity, these new open spaces were seen as a means to bring about social change in the early twentieth century. Gilson restores to the story a remarkable but long-forgotten figure, Richard Sudell, who spent a lifetime ‘evangelising' that the garden be in the vanguard of progress towards a new egalitarian society with everyday beauty at its centre. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/food

Britain is a nation of gardeners; the suburban garden, with its roses and privet hedges, is widely admired and copied across the world. But it is little understood how millions across the nation developed an obsession with their colourful plots of land. Behind the Privet Hedge: Richard Sudell, the Suburban Garden and the Beautification of Britain (Reaktion, 2024) by Michael Gilson explores the history of this development and how, despite their stereotype as symbols of dull, middle-class conformity, these new open spaces were seen as a means to bring about social change in the early twentieth century. Gilson restores to the story a remarkable but long-forgotten figure, Richard Sudell, who spent a lifetime ‘evangelising' that the garden be in the vanguard of progress towards a new egalitarian society with everyday beauty at its centre. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Britain is a nation of gardeners; the suburban garden, with its roses and privet hedges, is widely admired and copied across the world. But it is little understood how millions across the nation developed an obsession with their colourful plots of land. Behind the Privet Hedge: Richard Sudell, the Suburban Garden and the Beautification of Britain (Reaktion, 2024) by Michael Gilson explores the history of this development and how, despite their stereotype as symbols of dull, middle-class conformity, these new open spaces were seen as a means to bring about social change in the early twentieth century. Gilson restores to the story a remarkable but long-forgotten figure, Richard Sudell, who spent a lifetime ‘evangelising' that the garden be in the vanguard of progress towards a new egalitarian society with everyday beauty at its centre. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Britain is a nation of gardeners; the suburban garden, with its roses and privet hedges, is widely admired and copied across the world. But it is little understood how millions across the nation developed an obsession with their colourful plots of land. Behind the Privet Hedge: Richard Sudell, the Suburban Garden and the Beautification of Britain (Reaktion, 2024) by Michael Gilson explores the history of this development and how, despite their stereotype as symbols of dull, middle-class conformity, these new open spaces were seen as a means to bring about social change in the early twentieth century. Gilson restores to the story a remarkable but long-forgotten figure, Richard Sudell, who spent a lifetime ‘evangelising' that the garden be in the vanguard of progress towards a new egalitarian society with everyday beauty at its centre. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Britain is a nation of gardeners; the suburban garden, with its roses and privet hedges, is widely admired and copied across the world. But it is little understood how millions across the nation developed an obsession with their colourful plots of land. Behind the Privet Hedge: Richard Sudell, the Suburban Garden and the Beautification of Britain (Reaktion, 2024) by Michael Gilson explores the history of this development and how, despite their stereotype as symbols of dull, middle-class conformity, these new open spaces were seen as a means to bring about social change in the early twentieth century. Gilson restores to the story a remarkable but long-forgotten figure, Richard Sudell, who spent a lifetime ‘evangelising' that the garden be in the vanguard of progress towards a new egalitarian society with everyday beauty at its centre. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

B~OurPlanetsSolution is back from a break with a new lease on helping others learn how they can make a positive impact on our planet and people 1-reusable at a time! Today episode introduces a redemption program I've been start in my condominium complex; with the goal of raising funds for extra “Beautification “ projects. Joining me is Damon Hayes of redemption-express.com. Damon and his brother in a short amount of time have built an expanding redemption center; covering the NYC area picking up bottles and redeeming them for much needed cash for many folks. We were brought together by Lance Samaria creator of the @BottleBinApp. His app connects sellers (such as myself) to buyers (like Damon). Together, we hope to grow this model to help many people raise monies for what they want to do. Stay tuned…  Tonia Torrellas is an advocate for giving back to others and a serial problem-solver, and she steps up to the roles of nurse, mompreneur, creator and inventor every day. On a mission to eliminate plastic waste - Tonia, developed It's My Bag.  It's Easy To "B" Green! When she's not working on It's My Bag reusables; you can find her creating her very special Aunt Toni's Yummy Crummy Crumb Cakes, a family staple that is close to her heart. Follow B-Our Planets Solution on Facebook and aunt_tonis_yummygrummy on Instagram Please support UnsilencedVoices.org.  WordofMomRadio.com - sharing the wisdom of women, in business and in life.  

Dave Reichart on the chaotic situation that unfolded at Washington state's GOP convention in Spokane. Tim speaks with the founder of the "Seattle Beautification Project" which cleans up graffiti around the city. Bellevue to Redmond light rail set to open this week. // Security breach at SeaTac airport led to lots of delays. SCOTUS will rule on whether or not cities can take action on homeless camps. // Andrea Suarez from We Heart Seattle joins the show to talk about the highest court in the land getting ready to rule on homelessness laws for cities across America. 

Get ready for part 2 of an eye-opening and empowering episode of the Breakfast With Tiffany Show, hosted by the insightful Tiffany Rossdale! In this week's continuation, Tiffany is joined by the fabulous Maki Gingoyon and the inspiring Paulie Durig.Together, they delve deep into the topic of passability within the transgender community and its impact on relationships and self-acceptance.Tiffany sets the stage by introducing the theme of positive transitions and overcoming struggles, welcoming listeners to a space where diverse stories of success, resilience, and laughter are shared. As the conversation unfolds, Maki and Paulie discuss their personal journeys and reflections on the concept of passability.From exploring cultural differences in the perception of passability to the dangers of seeking validation from others, the trio navigates through heartfelt anecdotes and thought-provoking insights. They emphasize the importance of self-love and acceptance, challenging societal norms and fostering a sense of community support.Amidst laughter and candid reflections, listeners are invited to join a private forum on March 31st, where deeper discussions will take place in a safe and inclusive environment. Tiffany, Maki, and Paulie extend their social media invitations, encouraging everyone to connect and continue the conversation beyond the livestream.As the episode concludes, Tiffany expresses her gratitude to listeners, urging them to share the episode and spread kindness wherever they go. With a promise of more engaging content in future episodes, listeners are invited to tune in next Tuesday for another insightful Breakfast With Tiffany Show experience.Don't miss out on this enlightening episode filled with wisdom, laughter, and heartfelt moments. Tune in and join the conversation on the Breakfast With Tiffany Show!Maki's website: https://makigingoyon.com/My Transgender Date: https://mytransgenderdate.com/Paulie's site: https://www.sacredspacesuisse.com/homeFacebook Pre-Survey Form: https://www.facebook.com/share/QX2tEGJnpqEorFWz/?mibextid=WC7FNeSupport the showBreakfast With Tiffany Show Official Facebook Page ~ https://www.facebook.com/breakfastwithtiffanyshow Tiffany's Instagram Account ~ https://www.instagram.com/tiffanyrossdaleofficial/ For coaching sessions & programs with Tiffany, check out her official page ~ https://www.tiffanyrossdale.com Breakfast With Tiffany Show Youtube Channel ~ https://bit.ly/3vIVzhE Breakfast With Tiffany Show Official Page ~ https://www.tiffanyrossdale.com/podcast For questions, requests, collaborations and comments, feel free to reach us via our e-mail ~ breakfastwithtiffanyshow@outlook.com

Are you spiritually dead, walking around in zombie land under the control of passions you cannot understand?Sermon preached by the Reverend Dr Reggie Kidd, Dean of the Cathedral Church of St Luke, Orlando on 10 MARCH 2024.Psalm 107:1-3,17-22; Number 21:4-9; Ephesians 2:1-10; John 3:14-21

Travis Kelce Admits His Emotions Got 'Away' Form Him During Heated Andy Reid Exchange (Page Six) (20:00)Kim Kardashian at SB LVIII Celeb Packed Suite But...Looking Kinda Meh Next To Taylor's (TMZ) (31:36)Jennifer Lopez Says Ayo Edebri 'Apologized With Tears In Her Eyes' Over Resurfaced Comments Slamming Lopez (Variety) (36:23)Meghan, Duchess of Sussex, Finds News Podcast Partner in Lemonada After End of Spotify Pact (Variety) (45:28)Kourtney Kardashian and Travis Barker Reminisce on 2023 Valentines Trip (People) (51:45)Dear Toasters Advice Segment (58:15)The Toast with Jackie (@JackieOshry) and Claudia Oshry (@girlwithnojob) Lean InThe Camper and The Counselor by Jackie OshryMerchThe Toast PatreonGirl With No Job by Claudia OshrySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Churros y Puros - Ep. 89 Transfer, Mafia Life, Beautification

In this episode, we pay tribute to Dr. Martin Luther King Jr.'s 95th birthday. Keep America Beautiful (KAB) granted over $230,000 in 2022 and ‘23 through MLK Community Improvement grants, supporting projects enhancing the beauty and cleanliness of areas named after Dr. King. Notably, Jackson, Mississippi, received funding for a project featuring 10 vibrant murals along a mile of Martin Luther King Jr. Drive, honoring Dr. King and Mississippi civil rights leaders.KAB's Senior VP of the Affiliate Network, Dave Forsell, recently attended the mural unveiling and spoke with key members of Keep Jackson Beautiful. You'll hear their stories about how the project came to be and the significance it holds for the city of Jackson.

The city of Detroit has announced that it's opened the application process for 2024 Neighborhood Beautification Program grants this week. Plus, the suspect accused of killing Detroit synagogue leader Samantha Woll was in court on Tuesday for the first day of his preliminary exam. Do you have a community story we should tell? Let us know in an email at detroiteveningreport@wdet.org.

Tao talks to us about urban geography and morphology in Southeast Asia. We discuss historic preservation and patterns of heritage-making in Southeast Asia, touristification, image-making and nationalist architecture, the evolution of neighborhoods and their communities as cities get reinvented, and whether Chinatowns in Southeast Asia are "disappearing and dying" as they are in Western countries. To be enjoyed with spicy Indonesian food or super sour Thai food with lots & lots of lime! -- Napong Tao Rugkhapan is a geographer of urban planning interested in the geographic implications of planning intervention. In particular, he focuses on the technopolitics of urban design and planning, which he defines as the political contestations over knowledge-laden, spatial instruments – maps, zoning, building codes, architectural guidelines. The goal of is work is to expose their ideological, political underpinnings that legitimate planning intervention. Tao's other research interests include comparative urban theory; cross-context circulation of planning ideas; gentrification and inner-city revitalization; and urban architectural heritage, specifically in historic cities in urban Southeast Asia. NTRS --- Support this podcast: https://podcasters.spotify.com/pod/show/sugar-nutmeg/support

(Sep 21, 2023) In Saranac Lake, a volunteer group has been beautifying the village for 113 years. Amy Feiereisel caught up with a few members of the Village Improvement Society, as they trimmed a tree downtown. Also: Tolls are going up by 5% on the New York State Thruway next year.

This week, host Gurmehar Kaur is joined by Newslaundry's Avdhesh Kumar and Pratyush Deep.Avdhesh reported that the poorest in the national capital have been rendered more vulnerable as a direct impact of the Modi government's beautification drive ahead of the G-20 Summit. He delved into the many slum demolition drives and evictions that have left people with nowhere to go. Several communities living in camps set up for flood-affected people have been compelled to return to the deluge-hit areas, while many slums have been veiled behind green sheets and banners.Pratyush reported that a Delhi government school teacher was booked for allegedly passing communal slurs and insulting Muslim students in the classroom. An FIR was filed against teacher Hema Gulati after four students of class 9 accused the teacher of passing communal remarks. He spoke about the nonchalant approach of the school authorities and the police in the matter.Tune in.Timecodes00:00:00 - Introduction00:00:35 - Evacuation drives00:04:27 - Communal remarks00:28:45 - RecommendationsRecommendationsPratyushGuns & GulaabsAvdhesh'Waiting To Die': In Mizoram, a Struggle to Protect Women from Cervical Cancerबेटे को दूध पिलाने के पैसे नहीं थे...आज स्टार:पति मारता था, ट्रेनों में गाना गा बच्चा पाला; आज यूट्यूब से लाखों कमा रहीं 'फरमानी नाज'GurmeharThe economics of thinnessProduced by Saif Ali Ekram, recorded by Naresh Kumar, and edited by Hassan Bilal. Hosted on Acast. See acast.com/privacy for more information.

Blake Troli Beautification Project // Taylor Swift new breakup music//dating history // Rest in Peace Jeff Baugh // Air quality in NY

Today is a heavy discussion for us as we not only mourn the loss of another beautiful soul, but as we discuss a HARD topic that few in the industry seems to want to address. BEAUTY does NOT have to come from an artificial source!!!! We firmly believe this concept and we will dig in on it today.ENJOY!!!

Host Andrew Bartolotta sits down with Kim Halyak to talk about garden tourism, the Cooper Young Garden Walk, and Experience Memphis Gardens.During the conversation, Kim discusses the impact garden tourism makes on beautifying a community, how over 20 million Americans got into gardening during the pandemic, and how you don't need a green thumb to make an impact and contribute to saving our planet.Kim believes that beautiful spaces have the power to catalyze a city and her mission is blooming - to showcase gardeners and gardens in every neighborhood.Experience Memphis Gardens will feature 24 days of garden events (various dates between May 20 - July 2, 2023) around Memphis from Germantown to Downtown; immersing gardeners, farmers, and lovers of green in a feast of botanical brilliance.Learn more about Experience Memphis Gardens here: https://experiencememphisgardens.org/