Podcasts about Captivating

Yas and Phil on a captivating first day of the pink-ball Test in Brisbane.

Ever thought your next big group coaching breakthrough could start with a story about a six-year divorce, a $100 dinner at Olive Garden, and an “invisible” course that didn't even exist? Rhonda's journey flips the script on what it really takes to build group programs that fill up fast and keep clients coming back. There's a twist in how she gets hosts to vouch for her, fills her calendar using connections you probably already have, and launches with zero content ready. But the most surprising part? It's not about selling at all—there's a whole different playbook at work here. Ready to find out what it is?If you think you can't make money with LinkedIn, think again.—Rhonda SherConversation Highlights:Discover how real group coaching success stories reveal the secrets to boosting client engagement and transforming programs.Uncover LinkedIn strategies that consistently fill your calendar with ideal clients ready to engage and grow.Build group coaching programs that captivate participants and deliver measurable results every time.Master personal branding on LinkedIn to attract the right clients and stand out effortlessly in your niche.Apply engaging LinkedIn connection strategies that turn casual contacts into loyal clients and enthusiastic advocates.Resources:Visit Rhonda's website at theshermethod.com to learn more about her group coaching program and access her resources.Connect with Rhonda on LinkedIn and send her a message to experience her outreach approach and potentially receive LinkedIn tips or information about upcoming classes and complimentary webinars.Download the free LinkedIn planner available as a gift directly on theshermethod.com.Build Captivating Group Coaching Programs A well-designed group coaching program balances structure with flexibility to meet diverse client needs. Incorporating relevant content, engaging activities, and clear objectives keeps participants invested throughout the journey. Captivating programs foster commitment and help clients achieve tangible growth, which strengthens the program's reputation and reach. – – – – – – – – – – – – –

Runways: Part 3 A Mountaintop Experience By m_storyman_x – listen to the Podcast at Steamy Stories. "So where are we headed?" the supermodel asked as we walked across the grassy yard of the cabin towards the tree line. "Someplace special," was all I answered, as I aimed us for the small trail that looked like it led around the lake. The hike wasn't long, only about a half an hour, but it was up hill all the way. We finally broke free of the pines at the base of a barren rocky hillside. I held a hand out for her. "Let me help you here. I don't want you to fall." "Okay, but this hike is getting me too damned hot." she answered. She pulled her gauze white blouse over her head and tied it around her slender waist. Then taking my hand and letting me help her up the rock strewn hillside. I had a hard time not paying attention to the way her tits swung and bounced with each step, turning my cock once again rock hard before we had made it even a portion of the way up the hill, on my father’s mountaintop land. But we continued climbing, little trickles of sweat running down her naked top, down between and around her breasts as we climbed. She was clearly not used to this kind of effort, but I had to admit, for a change she made no complaint. "Here we are." I said as I let go of her hand and stood on the top of the rocky hill, able to look all the way around us. "This is the top of the mountain. Highest point around. Well except for those peaks over there. But they're way too steep to climb without special gear. This is the top of what the locals call baldy. "It's beautiful! You can see for miles," she said, moving slowly around me, looking in every direction at the land laid out far below us. "It's like being on an airplane without the airplane!" "Yeah. Sorta is, isn't it? Ready for some lunch?" "I am!" She said as she came over and sat down next to me on the rock. I dug in the bag and pulled out sandwiches and bottles of water. "That's yours," she said, pointing to the one made on rye. "I think I heard someplace you liked rye bread." "I do actually. Thank you!" I answered, smiling at her and taking the sandwich from her. "You know. I think this is the nicest you've been to me since I've known you." "Thank you. Self-preservation I guess. I don't want to get thrown in that damn lake again," she said with a giggle. "Well, I haven't seen any reason to do it again, so...mission accomplished." "Adam," she said quietly. "Yeah?" "I know you don't particularly like me. But I want to thank you for bringing me up here." "Aw hell. I don't dislike you. I just didn't expect you to be quite so..." "Bitchy?" She finished for me. "Yeah, bitchy." I agreed. "When you relax and try to be a normal person you can be quite... Not sure what word to use there." "Captivating... alluring... sexy...enticing?" She suggested, each time getting a shake of my head. "Pleasant." "Pleasant?" she asked curiously. "Uh huh. Pleasant.” I elaborated. “Pleasant to look at, pleasant to be around, pleasant to talk to. Pleasant." "Hmm, I would have thought your description would be more sexual than that. Most guys are." "I'll admit you're hot, but well, the idea of sex isn't exactly the first thing I'd say I think about when I see you." "That hardon you had while we were cleaning fish didn't say you weren't thinking about sex. And the hardon you have now doesn't say you aren't interested in sex." "Are you enticing, sexually? Of course you are. That's why you get paid what you do. Guys look at you and they wanna fuck you." I answered. "But you don't? Come on. With that hardon?" "Okay. I'll admit it. My body is interested in exploring your dark damp spaces. But to be honest, I'm actually just enjoying being able to share something like this view with you as a regular person, not a multi-million dollar super model." "If I was a regular person, would you want to fuck me?" "God what is it with you and fuck? Do you know any other way to say it?” I asked, looking into her eyes. “ Fucking is what you do with someone you don't care about." "So what do you want me to call it?" "Have sex, make love. Either work, if you care about a person. If not, I suppose fucking is as good a word as any to say it." Kim suddenly stood up and undid the front of her shorts. She pushed them down her legs and stepped out of them so she was naked except for her shoes. "What are you doing?" I asked as she leaned down and started undoing the front of my shorts. "Getting you naked," she said as if that were the most natural thing in the world to do at that moment. "Why?" I asked, reaching for her hand to stop her. "For the simple reason that you don't want to fuck me." "So, you want to get me naked why then?" She let go of my pants and stood over me, straightening up and looking around. "Actually, I thought you might want to just lay here in the sun naked with me. Because we can. We have the luxury of wonderful privacy, thanks to your family’s wonderful cabin and land. You don't have to though. I understand," she said, stepping across me and sitting on the rock again. She lay back and closed her eyes, letting her body soak in the sun on her front and heat from the rock on her back side. “This nudity is awesome! Now I think I understand the naturalists!” I looked at her for long seconds, trying to understand her. I stood up next to her and pushed my shorts off, freeing my rock hard cock to stick out in the sunshine. I skimmed off my t-shirt and dropped it next to my shorts and then lay down next to her in the sun. I lost track of how long we lay there, the sun baking the two of us. I started to think that maybe I'd get a good burn laying here too long and was about to suggest that we head back down when I felt her hand find mine. She stroked the back of my hand with her fingers, gently teasing her finger tips and nails on my skin. I lay there for long minutes as she stroked my hand before she wrapped her fingers around my hand and drew it up off the rock to her body, placing it gently on her hip, moving her fingers from around it back to the back of my hand again, stroking my hand as my palm and fingers lay on her bare skin. I really didn't know what she expected or wanted, and I really didn't want to ruin the surprisingly pleasant mood she had been in. She gently used her fingers to coax my hand more onto her body, working it closer to her bare mound until she had coaxed my finger to rest on the firm hump only inches from her pussy. "Would you like to touch me?" She asked softly. "Do you want me to?" "I wouldn't mind if you did," she said a little breathlessly, her hand leaving mine and reaching across to gently rest on me, her finger tips brushing my long since softened cock. "Kim. Are you horny?" I whispered. "Yes," she whispered back. "I really want to come but i want you to do it." "Why?" "Do I need a reason?" "No, but I do." I answered her. "What if I can't explain it?" "When you can, tell me." I whispered, starting to draw my hand away from her. "No! Please!" She practically begged, grabbing my hand with her other hand. She held my hand and pulled it down toward the juncture of her legs, spreading her legs and moving one across mine to give my hand access to her pussy. "Please," She whispered. I nodded, as much to myself as to her, and gently let my fingers stroke her surprisingly wet pussy lips. I felt her wetness as I dipped one finger between her lips, feeling her slick hot juices. She moaned softly, her fingers now stroking along my hardening cock, teasing along its length, concentrating on and around my head as my fingers gently stroked up and down her lips. I let my finger tease just into the entrance to her tunnel and then up to her clit, her hips trying to lift off the rocks toward my fingers with each stroke. "Do you like touching me?" She whispered breathlessly as her hand wrapped around my hard cock, giving it a gentle squeeze. "So you like me touching you?" "Uh huh." I answered honestly. "I'm glad. I like how you feel too," she said softly. I concentrated on her clit, still sliding my finger down to her tunnel entrance and back again, but spending longer and longer each trip circling and teasing her clit, her hips lifting and rocking, her body wiggling and writhing on the rocks as my fingers drove her body closer and closer to climax. "Oh gawd, Adam. You're going to make me come!" She moaned loudly. "You're going to make me come." While I was stroking her pussy she was busy stroking my cock, her hand moving slowly up and down my shaft, sliding all the way up to my head and over it, pushing my under used cock closer to shooting as well. "Shit. I'm going to come." I groaned, trying to hold back while I concentrated on her clit. "Do it!" She moaned loudly. "Let me make you come too! Oh shit I'm so close. So close." "Oh Fuck!" I grunted loudly as my orgasm hit, my hips bucking up off the rocks and shooting a stream of cum into the air, gravity taking hold and drawing it back down to land on my cock and her hand before another shot could lance up into the air. "Oh god. You're coming!" She cried softly as she felt my cock surging in her hand, her own climax deciding at that moment to unleash its chemical cocktail of hormones into her blood stream, making her whole body shake and tremble. "Fuck!" She groaned as she held my cock, her own body climaxing and leaking her juices between her legs onto the hot rocks. I lay there, still stroking her clit, not really able to pay all that much attention to what I was doing as my own climax surged through me, pumping shot after shot of cum out to collect on my chest, cock and her hand. She reached down to my hand and pressed hers over mine, stopping my motions but holding my fingers to her hot wet pussy. We lay there panting for long minutes before she let go of my cock and hand, pushing herself up onto one elbow to look at me. She leaned herself toward me, her tits pressing against my side and chest as she brought her face toward mine, her lips gently kissing my lips, her tongue teasing my lips softly. I kissed her back, letting her choose the pace and duration. She finally chose to break the long soft sensual kiss, holding her lips barely brushing against mine as she whispered a single short statement. "Thank you." Her eyes looking deeply into mine Thought she was done, but to my surprise she tilted her body over farther, her lips kissing my chest and then one of my nipples. She gently, slowly kissed her way down my body, finding the remains of my cum on my chest and gently licking it off of my skin before kissing lower. I couldn't help but get hard again at her attentions, my cock, growing in her hand as she kissed and licked closer and closer to it. The woman had a huge appetite for sensual pleasures. "You sure you want to do that?" I asked as she opened her mouth and closed it around my head, engulfing me with her hot lips. In response she swirled her tongue around my head, teasing me and gently moving her mouth up and down my shaft, teasing my again hard cock even harder as she stroked my shaft with her hand and lips. "Oh god." I groaned as she worked my cock slowly, teasingly. Her hot mouth teased my head and her tongue worked under and around my head, trying to find where I was most sensitive, and locating that spot with her tongue when I suddenly jerked in response to her touch. "Oh damn." Groaned, noticing a sound in the background, but not quite making the connection to anything more than another groan coming from my lips. "Oh god Kim." I groaned softly, my hips trying to lift toward her mouth as she worked my shaft. "So damn good." "Oh!" She cried suddenly, pulling her mouth from my cock. I didn't need to ask. I knew exactly what surprised her before I could ask. The cold drops started large and slow, the mixture of sun and ice cold rain drops a huge surprise. "Shit!" I grunted, sitting up and looking around. I could see it now. I'd heard the thunder and not connected the danger. Being on a mountain top weather wasn't what one expected. The sun was still shining from the west, but the clouds rolling up the mountain side from the north were just starting to top the mountain, the updraft carrying the first drops of rain up into the air to fall on us miles from the edge of the clouds. "We have to go!" I said abruptly, standing up and grabbing the backpack. I stuffed our clothes into the pack and grabbed her hand. "Now!" I said sternly. "I'm not afraid of a little rain. Slow down!" She said, pulling back at me. "Kim, you're not going to be in a gentle rain. And it's not going to be particularly warm." I said as I tried to pull her along. "You're at the top of a mountain. In a few minutes were going to be inside the clouds that are making this rain and what falls is going to feel like liquid ice. Think thawed blizzard." I said, pulling her without stopping. "Oh shit." Kim answered as the first wisps of cloud blew across the landscape in front of us. We were still a ways from the trees when the heavier fog rolled in over us, almost immediately chilling us with its clinging moisture. "Come on." I said, wrapping an arm around her shoulders and guiding her to where I knew the trees had to be, even though we couldn't see them for the thick fog. I preferred the fog, knowing what was coming next. I'd been caught in one of these on the lake once, only a short fifteen minutes from the cabin, but it was a miserable fifteen minutes that took hours to feel like I had warmed up from. This time we were a lot farther away and a whole lot less dressed. "You know where the trail is?" Kim asked with concern. "Yeah," I lied, "Just watch your step and we'll be fine." At least I thought I knew where the trail was, I just wasn't positive we hadn't wandered off target towards the cliff or the other direction toward the long slope that would take us eventually down to the lodge a couple thousand feet lower. We'd never even see it in this fog and if we could we'd have hypothermia long before we got there. "Stupid. I should have watched closer." I muttered as we walked, a few small trees appearing in front of us. "You couldn't know it was coming." Kim said as larger trees started to appear though the fog. "My job to watch. You couldn’t know, but I’ve made this mistake before. It’s something you vow to never let happen again. That is, if you survive the first time." I answered, as I turned us a bit farther to my right, hoping to find the trail ahead of me. "I let myself get distracted. I hadn't planned on staying up there that long." "Well, for what it's worth, I'm not blaming you." "But I am." I said, angry at myself. She frowned at me and almost snapped at me. "Knock it off. I'm a big girl. I can make my own choices. You don't have to protect me. I didn't ask for you to protect me. I asked for you to share something with me. Something I wanted and something I enjoyed. So we get a little cold on the way home. Deal with it!" Kim’s Hypothermic Therapy "Keep that thought." I muttered as I finally found the gap in the trees that heralded the trail. Forty minutes later we walked out of the woods into clearing of the cabin, both of us shivering uncontrollably in the torrential downpour of icy drops. Kim had been stumbling for the last half mile, her legs losing their coordination, the first sign of serious hypothermia. I carried her the last 200 feet to the cabin. We stumbled into the cabin and I dropped her into one of the chairs and grabbed a towel from my bag and moved to her, rubbing her body all over and then grabbing the heavy wool quilt and wrapping it around her. Still shivering myself, I used the sticks in the firewood box next to the fireplace to build a small fire, my hands almost shaking too hard to get the match struck. The small flame grew in the sticks and I carefully fed larger sticks and then small pine logs onto the fire, allowing it to quickly grow so that I didn't have to huddle over it to feel its heat. With the flames growing larger I stripped off the wet clothing that was robbing my body’s heat. I stepped to the chair and scooped Kim from it, drawing her with me to the bearskin rug in front of the fire. I peeled the blanket from around her shivering body and pulled her to me, pressing her bare skin against mine. I sat on the thick fur rug, then reached a hand up to Kim, to come lay on my chest. Then I wrapped the wool quilt over the two of us and lay down across the front of the fire, letting the heat slowly warm the quilt and the two of us inside it. I closed my eyes, my arms wrapped around her, holding her chest against mine, our legs tangled together in the blanket as we shivered together. The shakes soon turned into drowsiness. Her kisses woke me. Soft, gentle, caring. Soft sweet tender kisses on my cheeks, my nose and my lips, each one slow and unhurried. As I became more awake I could feel that we had warmed, no longer feeling the cold of the rain but the heat of the fire still seeping through the blanket. She’d slid over to my side, with one of her naked legs slung over mine. I could also feel her hand between us, wrapped around my cock, gently, slowly, tenderly stroking me as she kissed me. "Kim." I started to say, as I rolled a bit to face her. "Shush," she whispered before planting another soft kiss on my lips to quiet me. I felt her push with one leg, gently returning me onto my back, leaving her partly on top of me. She continued her kisses, softly and seductively kissing my lips as she teased my cock harder by the moment, finally using her knees to lift her hips up from mine, her soft tits still pressed against my chest. I felt her slide herself up my body as she pushed my dick down between her legs, guiding my engorged head to her wet lips. I felt emotionally safe with her. She’d become a completely different person in less than 24 hours. "Kim." I whispered as she straddled over me, then pushed herself back, letting go of my shaft and sliding her arm up my body to rest on the furry rug next to my body. "Shush," she half whispered, half moaned as she pushed herself back down my body, lowering her mouth to mine and pressing her lips to mind as my cock was slowly enveloped by her hot cunt. "Yum" she moaned as she lifted her chest from mine, and worked her knees up next to my hips. "Oh damn." I moaned as she lifted her lips from mine, her hips slowly rocking up and down, sliding her pussy on and off my rigid dick, working me deeper and deeper into her tunnel. "That's it. Just enjoy. Let me do this, please," she whispered. She was making love to me. Not just desiring sex. She wanted to please me. I was beyond wanting to stop her. Between her attentions on the mountain top and her attentions now, my body was more than ready to let her have her way. I let my hands slide up her hips and sides, reaching for her breasts. She grinned down at me and one by one, reached for my hands and pulled them away from her breasts, moving them to next to my own head and holding them there, clasped with her own as she slowly rocked on me, her rock hard nipples grazing back and forth across my chest with each stroke. "Does it feel good Adam?" "Very!" I groaned back as she continued to stroke on and off of me, the heat from the fire and the heat from our bodies making us both sweat in our loose cocoon. I could feel her soft tunnel stroking my shaft, teasing my engorged head with her tight confines. On and off she slid, her big tits dripping sweat onto my chest and sliding around, her nipples rubbing against mine. "Oh god," she moaned as she rocked on and off of me. "Oh god," she moaned again, her hips rocking and trying to grind her clit against the base of my cock with each new stroke. "Oh god, Adam. Oh god I'm going to come!" She gasped over and over as she continued rocking on me, her legs trembling and making it harder for her to continue rocking. "Oh god, Adam," she cried softly, practically whimpering, but refusing to let my hands go to participate in any way. "Come for me Adam. Come for me!" She practically begged. "Oh yeah. Almost." I moaned back at her as the tingles radiated out from my cock through all the reaches of my body. Her spasming pussy, already so tight, seemed to try and grab and milk me like her hand had done, trying to draw me into her as she stroked on and off of my fat shaft. "Gonna come." I grunted, knowing that I couldn't hold back any longer, even if I wanted to. "Oh shit!" She cried as my body bucked, jamming my cock deep into her and pumping a huge gush of cum up into her pussy. "Oh, Fuck Yes" She cried loudly, dropping onto my jerking body, her hands pushing mine farther over my head. Her big soft tits smashed flat against my chest, her mouth lowering to mine, her lips trying to kiss mine between gasps and moans. My body continued to buck several more times under her, adding more cum to the load already poured into her from within me. Finally I stilled under her, only an occasional jerk still showing my fading climax, my cock twitching within her as it started to soften. She lay on me, her breathing easing, but her lips still erotically working against mine. "God that was incredible." I whispered between kisses. "You liked it?" "Very much." I whispered. “You made love with amazing insights into my soul.” "I'm glad," she said as she let go of my hands and slowly pushed herself up off of me. She tossed the blanket off of us and sat up on my hips, trapping my cock inside her as I softened. I reached for her hips and gently stroked my fingers up and down them before she reached for my hands and pulled them to her breasts, pressing my palms against her still hard nipples. "You know. I don't know what it is about your hands, but i want them on my body all the time for some reason." "Oh?" "Uh huh. Ever since you made me come, up there. I just want to be naked and have your hands all over me." "Not that I'm complaining, because I'm not. But why?" I asked. "If I knew, I'd tell you. Why did you do what you did up there?" "I don't know exactly. I just wanted to." I admitted "Me too," she answered with a smile, still sitting on me, her hands on mine, encouraging me to squeeze her breasts. "Thank you. For letting me do that." "Trust me, it was my pleasure." I answered with a smile. "I think we need something to eat though." "You don't want me sitting on you anymore?" "I'm not minding one bit." I chuckled. "But I do have a question." "Yeah? What's that?" she asked, leaning down against my hands sliding off her chest as she lowered her tits to my chest, her face inches from mine. "Why aren't you always like this?" "Like what?" "Soft, sweet, sexy, intimate, wonderful, caring, alluring, sensual, did I say incredible yet?" "No, you didn't." "Well. Incredible. Since I hadn't said it yet. I've never known you to be like this. What happened? What changed?" "You did the one thing that was required of any man who wanted me to be this way. You earned my respect and you treated me with respect. No one else deserved this side of me." "How did I earn your respect?" I asked a little confused. "Well, throwing me in the lake the first day was a start. You showed me that you set limits and that you weren't going to let me push you around. Second, you showed me skills. You showed me you believed in me. In my abilities that I hadn’t yet discovered. Not just how to get around town or do your job, but skills in many things. Not only could you do things, you weren't afraid to teach me how to do them as well. And the third thing, maybe the most important, you showed me compassion and respect when I clearly didn't deserve it. Those are the hallmarks of a man worth working to keep. Those are the things I've been looking for in a man for the last fifteen years." "I think you over estimate me." I answered. "And did I mention that you are an overly modest man?" She asked with a giggle. "Now, we only have one problem." "Yeah?" "Well, two actually." "Okay, what two problems?" "First, I know you like Amy. The question is can you treat her as well as you treat me, because we do come as a package deal. She's like a sister to me and we share absolutely everything." "Everything?" "EVERYTHING!" She answered emphatically, wrinkling her nose before she smiled. "What's the second problem?" "How do we call her and tell her to come out here and join us? There's a lot of the two weeks left to find out if we can make this work." Cryptic Messages In some ways it wasn't quite fair. I mean I've never been one to be deceitful, but in this case it seemed like the right thing to do. Kim was waiting back at the Rocky Mountain cabin and my job was to get Amy there without any argument. I stood by the plane as the car door opened. "Adam! What's' going on? Your phone call was more than a little bit cryptic," Amy asked as she practically ran across the tarmac at the Chicago DuPage County Airport, pulling the wheeled suitcase behind her. "Oh. Kim is having an absolute fit. She's demanding that you come at once and refusing to come home until you come get her," I said with a scowl. "You so owe me for screwing up my vacation!" I said pretending to be angry as I took the case from her and stuffed it into the hold under the cabin of my twin engine turbo prop. Truth be told I'd had a bit of a crush on Amy since I started flying her and Kim around the country. I'd of course told her about it, sorta, but been shut down cold every time I'd tried to entice her into anything personal. As Kim had told me, Amy was the perfect professional personal assistant. She was a whiz at keeping her schedule in order, able to handle a myriad of details without bothering Kim and in some cases, was as adept at running the lingerie business every bit as good as Kim. The only real difference was that Amy wasn't a super model. In her own right she was good looking. Five and a half feet, not skinny but not fat, modestly large chest, creamy white skin and short cut auburn hair. To me she looked damn sexy, no matter what she was wearing. Today, in a tight fitting, short skirted dress, she looked even more so. I followed her up the stairs to the plane, closing the stairway door just in time to watch her bend over and thread her way into the right hand co-pilots seat of the plane, her skirt pulling up far enough to show me that she had on pink lacy panties under the powder blue dress. "I'm so sorry. I know I pushed you to take her. I'll make it up to you somehow," she said as I stepped over the center console and settled into the left seat. I handed her a pair of bulky headphones with a microphone attached and then picked up my own somewhat slimmer designed headset and mic. I remained silent as I flipped through the startup procedure, spinning both turbines up before keying the microphone. "Dupage tower. X-ray Alpha Gulf Foxtrot Seven ready for departure." "Roger X-ray Alpha Gulf. You are cleared to taxiway W William to Runway 2 Left. Hold at the ramp." "Roger. Taxiway W William to 2 Left and hold," I answered as I throttled up, the only aircraft at the moment on the tarmac with an engine running. In moments we were bouncing along the narrow strip of pavement that would take us all the way south to the very end of the seventy-five hundred foot runway. It was well more than we'd need with the light load I had on board, but I wasn't going to complain. I stopped just before reaching the end of the runway and checked both engines and props, making sure everything was working properly before radioing the tower back. "Dupage tower. X-ray Alpha Gulf holding at two Left." "Roger X-ray Alpha Gulf, you are cleared onto the runway. Depart turning left and contact Chicago flight following at five thousand." "Roger that tower. X-ray Alpha Gulf rolling," I answered. Taking off from a smaller airport like this one was always more relaxing than trying to fight the big boys at someplace like O'Hare or Midway. I let off the brakes and rolled onto the end of the runway, turning the plane to line up down the center line before pushing the throttles full on. "So how long?" Amy asked over the headset as the plane launched itself up from the pavement and I snapped the landing gear handle into the stow position. "About four hours, sooner if the wind doesn’t fight us, and we can avoid any August storms." I answered, letting my voice soften, no longer having to maintain the fiction that I used to get her here and on the plane. I reached into my pocket and pulled out the envelope that Kim had for her, an envelope I wasn't supposed to give to her until we were in the air. "What's this?" "A note from Kim," I answered. "What's it say?" "I dunno. She told me not to read it," I answered with a shrug. "Chicago center, X-ray Alpha Gulf Foxtrot Seven climbing to fifteen thousand." "Roger X-ray Alpha Gulf Foxtrot Seven. Climbing to fifteen thousand." "And you didn't? Read it I mean?" she asked as she unfolded the paper. "Nope. I guessed it wasn't my business. I'm just following orders to get you on the plane and get you there anyway I can." Amy frowned and looked down at the note, reading it slowly. She flipped the paper over and back again, as if looking for more information. "And you have no idea what this is about?" "All I know is that I have specific orders from her highness to fetch you. She said everything else you needed to know was in the note." "But it doesn't tell me all that much." "Well, she was adamant. She wasn't coming home until you got there. I couldn't very well leave her there forever, could I?" "Well, no. But what triggered this? I mean did you do anything to her?" "Besides throw her ass in the lake the first day? Not really," I answered. "You really threw her in the lake?" "Yep. Picked her up, hauled her ass over my shoulder to the end of the pier and threw her right into the water. She was none too happy about it either." "I don't imagine she was," Amy answered quietly. To be continued. By m storyman x, for Literotica.

Grief is not just sadness. It's a doorway to joy, connection, and even life-changing impact.Two women who know loss deeply pull back the curtain on what it means to heal, lead, and inspire after heartbreak. You'll hear what it takes to find your voice while grieving, and how sharing your story can ignite hope in countless others. Their stories go beyond loss and reveal a powerful, uplifting path forward.Discover how a single speech or book can spark real transformation. You'll learn secrets to overcoming the fear of judgment, and why your message matters—even if you think it's been told before. Listen as these leaders share connections made, stages reached, and the ripple effect their words have had around the world.Here's what you'll learn:How to bring light to grief, and why this shift helps you support yourself and others in powerful waysTurning your story into a message people remember, so you inspire action and positive changeStanding on the right stage, big or small can impact audiences you never imaginedOvercoming your fear of judgment and how to finally share your truth and help more peopleUsing books and speaking as your platform, so your message reaches hearts and changes lives far beyond your own circleYour words might just be the answer someone else is searching for.*****Craft your Compelling, Captivating, and Converting speech. Take $250 off with code BIDLISTENER at https://speakandstandout.com/offer-indss *****Links and resources mentioned in this episode:Grab the FREE resource Directory of Places to Speak https://SpeakAndStandOut.com/giftFollow me on Instagram https://instagram.com/laurieann.murabitoClick and read more into over on my website. https://SpeakAndStandOut.comIf you're looking for support to grow your business faster, get fully booked and profitable, book a call to explore if you'd be a good fit for one of my programs. schedule a call at. https://speakandstandout.com/speaker-successLinks for our Guest: Website: https://www.mariealessi.comSocial Media: LI: https://linkedin.com/in/marie-alessiInsta: https://instagram.com/mariebeyondgriefFB: https://facebook.com/MarieAlessiPublicFigureYouTube: https://youtube.com/@MarieAlessiSubstack:

Text us about this show.Kela Sako is a vocalist out of the San Diego scene and she's a name you need to keep an eye on. She's on an upward trajectory and already making herself known by releasing her debut EP, being nominated for the San Diego Music Awards' Vocalist of the Year, recording a double A-sided single with The Tourmaliners, and now garnering her first production credit for Sun Sets, Vol. 1: An Acoustic Session, a new album she recorded in collaboration with Sandollar. Her original music is captivating, weaving her Hawaiian roots with various music styles from the past seventy years. Enjoy this interview with Kela Sako."Promise To Return" performed by Kela Sakowritten by Patricio Pickslay and Kela Sako℗ 2024 Pacific Records. Used with permission of Kela Sako."Sukiyaki*" and "Angel Baby**" performed by The Tourmaliners with Kela Sako* written by Hachidai Nakamura & Rokusuke Ei, arr. Berryhill** written by Rosie Hamlin & David Ponci, arr. BerryhillThese versions ℗ 2025 Pacific Records. Used with permission of Deven Berryhill"Gold (Glitter)" written and performed by Kela Sako and Sandollar℗ 2025 Pacific Records. Used with permission of Kela Sako.Melody Audiology LLCAudiology services for all. Specializing in music industry professionals and hearing conservation.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showVisit Into The Music at https://intothemusicpodcast.com!Support the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.com YouTube Facebook Instagram INTO THE MUSIC is a production of Project X Productions.Host/producer: Rob MarnochaVoiceovers: Brad BordiniRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie Angel of Los StraitjacketsThis podcast copyright ©2025 by Project X Productions. All rights reserve...

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

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

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

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

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

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

The Ash Said It Show gets an exclusive featuring Matt Janz, a key leader at Deep Roots Harvest. This conversation offers a high-level, strategic deep dive into how to build a dominant, trusted, and compliant Cannabis Brand in a hyper-regulated environment. Matt Janz provides an unparalleled look at how Deep Roots Harvest translates its 'Farm to Body' commitment—the transparency of seed-to-sale vertical integration—into compelling Marketing Content that effectively bypasses competitors focused solely on price. The conversation reveals top creative strategies used to navigate Nevada's notoriously strict cannabis advertising regulations (including the rigid 71.6% minimum adult audience rule) to deliver high-impact marketing and build genuine community. Janz further dissects the dynamics of the segmented market, detailing how they leverage sales data and consumer behavior insights (e.g., the success of Helix Twist Edibles) to prioritize marketing spend across their diverse product categories. The discussion also addresses the critical task of ensuring their Digital Marketing Journey seamlessly aligns with the Physical Dispensary Experience across their six Nevada locations to drive tangible foot traffic conversion. Finally, Janz tackles the critical challenge of maintaining the brand's unique 'Nevada roots' and local focus during the transition following their acquisition by a large Multi-State Operator (MSO), offering a blueprint for avoiding brand dilution during expansion into new regional markets. Web: https://www.deeprootsharvest.c... About the brand: Deep Roots Harvest is a leading vertically integrated cannabis operation headquartered in Nevada. Our mission is built on the "Farm to Body" philosophy, ensuring unmatched quality control and transparency throughout every stage, from cultivation to the final product. We offer a diverse portfolio of premium cannabis products, including award-winning Helix Twist Edibles, potent Concentrates, and high-quality Flower. With six strategically located Nevada dispensaries, Deep Roots is dedicated to setting the industry standard for compliance, consumer trust, and exceptional in-store experience. We are committed to fostering community connection while driving innovation in the Nevada cannabis market. Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a: Captivating event host Insightful lifestyle blogger Popular podcast creator Trusted voice in personal development Her mission? To empower individuals with real-world strategies, positive mindset tools, and actionable advice that lead to lasting transformation. Discover Ash Brown's World AshSaidit.com – Lifestyle Blog & Event Hub Explore exclusive event invites, honest product reviews, and daily inspiration through Ash's vibrant online platform. AshSaidit.com is your go-to destination for personal growth content, wellness tips, and authentic storytelling. The Ash Said It Show – Top-Ranked Podcast With over 2,100 episodes and 700,000+ global listens, Ash's podcast features inspiring interviews, life lessons, and empowerment stories from changemakers across industries. Each episode delivers practical tools and encouragement to help listeners thrive. Why Ash Brown Is a Leading Voice in Personal Development Ash Brown stands out for her: Authentic Optimism – Her contagious positivity helps audiences embrace challenges with confidence Relatable Advice – Ash shares unfiltered, honest insights that resonate across cultures and backgrounds Actionable Strategies – From mindset shifts to goal-setting, Ash equips listeners with tools to create real change Whether you're seeking career motivation, emotional resilience, or daily inspiration, Ash Brown is the trusted guide to help you rise. Connect with Ash Brown Website: AshSaidit.com Podcast: The Ash Said It Show (available on Spotify, Apple Podcasts, Google Podcasts) Connect with Ash Brown: Goli Gummy Discounts: https://go.goli.com/1loveash5 Luxury Handbag Discounts: https://www.theofficialathena.... Review Us: https://itunes.apple.com/us/po... Subscribe on YouTube: http://www.youtube.com/c/AshSa... Instagram: https://www.instagram.com/1lov... Facebook: https://www.facebook.com/ashsa... Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®Become a supporter of this podcast: https://www.spreaker.com/podcast/ash-said-it-show--1213325/support.

Ever wonder what happens when radio personalities get real? In this captivating episode of The Flash Drive with Carl Wastie and Cassidy Nicholson, listeners are treated to an authentic blend of humor, insight, and musical discovery that keeps you hooked from start to finish. The hosts explore everything from the science of brain hydration to the awkward realities of office bathrooms for Gen Z workers. The highlight of the episode comes when South African musician Craig Lucas joins the show to premiere his new Taylor Swift-inspired single, “1989” — a project that began as a casual mention nearly two years ago and has since evolved into a fully-produced track. What makes this episode truly special is how Carl creates a space for guests to be vulnerable and authentic. Craig shares how he connects his music career with his PhD work in early childhood development for children with disabilities, revealing the passion behind his creative journey. Ready for a mix of laughs, inspiration, and exclusive music? Don’t miss this episode of The Flash Drive, featuring the premiere of “1989” — it might just become your new favorite track!See omnystudio.com/listener for privacy information.

Kirsten Maitland, co-founder and "CheeseMaster" of the critically acclaimed Rebel Cheese, recently joined The Ash Said It Show to pull back the curtain on the brand's meteoric rise. From military discipline to the largest vegan brie cavein the country, Maitland shared the surprising secrets behind her Shark Tank success and how she's converting die-hard dairy lovers one creamy, cultured wheel at a time. This episode is a must-listen for anyone interested in vegan food innovation, conscious business growth, and the power of a daring career pivot. Maitland was clear that the brand's success in creating the "world's best artisan vegan brie" comes from rejecting modern shortcuts. The company's commitment to traditional cheesemaking techniques—including the use of a temperature and humidity-controlled vegan brie cave—is non-negotiable. This meticulous aging process, she explained, is essential for cultivating the complex, "funky" flavor profiles and genuine textures that simply cannot be achieved with food science alone. The shocking truth? Most of Rebel Cheese's customers are not vegan. Maitland credited this conversion success to two key factors: flavor and familiarity. The cheeses are designed to function exactly like their dairy counterparts—they slice, melt, and hold up on a dairy-free charcuterie board. By focusing on replicating beloved classics like their Smoked Cheddar and Cave-Aged Brie, Rebel Cheese removes the intimidating element of the unknown for traditional cheese lovers. What non-obvious skill does a former Navy veteran entrepreneur bring to making plant-based cheese? Protocol Adherence and Adaptability. Maitland revealed that her experience as an Operations Specialist and later an Agile Coach in Big Tech taught her to build robust, repeatable processes (critical for food safety and quality control) while maintaining the agility to quickly iterate on recipes and scale production. This structure is the unseen foundation that supports the brand's artisanal quality at a mass scale. The Shark Tank investment from Mark Cuban and Lori Greiner caused an "explosion" in e-commerce orders. Maitland explained that scaling meant implementing a modular production system. Rather than sacrificing the small-batch, handcrafted process, they replicated it. They invested in equipment to handle the raw material processing (cashews) efficiently, but kept the culturing, aging, and finishing of the cheese strictly hands-on, ensuring the artisanal standard remains in every wheel shipped nationwide. Beyond the capital and media boost, Maitland's most valuable takeaway was the need for ruthless strategic focus. The Sharks' scrutiny forced the team to prioritize the most scalable, high-margin products—the ones that truly "rebelled" against expectations—allowing them to streamline their offerings and dominate the premium plant-based cheese market. In a transparent discussion, Maitland addressed the realities of running a high-growth business while staying true to its values. She emphasized that balancing the "values-led" mission with the demands of a "financially sustainable small business" requires transparent communication and strategic operational contractionswhen necessary. The core principle, she stated, is integrity—in their product, their financials, and their public messaging. Maitland sees the next major hurdle for high-end vegan food innovation not in replicating flavor, but in achieving price parity with dairy. The strategy for Rebel Cheese is to leverage increased volume and better supply chain relationships to drive down the cost of premium ingredients, ultimately making gourmet dairy-free foods accessible to the mass market and leading the charge into a truly plant-powered future. Web: https://rebelcheese.com Rebel Cheese is the critically acclaimed, Austin, Texas-based gourmet food company and brick-and-mortar bistro that is revolutionizing the plant-based cheese industry. Founded by the dynamic, globe-trotting duo, Kirsten Maitland and Fred Swar, Rebel Cheese has successfully challenged the notion that high-quality, artisanal cheese requires dairy, becoming a globally recognized brand in the vegan food and dairy-free charcuterie space. The brand was born out of co-founder Kirsten Maitland's personal journey to find flavorful, satisfying, and sophisticated vegan cheese alternatives after adopting a plant-based diet. She recognized a massive gap in the market: while basic dairy-free cheeses existed, none truly captured the complex textures, sharp flavors, and aging processes of traditional European cheeses. Rebel Cheese's mission is simple yet audacious: to create handcrafted, gourmet plant-based cheeses that are indistinguishable from their dairy counterparts in taste, texture, and melting properties. They achieve this by using old-world cheesemaking techniques—including culturing, aging, and ripening—but substituting cow or goat milk with a base of organic cashew milk and fava bean protein. Rebel Cheese gained massive national attention after appearing on the hit show Shark Tank. The company impressed the notoriously skeptical investors, with billionaire Mark Cuban quickly becoming an investor after declaring their products, particularly the Brie, tasted exactly like traditional cheese. For customers outside of Texas, Rebel Cheese ships its artisanal cheeses and curated gift boxes nationwide, bringing its award-winning plant-based cheese directly to consumers across the country. Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a: Captivating event host Insightful lifestyle blogger Popular podcast creator Trusted voice in personal development Her mission? To empower individuals with real-world strategies, positive mindset tools, and actionable advice that lead to lasting transformation. Discover Ash Brown's World AshSaidit.com – Lifestyle Blog & Event Hub Explore exclusive event invites, honest product reviews, and daily inspiration through Ash's vibrant online platform. AshSaidit.com is your go-to destination for personal growth content, wellness tips, and authentic storytelling. The Ash Said It Show – Top-Ranked Podcast With over 2,100 episodes and 700,000+ global listens, Ash's podcast features inspiring interviews, life lessons, and empowerment stories from changemakers across industries. Each episode delivers practical tools and encouragement to help listeners thrive. Why Ash Brown Is a Leading Voice in Personal Development Ash Brown stands out for her: Authentic Optimism – Her contagious positivity helps audiences embrace challenges with confidence Relatable Advice – Ash shares unfiltered, honest insights that resonate across cultures and backgrounds Actionable Strategies – From mindset shifts to goal-setting, Ash equips listeners with tools to create real change Whether you're seeking career motivation, emotional resilience, or daily inspiration, Ash Brown is the trusted guide to help you rise. Website: AshSaidit.com Podcast: The Ash Said It Show (available on Spotify, Apple Podcasts, Google Podcasts) Connect with Ash Brown: Goli Gummy Discounts: https://go.goli.com/1loveash5 Luxury Handbag Discounts: https://www.theofficialathena.... Review Us: https://itunes.apple.com/us/po... Subscribe on YouTube: http://www.youtube.com/c/AshSa... Instagram: https://www.instagram.com/1lov... Facebook: https://www.facebook.com/ashsa... Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®Become a supporter of this podcast: https://www.spreaker.com/podcast/ash-said-it-show--1213325/support.

Conifers, often mistaken for Pine trees, are and have been landscape staples throughout history. Not to mention a classic choice for the Christmas tree! We dive into what makes a conifer, a conifer, and talk about the wide variety of conifers in the world. Fun facts, care tips, and how to deal with Juglone (the chemical produced by Black Walnut trees) are just a few of the things you'll hear in this episode. Featured shrub: Stonehenge yew.

This week, Maggie and Brynna discuss a Swedish BA who doesn't have the name recognition he deserves, considering his VAST contributions to the field of chemistry.Find us on Patreon: patreon.com/bainscienceFeatured BA: JJ Berzelius

Naia Lewis, founder of Walters Way Publishing, sits down exclusively with The Ash Said It Show to discuss diverse children's books, Jamaican Patois literacy, and cultural representation in publishing. What You'll Discover in This Episode: * Filling the Representation Gap: Hear Naia Lewis's inspiration for starting Walters Way Publishing and her mission to address the critical lack of diverse characters and authentic cultural experiences in the children's book market. * The Power of Patois: Explore how Naia's books specifically validate the lived experiences and languages of children in the Jamaican diaspora. Learn about the profound impact of seeing Jamaican Patois celebrated in print on literacy and cultural confidence. * Beyond Reading Time: Naia shares her vision for using her books as powerful educational tools for classroom discussions, family conversations, and cultural appreciation across all communities. * Authentic Storytelling: Get a behind-the-scenes look at the illustration process—how Naia works with artists to ensure her vibrant stories and characters are brought to life with visual and cultural authenticity. * Advice for Aspiring Diverse Authors: Receive candid advice and essential tips for new writers struggling to find a publisher that aligns with their vision for diversity and representation. * What's Next for Walters Way: An exciting peek at the new themes and projects on the horizon, continuing their work to preserve culture and bring the vibrant sounds of Jamaica to the next generation. Tune in to this inspiring talk about the power of storytelling to build confidence and bring Caribbean culture home. Web: https://walterswaypublishing.c... About: Founded in 2017, Walters Way Publishing is a leading independent publishing house dedicated to producing high-quality original fiction for readers of all ages—children and adults alike. Our diverse catalog includes captivating books across all formats, from engaging novels to inspiring stories, designed to excite, enlighten, and inspire generations. At Walters Way Publishing, we are passionate about the transformative power of words. Our mission is to nurture a love for reading and writing through innovative storytelling and meaningful connections. We specialize in comprehensive author services, including dynamic book readings, insightful author talks, and transformative school workshops that foster literacy and creativity in communities. Whether you're an aspiring author or a reader seeking inspiring stories, Walters Way Publishing is committed to supporting your journey. Contact us today to learn more about our publishing programs, author services, and upcoming events. Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a:

We continue to drive down deeper into our real-time worldbuilding experiment armed with the comments of our listeners. In this episode, Tony, Chris, and Dave return to the conversation started in Episode 174 and begin to build out the town that will be the start of most adventures in our Boomtown Campaign Setting. Make sure to Join the Conversation!1:55 Where are we now? We asked, you answered! Boomtown #1 is known as Gallow Springs!3:40 What's in our border town?6:05 What's NOT in the town? Religion and Churches, per our last episode.9:35 Our archetype for Boomtown was Wyatt Earp's Tombstone. So, what was actually there at the time? 12:15 Name the 110 saloons!12:35 How small is a small town? Between Hommlet and Waterdeep.16:10 The split between Uptown and Downtown and the Law.19:55 The point of the Boomtowns: Recovering Tech – our “Gold Rush.”22:06 Dueling and Gunfights: How Lawless is Gallow Springs?29:30 The Haves and the Have Nots: The rich get richer!31:00 Buying Magic in Gallow Springs?38:50 Final Thoughts.

#mormon #christianity #islam #judaism Youtube link: https://youtu.be/wDWcKvxGQWkPodcast link: Click on link for podcast: https://spotifycreators-web.app.link/e/6B7jSHyE8XbJoin us as we have a conversation about how Abrahamic religions are the most captivating physiological and financial scams the Black community have ever seen! Hashtags: #religion #god #islam #jesus #faith #love #christianity #church #bible #christian #spirituality #muslim #allah #atheist #peace #art #pray #prayer #quran #atheism #spiritual #india #jesuschrist #christ #hope #instagram #life #truth #catholic #amen

Comment on this episode by going to KDramaChat.comToday, we have a special episode of K Drama Chat where we're joined by longtime listener, friend, and screenwriter, Ellen Sullivan. We talk about the art and science of screenwriting and how the best K Dramas follow—or creatively depart from—dramatic structure to deliver compelling, emotional stories. In this episode, we discuss:The shows that are heavily spoiled in this episode: Crash Landing On You, Mr. Queen, Mr. Sunshine, When the Phone Rings, and Captivating the King.Ellen's background as a screenwriter and technical writer, and how her passion for K Dramas began with My Mister.The Western three-act structure versus the Korean four-act structure (gi-seung-jeon-gyeol), and how each style approaches storytelling and character development.Detailed examples of setup, midpoint, and conclusion in Crash Landing On You, Mr. Queen, and Mr. Sunshine.What makes these shows work: believable character arcs, clear motivations, strong midpoint turns, and emotional payoffs.The redemption arc as a dramatic formula, especially in characters like Gu Seung-jun (CLOY) and Jang Bong-hwan (Mr. Queen).Why humor breaks are essential in Korean dramas and how they add richness to character and story.Foreshadowing and payoffs (or lack thereof) in When the Phone Rings, and why the “Argan” plot twist derailed the show.The pacing and structural missteps in Captivating the King, including over-explaining, weak female lead development, and a lack of trust in the audience.The importance of a “MacGuffin” in each drama—a central object or goal everyone is chasing.How K Dramas “trust the audience” by skipping mundane scenes and using implication rather than exposition.The emotional power of music in K Dramas, especially in Mr. Queen, CLOY, and Mr. Sunshine, and how it enhances tone and viewer engagement.Why well-crafted character interaction reveals motivation better than exposition.The writing mantra: “Make me care.” How the best dramas engage our emotions without making us think about structure until the end.What we're watching now, including Bon Appetit, Heavenly Ever After, Typhoon Family, Because This is My First Life, Signal, and Will You Marry Me.A big reveal: the next K Drama we'll be recapping in Season 13! You have to listen to find out!

This episode features key insights from Tony Sandrew of the renowned Aurora Theatre. Celebrating its milestone 30th Anniversary Season, the conversation delves into why the Lawrenceville theatrecompany has become a cultural landmark and a major draw for Atlanta professional theatre audiences, attracting patrons from far and wide.

The Ash Said It Show just teed up an amazing chat with Ben Helmrath, VP of Hard Goods for PGA TOUR Superstore—your go-to spot for everything golf equipment! Seriously, the game has totally changed, and Ben explains why golf is hotter than ever, shifting from just a sport to a full-blown Golf Lifestyle Revolution. Think about it: new fans like LeBron James and Bronny are getting into it, and major excitement is building around brands like Tiger Woods' Sun Day Red! Ben breaks down all the trends you need to know, from the course to your couch. What You'll Discover in This Must-Listen Episode: The Secret Sauce: How did PGA TOUR Superstore manage to open its 80th U.S. location? Ben spills the secrets behind their success in the competitive golf retail world. Your Own Golf Clubhouse: The DIY Simulator Boom is here! We dive into the newest in-home golf simulator technology. Ben explains how lower costs and simple DIY packages make year-round golf training and interactive home entertainment totally doable. Say goodbye to cold weather and hello to a family fun center in your garage! The Ultimate Holiday Gift Guide: Stress less about shopping! Ben shares his picks for must-have clubs for the serious player, fantastic gear for junior and women golfers (a huge, growing segment!), and his best recommendations for low-price golf stocking stuffers. The Modern Golf Life: Find out about the surprising products people are snatching up to elevate their golf lifestyle, both on and off the course. Giving Back: Learn how PGA TOUR Superstore is making a positive Impact on the Green through their incredible Adaptive Golf programs and investment in HBCU athletics. Oh, and yes—we get the scoop on the story behind the Vice President's famous nickname: "The Hammer!" Tune in now for your definitive guide to the modern golf boom and the easiest way to crush your holiday shopping list! Web: https://www.pgatoursuperstore.... PGA TOUR Superstore, the nation's premier destination for golf equipment, apparel, and accessories, is revolutionizing the golf experience by introducing curated DIY in-home golf simulator packages. This initiative allows golf enthusiasts to perfect their game from the comfort of their basement, garage, or backyard, utilizing cutting-edge technology tailored to their individual needs. The surge in popularity for residential in-home golf simulation is driven by lower costs, advanced new technologies, and a wide selection of customizable packages. More than just a training tool, these golf simulators are transforming family entertainment, exercise, and socialization, offering an immersive, interactive experience that appeals to everyone, from core golfers to casual players. Redefining Home Entertainment: Interactive, Affordable Luxury According to Ben Helmrath, Vice President, Hard Goods for PGA TOUR Superstore, these devices go "Beyond offering technology for those who are passionate about improving their game or playing renowned courses." They function as a full-fledged entertainment center, offering gaming options for the whole family. The convergence of growing golf popularity across all demographics—including the rise of women and youth players—and more affordable, attainable home technology is positioning the golf simulator as the ultimate year-round hub for fun and skill development. Here are the key topics that highlight why the PGA TOUR Superstore's DIY simulators are a game-changer: Interactive Home Entertainment Trends: Passive media rooms are a thing of the past. Golf simulators are redefining home entertainment by providing an immersive, interactive centerpiece for singles, couples, and families. Affordable Luxury & DIY Customization: Lower costs and the ability to choose customizable DIY setups are making the dream of owning a high-quality golf simulator a reality for more consumers than ever before. Convenience Redefined (Year-Round Golf): Simulators eliminate barriers like work obligations, harsh weather (summer heat or cold temperatures), and limited tee time availability. They offer unmatched year-round convenience and an inviting setting for inexperienced players to learn the game at their own pace. The New Home Entertainment Center: Whether it's a dedicated "golf loft" or a multi-purpose social space, the simulator becomes the social centerpiece for gatherings. These setups offer everything from playing classic golf courses to engaging in family-friendly games like virtual skee-ball and mini-golf. By offering these customizable, high-tech, and increasingly affordable in-home golf simulator options, PGA TOUR Superstore is not just selling equipment; they are delivering the future of home entertainment and golf training directly to consumers. Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a:

Hey, flavor fanatics! You HAVE to check out this sizzling, exclusive interview with the CEO of Side of Pepper LLCon The Ash Said It Show! This isn't just about spice; it's about a food revolution born from pure passion. Get ready to ditch your basic pantry—this brand is far from ordinary! From "Aha!" to Authenticity: The Side of Pepper Story The CEO shared their inspiring "Aha!" moment—it wasn't just a recipe, but a burning desire to give everyday meals unparalleled, bold flavor. * Spice Specialists: While competitors water down their offerings, Side of Pepper is committed to specializing in unique spice blends. Their secret weapon? Authenticity, complex, layered flavors, and quality ingredients that turn home cooks into culinary heroes. Every blend is designed to be a showstopper! * The Panda Fest Phenomenon: Hear the behind-the-scenes scoop on prepping for huge events like Panda Fest! The most rewarding part? Watching a customer taste a sample and immediately shout, "What is that, and where can I buy it?!" That pure joy is the brand's fuel!

Dr. Karin Luise, the renowned spiritual psychologist and best-selling author of “The Fatherless Daughter Project,” offers an exclusive look into the ALIVE Collective Story Stage on the Ash Said it Show. The Collective, which has evolved into a movement for authentic living, addresses the modern epidemic of isolation by providing a space for personal reinvention and community connection. The ALIVE Collective Mission: Connection is the New Currency The ALIVE Collective was created to serve the universal need to rebuild after major life shifts, loss, or professional change. Dr. Luise passionately asserts that human connection is the "new currency" in our isolated digital world. The Collective's mission is simple yet powerful: counter isolation by bringing people together to share their truth, reminding guests they are "not doing it alone" on their journey of transformation. The Immersive Story Stage Experience The Story Stage event on Wednesday, November 12, 5:00–7:30 p.m. in Atlanta (Buckhead) is an immersive experience, intentionally different from a traditional talk or panel. * Format: It features unscripted, open dialogue focused on purpose, reinvention, and authenticity. The evening begins with a champagne reception, transitions into deeply personal conversations with visionary leaders, and culminates in a powerful "energy reset"—a guided reflection led by Dr. Luise to help guests recharge and realign.
 * Goal: Guests should expect the evening to "feel like coming home to yourself," rediscovering their power and presence. Featured Storytellers for November 12th The Story Stage features an exceptional, Atlanta-based lineup of leaders who have redefined their purpose: * Jenny Levison (Souper Jenny): Shares her story of continuous reinvention and fearless authenticity in community-focused leadership. * Femi Ola (Ade by Femi): Discusses bridging artistry and advocacy, inspiring self-expression. * Parish Hattub: Offers grounded resilience and guidance on reconnecting with inner wisdom. Event Logistics & Future Plans Dr. Luise confirms that the Story Stage is a continuing series and is evolving into a platform for growth and expansion. Limited spots are available for the November 12th event, and interested attendees are strongly encouraged to reserve early. For tickets and event details, listeners should check Dr. Luise's channels and the official ALIVE Collective platform. Community members, brands, and partners are invited to support the Collective as it grows this essential platform for authentic living in Atlanta and beyond. Tickets: www.doctorkarin.mykajabi.com/alivecollectiveevents  Follow: thealivecollectiveatl @doctorkarin  Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a:

In this exclusive interview with Eric Yaverbaum, CEO of Ericho Communications and author of the definitive bestseller Public Relations for Dummies. Yaverbaum dissected the central paradox in marketing today: why are major brands rejecting AI in their advertising, even as the tech industry pours billions into automation? Yaverbaum explained that this “anti-AI” trend is not a technological rejection, but a highly strategic public relationsmove. It's a response to a deep-seated crisis of consumer trust and a sophisticated way to achieve competitive advantage in a hyper-digital world. The Core Paradox: Consumer Trust and the Anti-AI Trend Yaverbaum asserts that while AI promises efficiency, public sentiment reveals a massive gap between corporate adoption and consumer comfort. Consumer trust in AI is low, with many expressing anxiety over deepfakes, job displacement, and data misuse. * Public Sentiment: Brands like Polaroid and Heineken are actively responding to this skepticism. For example, Polaroid's viral slogan, “AI can't generate sand between your toes,” taps into a public yearning for tangible, human-produced experiences and authenticity. * Strategic Rejection: Rejecting AI is the smartest new counter-cultural marketing strategy. It positions a brand as authentic, human, and a champion against digital fatigue, creating an immediate, clear competitive distinction in a crowded market. The PR Crisis Connection: Labor and Trust A significant driver of the AI marketing backlash is the negative news cycle connecting rapid automation with mass layoffs (e.g., Amazon's cuts). * Distancing the Brand: Brands using "human-made" campaigns are intentionally distancing themselves from the negative labor narrative associated with rapid automation. This is a crucial PR move to maintain a positive ethical image and soften the perception of C-suite-driven cost reduction. * Credibility & Misinformation: The proliferation of deepfakes makes the promise of human creativity a non-negotiable asset. For consumers struggling to discern real content from AI-generated content, a brand that explicitly champions human effort becomes a trustworthy, credible harbor. Crisis Management: The 'Public Relations for Dummies' Tactic Drawing from his expertise, Eric Yaverbaum offered essential crisis communications advice for companies facing a PR nightmare (e.g., an AI mistake or layoff fallout): 1. Lead with Human Value: Pivot the narrative back to human contribution and transparency. 2. Take Meaningful Action: Sincere apologies are insufficient. Companies must demonstrate concrete steps to invest in their human workforce and stakeholders. 3. No Empty Promises: Every public decision must align with stated core values to prevent hypocrisy accusations that can destroy long-term reputation. Future Outlook: Will Public Sentiment Slow the AI Boom? Yaverbaum concluded that the backlash has the power to reshape the conversation, forcing companies to be more cautious and transparent about their use of automation. While the momentum of the technology itself may be too great to stop entirely, this shift in consumer behavior and preference will force a necessary industry-wide correction, making authenticity the most valuable asset in the modern digital economy. Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a:

CEO Phil Trapkin's journey to creating BlissTrax started over two decades ago with his personal discovery: syncing music to his running pace significantly elevated his workouts. This early experience in marrying rhythm with movement was the seed. The idea fully came to life when he was later introduced to the concept of binaural beats, leading to the insight that sound technology could be engineered to guide the brain into specific states while the body is active. BlissTrax was born from the desire to offer a simple, accessible tool for stress relief that doesn't require users to sit still.

Feeling stuck on how to write your talk—or overwhelmed by where to start?Many entrepreneurs, coaches, and ministry leaders feel paralyzed at this stage—especially when they love a lot of different topics and don't know where to focus. The good news? Writing a talk doesn't have to be complicated. You just need a clear, repeatable structure that helps your story and message flow naturally.In this episode, you'll learn a simple, step-by-step formula for crafting a powerful, captivating talk that engages your audience from the first word to the last, without stress or confusion. If you need to find your stories, listen to these episodes first: S1E7. Concise Storytelling 101 S2E3. Which Stories Make the Most ImpactS2E5. 3 Story Finding TipsS6E3. How to Seamlessly Infuse Stories Into Any SpeechAnd definitely grab The Story Course! Now I'd love to hear from you! What's one thing you learned and how will you take action today? Let me know by: leaving the show a review. or sending me an email at info@emanuelahall.com YOUR NEXT STEPS:

Fear of public speaking is simply a signal that you care.It's not a stop sign on the road to your next opportunity. Everyone feels butterflies before stepping up to the mic. The difference is how you use that energy. Most avoid the stage.What if your past failures could fuel your future success? Learn how to flip fear on its head, no matter if you're just starting out or haunted by a slip-up from your speaking past.Here's what you'll learn:How to reframe fear and nerves into excitement, so you perform at a higher level when it matters mostSteps to normalize fear as part of the speaking journey, so you won't let nerves sabotage your next big opportunityStrategies for coming back after a failed speech or criticism, so you bounce forward instead of shrinking backThe most powerful way to build lasting confidence before you even walk on stage, so you look and sound like a proWhen you face your fears, doors open and the spotlight finds you, say yes, and become in demand.*****Craft your Compelling, Captivating, and Converting speech. Take $250 off with code BIDLISTENER at https://speakandstandout.com/offer-indss *****Links and resources mentioned in this episode:Get your copy of 17 Magic Phrases at https://SpeakAndStandOut.com/MagicGrab the FREE resource Directory of Places to Speak https://SpeakAndStandOut.com/DirectoryFollow me on Instagram at https://instagram.com/laurieann.murabitoClick and read more over on my website. https://SpeakAndStandOut.comIf you're looking for support to grow your business faster, get fully booked and profitable, book a call to explore if you'd be a good fit for one of my programs. schedule a call at. https://speakandstandout.com/speaker-success

In this convo I was able to talk with the founder and CEO of PlayerData Roy Hotrabhvanon. Roy and I connected from my friendship with Ben Slingerland who also works for PlayerData. Roy shares why PlayerData with the validity and reliability of their tech is taking over the S&C world.FIFA Study: https://www.playerdata.com/en-gb/blog/playerdata-edge-awarded-fifa-quality-certification#:~:text=Quality%20without%20compromise,and%20download%20our%20Test%20Report.___$1 Trial Membership to SCN

Food historian and acclaimed author Becky Libourel Diamond provides an exclusive look inside her spectacular new release, The Gilded Age Christmas Cookbook, during an in-depth interview on The Ash Said It Show. This summary is a must-read for holiday bakers and food history enthusiasts seeking to bring 19th-century elegance to their modern Christmas celebrations. The Mystery of the Sugar Plum Revealed Becky definitively solves the mystery of the legendary sugar plum. She reveals the surprising truth: these historic confections are not sugary plums, but highly prized, expensive spice-coated nuts and seeds, meticulously layered in candy. This insight reframes the sugar plum as the ultimate luxury Victorian dessert of the Gilded Age. Extravagance, Adaptations, and Chef Walter Staib When discussing Gilded Age extravagance, Becky champions incorporating the era's tradition of extended, multi-day feasts and generous hospitality into the modern holiday schedule. The most demanding recipe to update was the lengthy historic fruit cake. Her secret weapon for accurately translating complex 19th-century measurements for today's home bakers? The simple, essential digital kitchen scale. Becky shares her deep respect for fellow food historian Chef Walter Staib, who penned the book's foreword. She would love to see him prepare the grand historic roasted Christmas goose on his show—the ultimate Gilded Age holiday centerpiece. Global Traditions and Festive Recipes Beyond Christmas, the cookbook includes Hanukkah and New Year's traditions. Becky shares a fun fact about Hanukkah: the focus on oil-fried recipes, such as perfect latkes, symbolically commemorates the miracle of the oil. For those ready to dive in, Becky recommends the Holiday Tea Cakes as the perfect festive project to start with. For the ultimate showstopper dessert at a holiday feast, she suggests the impressive, flaming Victorian Christmas Pudding. The Gilded Age Christmas Cookbook is the definitive guide to vintage holiday recipes and traditions, offering a blend of history and accessible Christmas cooking for every modern kitchen. Becky Libourel Diamond: The Food Historian Connecting the Past to Your Plate Becky Libourel Diamond is a uniquely accomplished food writer, librarian, and historian whose career masterfully blends rigorous historical research with captivating storytelling. She is the definitive authority on Gilded Age food history and Victorian culinary traditions. New Release & Must-Read Cookbooks NEW! Her latest book, The Gilded Age Christmas Cookbook: Cookies and Treats from America's Golden Era (Launched September 2025), is a critical resource for holiday bakers and Christmas enthusiasts. Each recipe offers a colorful glimpse into Gilded Age Christmas lore, featuring the history, ingredients, and original baking methods of the era. * Available Now: Find this essential historical cookbook on: * Amazon * Barnes & Noble * Bookshop.org * Walmart * and more major retailers. Previous Bestseller: The Gilded Age Cookbook (August 2023) transports readers back to the elegant dining tables of the 19th century. This book successfully merges detailed Gilded Age stories of celebrity figures—the Vanderbilts, Astors, and Goulds—with historic menus and period recipes updated for modern kitchens. Landmark Culinary History & Research Becky's expertise extends across early American fine dining: * The Thousand Dollar Dinner: An engaging account of the nineteenth-century "Top Chef"-style competitionbetween Philadelphia and New York restaurateurs, documenting the extravagant, seventeen-course feast that helped launch fine restaurant dining in America. * Mrs. Goodfellow: The Story of America's Cooking School: Her first book details the life of a successful 19th-century pastry chef who pioneered an innovative cooking school for young women in Philadelphia.

Lila Owens, the founder of Cupcakin' Bake Shop, joined The Ash Said It Show for an exclusive interview, detailing her journey from a home-based business to a successful bi-coastal brand. Expansion, Innovation, and Community * Bay Area to Buckhead: Lila discussed the strategic decision to choose Buckhead for her second Atlanta location, offering insights into how the burgeoning Atlanta dessert scene compares to the established California market. * The Art of Flavor: We explored Cupcakin's commitment to innovation, focusing on the creative process behind developing their beloved "Flavor of the Month" and the new Custom Cake Program. * Beyond Cupcakes: Lila highlighted how the brand has evolved past its name, utilizing offerings like custom cakes, cookies, and viral cupcake bouquets to serve broader community needs that traditional cupcakes alone couldn't meet. * Finding the Niche: She confirmed that Cupcakin' stands out in the competitive market due to its focus on sustainable ingredients and an inclusive menu that proudly features high-quality vegan and gluten-free options. Success and the Entrepreneurial Mindset * Award-Winning Start: The conversation covered the significance of winning "Best Dessert" at Grand Tasting Buckhead, especially as a newer business in the area, calling it a major validation for the team. * Advice for Founders: As a seasoned female founder, Lila shared the most valuable lesson she's learned since launching in 2007, offering compelling advice for aspiring entrepreneurs on building and scaling a successful brand. This episode is a must-listen for anyone interested in food entrepreneurship, luxury baking, and the power of a strong business vision. Web: https://cupcakinbakeshop.com/ Cupcakin' Bake Shop — Gourmet Cupcakes Made Fresh Daily Cupcakin' Bake Shop is a top-rated bakery specializing in handcrafted gourmet cupcakes made from scratch with premium ingredients. As a woman-owned business with locations in the Bay Area and metro Atlanta, we're proud to deliver fresh, flavorful desserts that elevate every occasion. Our menu features best-selling classics like Red Velvet and Chocolate Salted Caramel, alongside seasonal favorites such as Strawberry Lemonade, Maple Bacon, and Lemon Lavender. Every cupcake is baked fresh daily and frosted to perfection, making Cupcakin' the go-to destination for weddings, birthdays, corporate events, and everyday indulgence. Known for our commitment to quality, creativity, and community, Cupcakin' Bake Shop has earned a loyal following and rave reviews across Yelp, Google, and social media. Whether you're searching for custom cupcake catering, vegan dessert options, or a local bakery near you, Cupcakin' delivers sweetness that stands out. ✨ Discover why Cupcakin' Bake Shop is one of the best cupcake bakeries in California and Georgia — where every bite is a celebration. Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a:

You don't become a thought leader by waiting for someone else to call you a Thought Leader. You decide to lead with your own ideas. Too many brilliant business owners play small, holding back ideas that could change how people think. Stop waiting for permission and start sharing your unique point of view.These five steps will help you clarify what you stand for and amplify your message, so your audience starts referring you whenever your topic comes up.Here's what you'll learn:How to clarify your unique point of view, so your perspective stands out and challenges the status quoThe power of sharing your ideas publicly, so you gain visibility and credibility even if you're just starting outHow to use stories and data to support your message, so people remember and trust what you sayWhy consistency across all platforms is key, so you grow your reputation as the expert in your fieldThe real benefits of collaborating with others, so you stop competing and start building greater influenceClaim your spot as a thought leader, because no one is coming to slip a certificate under your pillow.**** Join IN Demand...the Membership at https://SpeakAndStandOut.com/IND*****Craft your Compelling, Captivating, and Converting speech. Take $250 off with code BIDLISTENER at https://speakandstandout.com/offer-indss *****Links and resources mentioned in this episode:Grab the FREE resource Directory of Places to Speak https://SpeakAndStandOut.com/giftFollow me on Instagram https://instagram.com/laurieann.murabitoClick and read more into over on my website. https://SpeakAndStandOut.comIf you're looking for support to grow your business faster, get fully booked and profitable, book a call to explore if you'd be a good fit for one of my programs. schedule a call at. https://speakandstandout.com/speaker-success

We sat down with Urthy Co-founder Jen for a brilliant conversation that explored the roots of the clean living brand, the philosophy behind its luxurious products, and Urthy's exciting future. This interview is a must-listen for anyone passionate about wellness, entrepreneurship, and clean, high-end skincare and home goods. Urthy: Born from Necessity, Rooted in Purpose Jen shared the deeply personal journey behind creating Urthy, explaining that the brand was truly "born out of necessity." * The Gap: Jen recognized a critical gap in the market: a lack of products that were genuinely clean (free from harmful chemicals) yet simultaneously delivered a luxurious, high-end experience. Urthy was created to fill this space, proving that clean living doesn't require sacrificing quality or indulgence. * The Name & Brand: The name "Urthy" itself is grounded and personal, reflecting the company's core philosophy of being rooted in natural goodness and intentional living. Products, Philosophy, and the Atlanta Blend Bar Urthy has mastered the delicate balance between clean and luxurious through a meticulous product development process. * Product Philosophy: The focus is on achieving a rich, luxurious feel while maintaining radical ingredient transparency across its range, which includes home scents, skincare, and new elixirs. * Scent Creation: Jen discussed the artistic process behind creating and naming their signature fragrances, hinting at the inspiration behind the upcoming Fall/Holiday 2025 collection. * The Atlanta Blend Bar + Lab: Urthy offers a unique, hands-on community experience at its Atlanta Blend Bar. This lab allows customers to engage directly with the brand's philosophy and create personalized scents and products. * Corporate Gifting: The brand has seen a rapid expansion into corporate gifting, connecting with teams and brands seeking a thoughtful, wellness-focused approach for client and employee appreciation. Web: https://urthyscents.com/ Looking Ahead: Expansion and Wellness The interview concluded with a look toward the future, as Jen discussed the rituals and lessons that help her balance life as a female founder in the wellness and business space. Expect new launches and expansions as Urthy continues its dream of making clean luxury accessible to all. Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a:

Get ready for the most thrilling Halloween season yet! In an exclusive interview on the "Ash Said It Show," featuring Shane from Atlanta Bar Tours, it was officially declared: Atlanta is the Halloween Headquarters of the Southeast!This year, the city is set to host an unparalleled series of can't-miss Halloween parties, promising the ultimate celebration across the most exhilarating weekends. Unmatched Halloween Revelry Across Atlanta With a multitude of Atlanta's premier bars, clubs, and restaurants participating, attendees are guaranteed an unparalleled Halloween experience. Prepare for a spectacular display of amazing costumes, spine-tingling music, and ghoulishly good times that will transform the city's vibrant nightlife. Shane of Atlanta Bar Tours emphasized the meticulous planning to ensure every event delivers an unforgettable atmosphere for all. Your Essential Guide: Five Fantastic Halloween Parties in Atlanta! Organizers, including insights from Atlanta Bar Tours' Shane, have meticulously curated a definitive list of five fantastic Halloween parties that are the only events you need to attend this year. Each party promises a unique atmosphere, but all share the common goal of delivering a hauntingly good time for everyone. Whether you're seeking spooky fun, epic dance floors, or exclusive themed celebrations, Atlanta's Halloween lineup has it all. Prime Locations for Spooktacular Celebrations: These highly anticipated Halloween events will be taking place in some of Atlanta's most popular and accessible neighborhoods, ensuring a diverse range of experiences: * Midtown Atlanta: Known for its lively entertainment scene, Midtown will host several high-energy Halloween bashes perfect for urban revelers. * Virginia Highland: Discover unique and charming Halloween celebrations within this beloved and walkable district. * Buckhead Atlanta: For those seeking to celebrate Halloween in ultimate style, Buckhead will feature upscale and exclusive costume parties. Secure Your Spot! Tickets On Sale Now & Selling Fast! Tickets are on sale now for all featured events and are expected to sell out quickly. Partygoers are strongly encouraged to secure their tickets in advance to guarantee entry to Atlanta's most anticipated Halloween festivities. Don't miss your chance to be part of the Southeast's biggest and most thrilling Halloween celebration! Web: https://www.atlantabartours.co... Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a:

Text us about this show.Patrick Zyduck, also known as Elysian Stew, is a finger style guitarist who writes in the moment. The bulk of his originals are instrumentals that paint soundscapes that draw in and envelop the listener with rich acoustic textures and moods. His inspirations for writing range from a rain storm to owls to backpacking on Mount Rainier. On top of that, he is an avid cyclist and knows firsthand how physical activity and musicianship work with each other to improve one's playing. His style draws on past guitarists like Merle Travis and Chet Atkins as influences, but also acknowledges current artists like Kaki King, Mike Dawes, and Gwenifer Raymond. It's time to get lost in the soundscapes of Elysian Stew!"Low Flying Owls," "Tuache Vita," and "Rain" performed by Elysian Stewwritten by Patrick Zyduck℗ 2023 Broke Till Friday Records. Used with permission of Patrick Zyduck.Melody Audiology LLCAudiology services for all. Specializing in music industry professionals and hearing conservation.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showVisit Into The Music at https://intothemusicpodcast.com!Support the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.com YouTube Facebook Instagram INTO THE MUSIC is a production of Project X Productions.Host/producer: Rob MarnochaVoiceovers: Brad BordiniRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie Angel of Los StraitjacketsThis podcast copyright ©2025 by Project X Productions. All rights reserve...

In a captivating and inspiring exclusive on the Ash Said It Show, founder Lilith of Lit with Lilit LLC dives deep into her philosophy of turning everyday luxury into a meaningful lifestyle. This interview summary highlights how Lilith is pioneering a unique space in the Atlanta candle market by blending high-end decor with immersive DIY experiences. Reclaiming the Word "Lit" For Lilith, the name "Lit with Lilit" is more than trendy slang—it's a powerful mission statement. She explains her aim to redefine 'lit' beyond just a good time, leveraging it to encompass creativity, purpose, and community. The brand is a call to action: to inspire customers to "light up" their own lives with intention and style. This focus on deeper meaning is key to the brand's authentic connection with its audience. From Product to Deco-Friendly Experience Lilith shares the genesis of her unique "deco-friendly" concept. Frustrated by beautiful candles that were only meant to be burned, she created pieces designed to function first as high-end home decor—from stylish geometric shapes to fun, sculpted sneaker candles. This unique vision transforms a simple product into a complete sensory and visual experience, ensuring the candle is a statement piece long before the match is struck. The Unique "Lit Experience" in Atlanta While candle-making classes are popular, Lilith details what makes the Lit with Lilit "Lit Experience" a stand-out in the competitive Atlanta market. She emphasizes creating an atmosphere that is not just instructional, but genuinely joyful, creative, and memorable. Participants don't just pour wax; they immerse themselves in a high-vibe, low-pressure setting where they forge a new skill and lasting memories of connection and self-expression. Scent as a Storyteller Discover Lilith's innovative approach to scent creation. She treats fragrance as a powerful narrative tool, meticulously crafting diverse scents and shapes to evoke specific feelings or tell a unique story. Whether it's a comforting note of nostalgia or an energizing burst of freshness, her process focuses on creating an immediate, emotional connection that makes each purchase deeply personal. The Entrepreneur's Journey & Weekend Events Lilith opens up about the biggest challenge in starting Lit with Lilit—the inevitable moments of doubt and near surrender. She reveals the core motivations that fueled her perseverance and helped her build the successful business she has today. Don't Miss Out! Lilith also excitingly shares where to find her amazing creations this weekend, inviting the community to experience the art of Lit with Lilit firsthand. Web: https://www.litwlilitllc.com/ Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a:

This past week, we wrapped up our journey through the book of Mark by exploring the powerful story of the resurrection! Listen as Pastor Joe Zinkgraf closes out our series, The Suffering Servant.

Public speaking isn't just about standing on a stage, it's the ultimate tool for personal growth and visibility.Imagine mastering the skills to keep your cool when everything goes wrong. What if you could walk into any room and adapt on the spot, no matter what chaos unfolds? That's exactly what you'll discover in this episode.Developing high-performance skills through speaking can transform not only your business, but your life. You'll hear real stories about facing big obstacles, quick pivots, and gaining the confidence to lead, connect, and bounce back stronger after slip-ups.***** Book a Speaker Success call at https://SpeakAndStandOut.com/speaker-success **********Craft your Compelling, Captivating, and Converting speech. Take $250 off with code BIDLISTENER at https://speakandstandout.com/offer-indss *****Links and resources mentioned in this episode:Get your copy of 17 Magic Phrases at https://SpeakAndStandOut.com/MagicGrab the FREE resource Directory of Places to Speak https://SpeakAndStandOut.com/DirectoryFollow me on Instagram at https://instagram.com/laurieann.murabitoClick and read more over on my website. https://SpeakAndStandOut.comIf you're looking for support to grow your business faster, get fully booked and profitable, book a call to explore if you'd be a good fit for one of my programs. schedule a call at. https://speakandstandout.com/speaker-success

In this mouthwatering episode of The Ash Said It Show, Ash Brown sits down with Chef Andrea Young, founder of Sweet Vegan NYC, to explore the delicious world of plant-based chocolate and the exciting launch of two new flavors: Cranberry Passion Bark and Espresso Blueberry Bark.

MIMMS Museum of Technology and Art founders, Karin and Lonnie, recently joined The Ash Said It Show for an exclusive interview, providing an in-depth look at their new, highly-anticipated iNSPIRE exhibit. The conversation covered the museum's origin story, the curation process for the largest public collection of Apple products ever assembled, and the unique intersection of technology and art. The Vision: Why a Museum for Tech? The founders first discussed the driving force behind the museum's creation. They detailed the specific inspiration that led to the launch of a highly shareable social media campaign, "Show Us Your Apples," designed to promote the new exhibit. This campaign aims to tap into the public's emotional connection and personal history with Apple innovation. Curating iNSPIRE: The Apple Collection Lonnie shared insights into the immense scale of the iNSPIRE exhibit, which is billed as the most extensive public collection of Apple products anywhere. The founders revealed the intensive curatorial process required for a collection of this magnitude, touching on the most challenging artifacts to acquire and the surprising items that tell a richer, untold history of Apple. Visitors can expect to find stories and artifacts unavailable in books or online archives. Bridging Technology and Art A central focus of the discussion was how the MIMMS Museum blends its two components: technology and art. Lonnie explained how the iNSPIRE exhibit successfully bridges this gap, confirming that the display will feature art pieces and creative works inspired by Apple products. * Interactive Exhibits: Following the art discussion, the founders touched on the planned interactive exhibits, many of which will also feature a creative or art component, ensuring an engaging, hands-on visitor experience. The Future of Public Engagement When asked about the highly successful "Show Us Your Apples" campaign, the founders addressed their plans for integrating submissions. They confirmed that the museum is waiting to gauge the full public response but plans to incorporate submissions digitally and through social sharing. The public's personal stories and photos are intended to be a vital part of the overall experience. The Message for the Next Generation The conversation concluded with a powerful question about legacy and purpose: Why is it crucial to dedicate a massive museum exhibit to a company's past innovations in a world defined by constant technological release? Lonnie and Karin shared the overarching message they hope to convey to the next generation of innovators who visit MIMMS, emphasizing the importance of studying history to shape the future of technology. Web: https://mimmsmuseum.org Ash Brown: Your Ultimate Guide to Inspiration, Empowerment & Action Looking for a motivational speaker, authentic podcaster, or influential media personality who can spark your journey toward personal growth? Meet Ash Brown — a dynamic American powerhouse known for her uplifting energy, relatable wisdom, and unwavering commitment to helping others unlock their full potential. Ash is a:

Author Paula Franklin recently sat down with The Ash Said It Show for an exclusive interview to discuss her raw and riveting memoir, Fear Unraveled: A Journey Through Life, Bikers, Boaters, and the Bible. Blending humor, heartbreak, and spiritual transformation, Paula's book offers a deeply personal look at her unconventional life—from growing up near the Blackstone Rangers in Chicago to finding redemption through faith.

In this exclusive episode of the Ash Said It Show, host Ash Brown reconnects with Chris Kiser, CEO of Spice World Inc., to explore the latest innovations in garlic and ginger products, seasonal cooking inspiration, and what's trending in flavor as we head into the holidays. Listeners will discover:

This month, we're leaning into the cozy chaos of autumn with gothic reads, witchy retellings, and darkly enchanting novels that pair perfectly with a warm mug and candlelight. From the small-town secrets of Buckeye by Patrick Ryan to the spell-tinged retellings in Salt and Broom by Sharon Lynn Fisher, this episode of Reeding Between the Lines unpacks the books that carried us through September — and the ones casting a spell over our October TBR.We talk about The First Witch of Boston by Andrea Catalano, a chilling reimagining of the first woman executed for witchcraft in Massachusetts, and A Dark and Secret Magic by Wallis Kinney, a lush, atmospheric love letter to anyone who keeps a little bit of witch in their heart all year long. We also revisit The Square of Sevens by Laura Shepherd-Robinson — an 18th-century mystery perfect for fans of Dickens — and Babel by R.F. Kuang, a dark academia masterpiece that asks how far you'll go for knowledge and power.

AudioFile publisher Michele Cobb is on Behind the Mic this week with host Jo Reed. Together they dig into three True Crime audiobooks that tell haunting stories and that take place in three distinct institutions. THE FORT BRAGG CARTEL by Seth Harp, read by Dan John Miller, is a frightening tale of murders and drug trafficking at a military base; THE SLEEP ROOM by Jon Stock, read by Richard Armitage, Celia Imrie, and Antonia Beamish, is a revelation of the disturbing practices of Dr. William Sargant on his mostly female patients; and THE IDAHO FOUR by James Patterson and Vicky Ward, read by Elisabeth Rodgers, is an investigation of the infamous murders of four university students in 2022. Read our reviews of the audiobooks at our website:  THE FORT BRAGG CARTEL: Published by Penguin Audio THE SLEEP ROOM: Published by Tantor Media THE IDAHO FOUR: Published by Hachette Audio Discover thousands of audiobook reviews and more at AudioFile's website https://www.audiofilemagazine.com/  Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you dread answering the question, “So, what do you do?” In this episode, we're talking about how to talk about your business or mission with clarity, confidence, and ease—without rambling, freezing up, or feeling fake.I'll share how to talk about what you do in a way that feels natural, memorable, and aligned with who you are. You'll learn:Why having an objective before entering a conversation changes everythingHow to simplify your “I help” or expert positioning statement so it actually connectsThe secret to being more memorable Plus, I'll share a powerful story from researcher Vanessa Van Edwards that proves listening might just be your best networking strategy.If you're ready to stop overthinking your elevator pitch and start building real connections, grab my Unforgettable Elevator Pitch Template. It will help you talk about what you do with confidence and clarity every time. Now I'd love to hear from you! What's one thing you learned and how will you take action today? Let me know by: leaving the show a review. or sending me an email at info@emanuelahall.com YOUR NEXT STEPS:

FOX Business Anchor Dagen McDowell shares the advice she received when she began working in television and news, which she continues to follow and now shares with others. Dagen discusses President Trump's vision for America and his career in political leadership, focusing on maintaining an audience in the evolving media landscape. Jason and Dagen break down President Trump's communication style and his ability to connect with voters. Bring on the Stupid: A woman's 60-year-old relative mistook dog food for snacks while visiting her house. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this exclusive holiday-season episode of the Ash Said It Show, we sit down with Tricia Ekholm from Atlanta Ballet to explore their upcoming season — including the return of their iconic production of The Nutcracker at Cobb Energy Performing Arts Centre. Whether you're a seasoned ballet lover or a first-time attendee, this episode offers a behind-the-scenes look at:

You don't have to be fearless to grab the microphone, sometimes, you just need someone to show you how to find your voice.Learn more about IN Demand Signature Speech at https://SpeakAndStandOut.com/SSMost people think you need years of experience or fancy credentials to craft a talk that truly connects. But what actually matters is learning how to turn your real-life struggles and lessons into words that hook an audience—and open doors you never imagined. This is about showing up as yourself, sharing what's shaped you, and discovering how your story can move others to action.This is behind the scenes episode with Drenda, who joined IN Demand Signature Speech to give a presentation at her place of work on her favorite topic, the disempowering stories we tell ourselves.Here's what you'll learn:How to turn your personal journey into a talk people remember, so you attract new opportunities and ideal clients.Ways to deal with tech disasters on stage, so you stay calm and in control when the unexpected happens.The power of sharing vulnerable stories, so your audience feels seen—and wants to connect with you further.Why a repeatable framework for talks can make speaking easy and help you show up prepared every single time.How confidence grows by taking action, not waiting for “someday,” so you stop holding back and start growing your impact.Links for Drenda:Website: https://www.drendathomasrichards.comIG: https://www.instagram.com/drendaThomasRichards

Think you need to be a "natural" to be a powerful speaker? Think again. In this episode of Habits and Hustle, I sit down with Lisa Nichols, a transformational speaker, who breaks down exactly how anyone can go from terrified of speaking to magnetically captivating an audience. We discuss the four types of speakers and why most people get stuck in the "information trap." Lisa reveals her signature "scooping" technique that makes audiences see themselves in your story, and explains why we're now living in an influence economy where connection trumps credentials every time. Lisa Nichols is a transformational speaker, CEO, and New York Times bestselling author who co-authored The Secret and multiple Chicken Soup for the Soul books. She's built a multi-million dollar company and has spoken to over 3 million people worldwide. She now dedicates her time to teaching others how to master their message.  What We Discuss:  (00:15) Why information doesn't inspire and the #1 mistake speakers make  (03:00) The 4 types of speakers: Which one are you?  (05:34) How to make any audience see themselves in you (the "scooping" technique)  (11:01) How to pull a powerful story out of your life experiences  (12:00) Show vs. tell: The storytelling technique that moves rooms  (17:32) The personality trait that's often misunderstood in successful people  (19:30) How Lisa handles massive business failures and still trusts herself  (20:47) The $5 million fraud that nearly destroyed her company  (29:03) Why storytelling is the most important skill in today's influence economy (34:56) Why your lived-through story no longer belongs to you …and more! Thank you to our sponsors: Momentous: Shop this link and use code Jen for 20% off Therasage: Head over to therasage.com and use code Be Bold for 15% off  TruNiagen: Head over to truniagen.com and use code HUSTLE20 to get $20 off any purchase over $100. Magic Mind: Head over to www.magicmind.com/jen and use code Jen at checkout. 99designs by Vista: 99designs.com/jen20  – click "Claim my discount" to get $20 off your first design contest.    Find more from Jen:  Website: https://www.jennifercohen.com/ Instagram: @therealjencohen   Books: https://www.jennifercohen.com/books Speaking: https://www.jennifercohen.com/speaking-engagement Find more from Lisa Nichols: Website: https://motivatingthemasses.com/  Instagram:  https://www.instagram.com/lisa2motivate