Podcasts about I Got It

Before she was producing, starring in major films, and building her media empire, Tika Sumpter was a girl from Queens with a dream but no roadmap. In this raw and inspiring conversation, she shares how grit, hustle, and self-belief took her from waiting tables in New York to making it in Hollywood. From a chance encounter that led to her first agent to the game-changing roles that finally put her on the map, Tika gets real about the double standards in the industry, creating her own opportunities, and why betting on yourself is everything. Growing up in Queens and why the borough breeds some of the hardest-working people in the world The hustle of breaking into acting, from cold auditions to booking One Life to Live The Hollywood realities no one talks about race, casting biases, and what it really takes to “make it” Why Tyler Perry saw something in her that others didn't and how he's changed the industry Learning to bet on herself and take control of her career through producing, writing, and launching her own projects Motherhood and personal growth, how raising her daughter, Ella, helped her reparent herself Her latest creative ventures, including her children's podcast and new book, I Got It from My Mama The biggest risk she's ever taken, and why every woman should experience love and adventure in another country at least once This conversation is about trusting your instincts, pushing past rejection, and never waiting for permission. Follow Tika on Instagram here. Grab a copy of he new book I Got It From My Mama here.

Although Lisa worked as a chemical engineer, spirituality always was the priority in her life. In 2009, at a silent retreat, her thought-based identity dropped away, and she saw only the single flow of benevolence in all that is. When some of those thoughts returned a few weeks later (less convincing than before), there also came a deep curiosity to inquire into those thoughts. She developed many tools to return to a lived experience of the deeper knowing. Both of her books share these tools. All that is is a vibrant expression erupting from a single full emptiness. Website: experiencingthetrueself.com Books: An Unprincipled Life: Living from the Unknown Living Awake: 20 Techniques to End "I Got It; I Lost It" Discussion of this interview in the BatGap Community Facebook Group. Summary and transcript of this interview Interview recorded January 26, 2025

On this episode of Finding Your Bliss, Celebrity Interviewer and Bliss Coach Judy Librach is joined by two fabulous guests, Therapist Victoria Lorient-Faibish and singer/songwriter Jules Halpern. Victoria is a registered psychotherapist, content creator, keynote speaker, generational pattern breaker, and author of 2 game-changing books!  She is a Registered Psychotherapist, Holistic Psychotherapist, and a legacy professional with over 25 years of experience. Her influences include neuroscience, visualization, eastern philosophies, Person Centred Therapy, Reiki, visualization, Polarity Therapy, meditation, as well as modern and traditional psychotherapy. She is a relationship expert and she works with individuals, couples and adult families. Her focus is to identify, disrupt, replace and heal multi-generational patterns.  Described as a “Kickass Keynote Speaker!” Victoria excites audiences with her energy! She has done quite a bit of speaking and her most notable speaking gigs were at the Harvard Medical School's Karp Lab! What an honour that was!  Some things people have said about Victoria's speaking, (Speaking Testimonials page on her website https://visualizationworks.com/speaking-testimonials) "Victoria Lorient-Faibish is a powerhouse speaker, full of inspiration, motivation and dedication to live through her experiences, while giving so many others ultimate hope to stop dimming their light and charge it forward," and they also said: “Her words came from the heart and spoke to their souls." As well, the Harvard folks said, "It was so wonderful to welcome Victoria and her incredible energy into my laboratory for some sessions during Covid. Much needed eye-opening and enlightening experience for all!!!” Whoah! Author: Victoria's first book, Find Your "Self-Culture": Moving from Depression and Anxiety to Monumental Self-Acceptance (Massenergy Press) offers a holistic way out of the rabbit hole of depression and anxiety through profound awareness, self-love, and acceptance. This book provides a detailed methodology to find your own path and your own way of being, that is specifically innate to you. Also on the program, we have the beyond talented singer/songwriter, Jules Halpern, who is back on the show with some of her latest music!  Jules has been singing since she could walk.  Her performance of Stevie Wonder's “Ribbon in the Sky”, led to her being invited to sing at many festivals, and the Canadian and American national anthems at Madison Square Garden in New York City.  In addition to singing, Jules likes to draw, cook, write, and play the guitar.  Jules was invited to sing for the Stronger Together, Tous Ensemble on National television with a who's who of many well-known Canadian singers and celebrities including Justin Bieber, Drake, Shania Twain, Michael Bublé??????? and some of the cast of Schitt's Creek, Dan Levy, Eugene Levy, Noah Reid, Annie Murphy and Catherine O'Hara, just to name a few. One of the best conversations ever, Jules is back to tell us what she's up to and to play some really incredible new songs that are streaming now! To hear her songs from this interview,  click on the links below: "I Got It” https://www.youtube.com/watch?v=hM35VKClcpo “Boogiewoman” https://www.youtube.com/watch?v=cLqivlBFLCM You can follow us @theblissminute on Instagram, TikTok, Twitter and Facebook. Or you can visit our online magazine at findingyourbliss.com and take one step closer to finding your bliss. Listen live every Saturday at 1pm on Zoomer Radio

Mon, 04 Nov 2024 22:00:00 GMT http://relay.fm/upgrade/536 http://relay.fm/upgrade/536 The Sleeping Lifestyle 536 Jason Snell and Myke Hurley Scoring our very weird draft, The new Mac mini and MacBook Pro announcements, Apple's latest financial results, our reactions to Image Playground and Genmoji betas, and pondering the actual job of a CEO. Scoring our very weird draft, The new Mac mini and MacBook Pro announcements, Apple's latest financial results, our reactions to Image Playground and Genmoji betas, and pondering the actual job of a CEO. clean 6238 Scoring our very weird draft, The new Mac mini and MacBook Pro announcements, Apple's latest financial results, our reactions to Image Playground and Genmoji betas, and pondering the actual job of a CEO. This episode of Upgrade is sponsored by: DeleteMe: Get 20% off your plan when you use this link and code UPGRADE20. Factor: Healthy, fully-prepared food delivered to your door. ExpressVPN: High-Speed, Secure & Anonymous VPN Service. Get an extra three months free. Links and Show Notes: Get Upgrade+. More content, no ads. Submit Feedback Connected #525: Daddy Come Back Please Daddy! - Relay FM The Upgrade 2024 October Event? Draft – Scorecard New Mac mini shrinks down, gains M4 and M4 Pro chips – Six Colors (Beta) "Mac mini Pro" enclosure for M4 Mac mini by Jerrod H - MakerWorld Apple introduces new MacBook Pros with M4 chips, brighter screen – Six Colors 16GB for everyone: MacBook Air joins the RAM upgrade party – Six Colors Upgrade #523: I Got It to Hallucinate Already - Relay FMThe Jingle Episode Lex's Games by Lex Friedman Apple's Q424 results: $95B revenue–with a twist – Six Colors Apple sinks $1.1 billion into Globalstar's satellite network, takes ownership stake – Six Colors A new home for Pixelmator - Pixelmator Blog Fileside Apple CEO Tim Cook on How Steve Jobs Recruited Him and Mor

Mon, 04 Nov 2024 22:00:00 GMT http://relay.fm/upgrade/536 http://relay.fm/upgrade/536 Jason Snell and Myke Hurley Scoring our very weird draft, The new Mac mini and MacBook Pro announcements, Apple's latest financial results, our reactions to Image Playground and Genmoji betas, and pondering the actual job of a CEO. Scoring our very weird draft, The new Mac mini and MacBook Pro announcements, Apple's latest financial results, our reactions to Image Playground and Genmoji betas, and pondering the actual job of a CEO. clean 6238 Scoring our very weird draft, The new Mac mini and MacBook Pro announcements, Apple's latest financial results, our reactions to Image Playground and Genmoji betas, and pondering the actual job of a CEO. This episode of Upgrade is sponsored by: DeleteMe: Get 20% off your plan when you use this link and code UPGRADE20. Factor: Healthy, fully-prepared food delivered to your door. ExpressVPN: High-Speed, Secure & Anonymous VPN Service. Get an extra three months free. Links and Show Notes: Get Upgrade+. More content, no ads. Submit Feedback Connected #525: Daddy Come Back Please Daddy! - Relay FM The Upgrade 2024 October Event? Draft – Scorecard New Mac mini shrinks down, gains M4 and M4 Pro chips – Six Colors (Beta) "Mac mini Pro" enclosure for M4 Mac mini by Jerrod H - MakerWorld Apple introduces new MacBook Pros with M4 chips, brighter screen – Six Colors 16GB for everyone: MacBook Air joins the RAM upgrade party – Six Colors Upgrade #523: I Got It to Hallucinate Already - Relay FMThe Jingle Episode Lex's Games by Lex Friedman Apple's Q424 results: $95B revenue–with a twist – Six Colors Apple sinks $1.1 billion into Globalstar's satellite network, takes ownership stake – Six Colors A new home for Pixelmator - Pixelmator Blog Fileside Apple CEO Tim Cook on How Steve Jobs Recruited Him

Watch the full visual on YouTube instead, it's worth it: https://www.youtube.com/watch?v=efLpG1s_UhI @staycoolfam @BAMDCAMP @purpleposse @neonbodyonline For my first ever Phonk mix you know we had to do it big, so I brought in the Purple Posse OG BACKWHEN for a special B2B and the first ever Stay Cool Visual Set with transitions and selections represented in the video too . Ever since the Chill Children tape I've been a fan of BACKWHEN's music, but after one of my community told me to check out his other music even further during the Stay Cool Twitch streams in the pandemic he's been one of my most listened to and favourite artists so it's a special moment. This mix has it all - exclusives from us both, remixes, an interview and even a freestyle from me, so tune in to learn more about BACKWHEN's early days, his journey from sample-focused Phonk to his newer styles and a whole lot more with some of our favourite Phonk joints accompanying. - seangran Tracklist: 1. 1ony - Countin Up the Os 00:00 2. haku - silk ft fireplex 02:28 3. SPACED - TOP SHELF 04:19 4. lazarus - you better know 05:40 5. NxxxxxS - I Cant Even Move 07:03 6. Lil Gotit - MF TRIMM 08:11 7. Roland Jones - Aww Man 09:34 8. ESCPE - ENERGY 10:57 9. Evil - GHETTO PIMPIN 13:14 10. Luminox - ID 6_15 13:55 11. A M A I x YAYAYI x Shamana - NEVER RECOVERY 15:04 12. BERRYMANE - AR FLIPPA 16:43 13. Cassyb & Lovesome - flyin slum 18:05 14. MadBliss - Requiem 19:41 15. Inteus & Von Storm - Bucked Up 21:45 16. SUICIDEBOYS - MATERIALISM(SKELER REMIX) 22:53 17. Denzel Curry - G'Z UP (with 2 Chainz & Mike Dimes) 24:14 18. NECROEZ - GET HIGHER EDIT 25:50 19. ARTURO ☤ - DIRTY FIENDDD (feat. SC5ND ☤ & $CYTHE SHAWTY) 27:24 20. Luminox - Fantasy 28:44 21. YAYAYI - 9 - Audio 0001 [2018 - 07 - 03 064629] 29:52 22. EVERYST - ON GOD 31:26 23. Mythic & 1ony - Poppin' 32:59 24. SATISFACTION - ESCPE & BACKWHEN *UNRELEASED* 34:48 25. TRIPLE TIX - POUR ME UP A LINE - 37:19 26. BACKWHEN & M!NGO - MISFIT 39:08 27. Jordan Ward x BREEZEFORE x Brent Faiyaz - Cherimoya All Night (seangran blend) *UNRELEASED* 40:42 28. BREEZEFORE - FRONTLINE 42:40 29. demxnstr8 - FACE ME 43:42 30. BACKWHEN - Blackout *UNRELEASED* 45:26 31. Berrymane - 4 The Win (feat. Roland Jones)46:54 32. EVERYST & SWAY55 - OMNIPRESENT 48:22 33. Roland Jones - Drop It Off 49:51 34. POP DAT MONEY 51:35 35. blank body - ON THE TONGUE 53:18 36. Necroez - Plain 54:32 37. Jew3lz & Dj Yung Vamp - East Atlanta 56:59 38. BERRYMANE - BLOOD ON MY ICE 58:43 39. Evil - NEVER FAIL (feat. Holymane) 1:00:11 40. BACKWHEN Interview - Click CC for captions 1:01:56 41. MYTHIC & ASERI - CIROC 1:10:48 42. NECROEZ - DIVIN BACKWHEN MIXX *UNRELEASED* 1:12:20 43. 1ony - Battlescars 1:13:51 44. M!NGO x BACKWHEN - Why u Wanna 1:14:37 45. Backwood Boy - Merged 1:15:53 46. TRE FLIP - AFTERLIFE 1:17:14 47. baccyard - NEW ASS (SAME BOOBS) 1:18:32 48. LOCAL STRANGER - HAVIN MY WAY 1:19:51 49. Berrymane - THC 1:21:27 50. BACKWHEN - Take it Outside ft LAZARUS 1:22:14 51. YAYAYI - 12 - Audio 0001 [2020 - 03 - 19 140401] 1:23:35 52. BACKWHEN - Monday Sesh w/ seangran freestyle 1:24:39 53. BACKWHEN - Fragile 1:27:32 54. sword - I Got It 1:29:07 55. A$AP Rocky - Arya 1:29:54 56. A$AP Mob - Young N***a Living (feat. A$AP Ferg, A$AP Ant & A$AP Twelvyy) 1:31:47 Pic by https://soundcloud.com/teddyone

Mon, 05 Aug 2024 21:15:00 GMT http://relay.fm/upgrade/523 http://relay.fm/upgrade/523 I Got It to Hallucinate Already 523 Jason Snell and Myke Hurley Myke has a mostly positive Apple Intelligence experience (except for Siri), Apple results make us consider the power of Services, and the Color Czar may be up to their old tricks. Myke has a mostly positive Apple Intelligence experience (except for Siri), Apple results make us consider the power of Services, and the Color Czar may be up to their old tricks. clean 5308 Subtitle: The Jingle EpisodeMyke has a mostly positive Apple Intelligence experience (except for Siri), Apple results make us consider the power of Services, and the Color Czar may be up to their old tricks. This episode of Upgrade is sponsored by: Squarespace: Save 10% off your first purchase of a website or domain using code UPGRADE. ExpressVPN: High-Speed, Secure & Anonymous VPN Service. Get an extra three months free. Links and Show Notes: Thanks to Lex Friedman for composing our jingles. Get Upgrade+. More content, no ads. Submit Feedback Watch Upgrade on YouTube Lex's Games by Lex Friedman Giants' Blake Snell throws 1st career no-hitter in 3-0 win over the Reds - ABC News More iPhones to go by sea as Apple looks to slash carbon footprint | TradeWinds New betas for iOS 18.1, iPadOS 18.1, and macOS Sequoia bring some Apple Intelligence features – Six Colors Connected #512: The Simple Solution to Traffic - Relay FM Tim Cook addresses Apple Intelligence's staggered rollout and ChatGPT timing 'beh' Apple Intelligence Early Preview: In-Call Recording, Safari Summaries, New Siri - Bloomberg Apple results: Quarterly record, all-time high in Services – Six Colors This is Tim: Complete Q3 2024 analyst call transcript – Six Colors Existential thoughts about Apple's reliance on Services revenue – Six Colors Google's Payments to Apple Reached $20 Billion in 2022, Cue Says - Bloomberg iPhone 16 colors and redesigned camera bump revealed in new image - 9to5Mac New iPhone 16 Pro Color Could Have Bronze Appearance - MacRumors New image shows off iPhone 16 Pro colors, including darker Black Titanium - 9to5Mac AutoPod | Au

‘…is that a threat?' ‘Hm…' If it was, it was at least a good one— I was scared, at first, upon seeing what I had thought to be perhaps a package robbery—but was actually just a slit through the package—a clean slice, more specifically, through the bubble wrapped [Redacted] package, however, its contents still inside; The package had been left underneath another—which didn't belong to me, and though I had been cornered by security more than once at the [Redacted] market, for putting my nutritional needs above that of my morality—or rather, thought my morlity to exclude guilt from the nessecities, especially as I often pondered upon the elite had kept the lower classes in a devolved state by controlling the price of wellness, so much so that it had become impractical for the common being. I had never even thought to swipe someone else's mail—a personal foul, and at least in turn in that matter to all respect with karma, had never had any packages stolen, either—not that I had lived indoors long enough to have warranted that I was safe from what sometimes seemed like the non-human animals, especially of New York City, who crawled about the lower realms littering and taking up precious time, space, and energy—the almost less-than-common man, but still, actually and unfortunately—common, especially in New York. The Sage sticks and palo santo I had ordered were still intact, entirely— to my surprise, and I wondered what else my package might have included, without remembering such. I had become enfuriated with [Redacted], after realizing that there had been hidden charges and unrecognizable fees, on my credit card, of all the places—the Capital One credit card, with sky high interest rates and robotic customer service drones—who I mostly would hate talking to— and it seemed as though the [Redacted] algorithm had become just as predatory as the rest of them—as uncivilized as the trash-dropping, coughing subhumans that plagued the post-pandemic world, if there was such a thing. The overcrowded mess and overall pollution of the city at whole at best made it still acceptable to wear masks in public, to which I took full advantage of doing, as needed—which was as often as possible, actually, if not to hide the curiosities, and of course, the objections to whatever it would be on the train that sparked distaste—worst yet, I might even smile, and reveal my gap-tooth, only acceptable on Hurley models and Madonna, of course—either of whom I wished I was. It was 3:16 AM, and a long lost song found its way into my head as I fettered the words into the document, multitasking a “modest” breakfast as I mulled over the day, most of which I had spent attempting peace and solitude, neither of which actually even seemed attainable in my 3rd floor “office”, being so careful not to consider anything home or a comfort, for the fear that whatever Death curse someone had thought to m destroy me with once would extend into all the years and all the realms of my presence— it was true, as I explained to my aunt, that the people around me had within the last few years turned into demonic and vampiric advocates of what seemed to be the devil itself, were I even holy enough to be considered sacred in such a way that the devil may be chasing me—and I was, in some ways, but not in others—my ability to aggrandize my judgements and flex my morality where needed, but less when wanted as it stood true that I never actually enjoyed immorality—I hated living in a world where one would be made to steal, and made to lie, in order to survive. But that, for 30 years is where I had lived; in, for the most part, an evil world, ruled by man, as he denied and tortured all things that would be thought to be God—in his thirst for whatever it was that had waged a world of war. It seemed as though someone were sending a message, and it had been years since I had felt safe or comfortable anywhere, anyway—so I thought it best not to care, knowing that all in all, that the intentional hurt and harm done to me by any man, or any entity otherwise, would prove to l invoke the karmic justice law unto itself; that whatever pain I experienced would be amplified by its giver, and reflected back—that anyone who intended to hurt or kill me—would only hurt or kill themselves in doing so. At the very least, I was inspired to continue writing the script which I had drifted from entirely—its contents and its driver too mad to be palpable, however—as sometimes this kind of magic did occur in flashes at random, with vivid visions as if I were watching—or even living inside of the scene itself, spoke volumes that it should—or would, whether I wanted it or not, be written eventually. ‘Man, fuck Jimmy Fallon.' I knew nothing of the man at all besides his name and occupation, and that something had plastered him permanently into my mind with some kind of irreparable cement I could not seem to break lose or free from—and it was going to stay that way. The entirety of the festival project and all I had been prompted to have written had become a massive headache. I have a massive headache. UGH. Perhaps it was more multidimensionally attributed to the fact that I had been fawning over affordable razorblazes—I had been almost salivating at the thought of bleeding from my wrists—a constant pressure from the lack of things I wanted and needed piling up at my doorstep, my overdue bills, and the harrowing and what seemed like *manacle. Hm. A maniacle attack on my sanity, not actually practitioned by my abuser, but probably more likely the government, masquerading as such to plot and plan around various secret expirimentation, which would of course within the century become common knowledge, but as for such time we're simply conspiracies, perhaps to hide the shameful loss which was the war being fought with technology—which the dumbing down and brainwashing of millions had left us at an extreme risk, and those were were not at risk, with extreme bias against that which they had no ability or interest to understand. Unremarkably so, I was still astonished that something did indeed seem to have happened—something that was not in my head at all, but rather, very much outside of it—and it was beginning to occur to me that perhaps others had gained an interest in what indeed seemed to be attacking me, for years, by then, with fear, humiliation, and detriment—to which I could only ever think to fight with white magic; there was a controlled chaos to what seemed like my being at a wits end, which I was, but also wasn't—for the most part, at least in public, I could take even the most outrageous offenses poignantly and tactfully, however sometimes realizing that—in Keisha having left her sunglasses behind, she had also left with them a little bit of Harlem— “Move.” The mindless drone controlled robots often stepped directly into my path, as if being driven by some force which was meant to annoy or some other way terrorize me—however, I had grown accustomed to new York's overall rudeness, and had become almost socially inept..speaking of Just—socially unacceptable. What is this?! Gross. What is this?! Papaya juice. Is this a fucking—?! No it's a v8 My G-Wagon! Nice. Got it painted. What color even is that? It's like— mauve. MOVE. FUCKING-A. Jesus Christ. One time, The white devil appeared as a fucked up Edie Falco// And I was so fed up-to-here With The Bullshit, That I didn't even care what happened if I — MOVE OUT OF MY WAY: OR WHAT?! Damn, Mrs. Soprano, you look rough. Are you sure that's not just JACKIE. WHAT. That's the way Uh huh Uh huh I like it Uh huh Uh huh Schools out— Party with my friends! school's out! I'm a genie in a bottle, You gotta rub me the right way! I been too strong, for too long And I can't be without you baby! Is that all of them? Probably not: So mix, then, Probably not. Well Why not?! Because My Serato's been acting horrible. Tommy looked what I would learn to be like a be exact replica of 1988 Tom Cruise. Which reminds me… The 1987 Tom Cruise* is murdered by Supacree's jealous stalker, in a fit of rage, which spirals all known aliases and timelines into a terrible and chaotic nightmare, as Wait, what. I'm just being honest, I don't know how to write this. Here, let me help. YO. wtf. Should have had a V8! SPLASH, BITCH. WHERE's MY SHIIT, JIMMY? It's gone, I broke it. You what. It's missing; I broke it. What do you mean. AHAHA. Oh, I see what you mean, now. Yeah, that guy is different. [The amethyst shatters.] NOH. Woaaaaaaaaaaaaaaa_l GOLD. IT IS GOLDEN. THE ORB. What. The orb. It has chosen you. Uh. Oka. Who the fuck are these creatures—?! “Creetures” I love them. They are darling They are cute. Man, fuck with your bullshit—. —Stay in fucking— Where ever that's at! This is “Queens” Well, it's disgusting. GET LOST. Get lost HOW. Everything's on a grid system! FUCK. I lost it, Damn. Dang. Well, wanna play again? Nah, that's it. What?! Come on. No, seriously. I'm done. Wait, what are you doing? *pulls out rifle* WOAH. WOAH. You should go now. What is that, It's a gun, obviously. What the fuck, man! A rifle, actually, more specifically— What—why—what are you gonna do with that thing? I'm gonna shoot myself: ano— YES. In the head— Don't do that; And you, if you don't get out— Wait! Right now. *aims* Okay! Ah shit, this is getting serious: It s seriously like dick-deep in pussy in here right now. Nay: Maybe we should GO. Hello. M— Maybe we should stay: What! I like her. Get off my property. This is-/ This is MINE. I own this: This one's Mine! Oh, this is what they mean by “ecstatic dance” Actually, my feet are just coldX… Wait, hold on. Before you go off on a tangent about— mm— What is that I don't know what that is. U don't know what it is Look, I wanted that to be Dillon's baby so bad— (So did he) HAHAHAHA. I will end u Oh, baby, there's only one way you could ever do that. Everyone Thrrr she is. She's back! Aaaaaannnyyyeaaaayy— Please explain to us what's happening in this movie. Which movie The Tom Cryise one, Cause there can only be one Tom Cruise one Because Tom cruise is Tom Cruise. Wait. What. TOM HANKS YOU FORGOT MY NAME BRIEfLY YES, but also— That's WHY, this happened. TOM CRUISE I TOLD YOU I TOLD YOU I TOLD YOU-/ You STUPID BITC— Look — I gotta — Oh wait, that still works. What?! You fucked that guy too?! NO. I just. This is a lot of space. Well yeah, we're like—astronauts. How did you get this all in your loft? MAJOR TOM. ALRIGHT. I GOT IT. AHAHAHSJSJHAAHAHAHAHAHAHAHAHAHAHA NO MORE ECID. YAYAYAY. Whrrereeeeeeeeeeeeeee Wherereere in my miiiiiiiiind. Fuck I gotta buy that album….again I know I bought it once. dang. Youre cute, I know, huh. Buy me this Ok. [Beyoncé is not yet back with the coffee.] Deja Vu, Beyoncé Uh oh, uh oh— Uh oh! OHNONO ^ Matumbo AIIIIIIIIGGGGGGGHHHHHHH. Crazy in love— also Beyonce? Destiny's ChildrenS HAHAHA OK. FUCK YOU, DILLON FRANCIS. DEADMAU5 IS A WAY BETTER CONTROLLER *HEAPING GASP* YOU—TAKE THAT BACK. I WOULDNT. I will END YOU. YOU CANNOT. Where the fuck is that lady from? Oh, there she is! Pity! Oh dear! She's NEGROID: Shh, tisk-tisk. [ANNE HATHAWAY dabbed tf out.] Come on Annie! Get up! [she is not getting up] THINK OF THE KIDSz *nope* UGH. WASTED. That sucks! We gotta get her back in that princess movie before everything dies and we all collapse! Which princess movie is it?! Idk! Fuck this bitch! She's like all the princesses! KEKE Palmart* Sure! KEKE PALMER will be playing the PRINCESS from princess and the frog Put the princess—IN—the frog! NO. PUT THE PRINCESS IN THE— AGHHHH. PUT DILLON FRANCIS, BACK IN THE OVEN. NO Ugh. He's so heavy! He's not gonna fit. He WILL fit: NO: SAY UNCLE. ASHEJEBEB SAY IT. AAAAANNNNNNNNNNKKKKKKHHHH [a giant Ankh falls from the sky] Yo. That cannot be a good sign. I think it's not. SUBTRONICS *rips bong* Hey! You made it! Way, way late: Nice! Yes. Why are you naked? I don't know. SOLEÏL. Fuck, man. Wizardrddd! What is this game?! I dunno, but I just keep playing it. This shit says. This does say. This shit says ballsacks. I don't get kids these days “Ballsacks” Is that like, a good thing? Depends who's saying NEY-WHINNY-NEY-WHINNY-NEEEE Horse: ok, I win: JOHNNY DEPP literally cannot speak. Because he is not intoxicated. At all. lol someone help him, seriously. Ok, keep going. All the DISNEY CHANNEL KIDS are WILD ‘N OUT Which is ironic because— NICK CANNON Yep, Oh look, it's me again… NICK CANNON Look, the Nickelodeon Cult— What; I mean— The Illuminati just called, They want their stuff back. What STUFF. SAY IT. NEVER THAT. SAY MY NAMEs PASSWORD FALLON, YOU FUCKING HACK. oh, I'm a ‘hack' now that's— “Haha” Who's laughing?! You should be crying right about now. I'm an actor. Very funny. Tears of a clown. Shut up: I am crying, on the inside. -_- Sit down, dipshit: Ooh, now I'm dip— *cocks pistol* Shit, I thought you couldn't— Oh no, this part of the series gets pretty— You're in deep fucking shit; [JIMMY FALLON sits calmly at his desk, he scoops some “sugar” into his coffee and stirs, seemingly emotionless.] CUT TO DANCE BREAK. I wanna hold 'em like they do in Texas, please CUT TO: Texas border patrol holding cell. DIPLO (In a stupid ass cowboy hat) m *jail door slams* AH, COME ON. Fold 'em, let 'em hit me, raise it, baby, stay with me (I love it) I thought it was… “A little gambling is fun when you're with me” (I love it.) Maybe it WAS. What year was that anyway? Idk. What year was any year before [Lyrics Genius] Flashback: The 2000's Rewind it again. What did she just say? Idk. What did he say? Damn. Fuck, I missed it. Love game intuition, play the cards with spades to start THE ACE OF SPAAAAAAADES. Okay. Fine. He wants to be Satan? He's Satan. Yo, that's— SATAN. [Skrillex is Satan] Yeah, but he's so fucking cute. Supacree, what are you doing? BRB, I'm gonna go fuck this lil ass [censored] Damn. Ok. S/he does not fuck around, that guy. Yeah, that guy. And after he's been hooked, I'll play the one that's on his heart I guess we'll just have to… wait till they play it on the radio again… / Wait till the next rave. fuck. MIXTAPES. GETCHUR MIXTAPES. La da da Dee da da duh duhhh La da da Dee da daaaah da duuuuuum La da da da de da La da da da Dee da Da da Dee da da da da dum Okay, Google, let's see what you got. I got—Reddit.. r/NameThatSong 5 yr. ago Surprentis Join Can't figure out this song. Looking for help hey you guys remember that song from back in the day that went "la da dee da da da daaaa, la da dee da da da daaaaa, ah la da dee daaa da la daa dee daaa daa daa dee daa da daaa da daaaaa" i feel like it was on night at the roxbury maybe im wrong.. uh, ok— wtf is “night at the Roxbury” …Google? GOOGLE Here: you'll like this. Oh shit, ‘98 … FINALLY. JESUS CHRIST. Holy shit, you were on SNL in 1998?! Yes. How the fuck old are you? Jesus Christ! JESUS CHRIST …not as old as me. [but everyone's still mad as fuck at Jesus for eating all of the pizza] wtf, man: Just— inhaled it. *gnarf* Actually, you know what: Just stay—celibate: Oh check it out. THIS lady only shows up if I— *squints* if you what: Nothing. Nothing. ANNNNNNNE. GET. UP. She's not gonna go. She's dead bro. I'm not dead! YES! oh! She's up! YES *barfs*! [instantly back asleep] —m— That's it We're fucked. Disney's gonna kill us. The Illuminati's gonna kill us! Disney is the Illuminati. Yeah, but like—for kids. THIS IS NOT FOR KIDS. THIS IS NOT FOR KIDS. KIDS AVERT YOUR EYES, CHILDREN! All sixteen pairs of them! wtf who has that many kids Eight fucking kids, bro. ^_- ok, I like her. Yeesss. Ya. Imm drunk. K. gargle! Nah! GARGLE, RIGHT NOW OR I'll wash your mouth with soap! [pulls gun] THATS NOT SOAP. MY GUN'S NAME IS “SOAP” Shit, why are there so many guns in this shit?! Because Skrillex is like, Cartel, or whatever. And like—the Bloods. ☠️ And the Crips, probably, also— Like I said, He is Satan. GET OVER HERE AND- SHOW ME WHAT YOU GOTTTT: I got nothin. What: I got// Zero scenes You got no scene, broh? No scenes. None? Zip. None? Zero. Woah. Hold up. will— uh— “powers” Ferrel—like an animal that won't shut up, or something? Will bite you—may be rabid— Feral? You mean? Sure; whatever.d Just, stop talking, How the fuck do you do the same movie— like— infinitely. Recap: every will ferret* Sure! EVERY WILL FERRELL MOVIE IS ULTIMATELY... They're all the same movie! GET UP, After waking up in a hungover/still intoxicated rage, Anne Hathaway causes a showdown worthy of historical proportions, which concludes with her legendary “yeet” of a mysterious object of extra planetary origin—this initiates round two of the party which never should have happened, and almost never ended. In another parallel cross dimension: Irl JIMMY FALLON and Ū are imaginary friends; rather, Ū is a figment of JIMMY FALLON's imagination and vice-versa—this scene pays homage to Wilfred; they share stories with one another as they pass the bong/blunt in a solid back-to-back rotation, making the tragic stories they are telling almost hilarious, but only because they are so generously stoned. —_— So wait, he like— *passes blunt* —Here, take this— —Yeah— *passes bong* —Just switch me— Yee. So he like—“yeeted” your baby? He Yeeted my baby. *blowing out, coughing* That's not supposed to happen. No, it is not. Here, switch me. *switch* *rips* *shaking head in stoniness* [beat] So like— *rips bong* —you're like, Ū, so— You're like… I'm like, everybody. Right? Yeah. Yeah! I'm Ū, dawg. That is a cool name. Is—a cool name *hits blunt* Here, switch me— *rips bong* Is—not—a cool power to have. I bet not, though. You would imagine I wouldn't, that's in—coughs—sane. It is insane: cover your mouth: Sorry. No you're not, So how are you not like— Like what? I'm Ū, there what// So how are you not like— Seth McFarle—uhh Seth McFarlen lol *e What Uh, I am. SETH MCFARLENE No you're not, I'm right here. *suddenly not stoned* What the FUCK man: Woah, Seth McFarlene. HOW DID YOU GET INTO MY OFFICE. I walked in. That's boss status. What the fuck! I locked it! You did not. I walked in—like right behind you guys You probably forgot… You—I forgot— He forgot to lock The Rock lol stop Walk it out, Now walk it out // Walk it like I talk it Talk it like I RUN BITCH RUN FLORIST, RUN!!! Lmfao. Ok. CUT BACK TO: You probably forgot, dude. Alright, Seth McFarlene. Just—*hits blunt* stop talking . Load another bowl Giggity! *passes blunt* You want this? No, I'm straight. Are you, though? What?! Yeah, I'm— I mean, l'm good on the— You know what? Fuck it, gimmie that. Yee. Sauce. [there is a knock at the door] Welp, I gotta go. [Jimmy Fallon is suddenly alone in his office, with a blunt in one hand and a bong in the other. The lights automatically shut off; the coffee maker brings brewing automatically—-three more knocks at the door.] *sighs* [explitive] CUT TO: That fucking rager Is it day?! Is it night?! We don't know! It's been months, probably Weeks, at best— But all we actually know about this time and place is that— The HATTER is here. For fucks SAKE. GIVE ME ANOTHER BEER, SOMEBODY. ANYBODY. lol Johnny Del*. Sure JOHNNY DEPP is drinking Duh *beer?! Uh huh That's all we have, man. *light beers I'MMM BUZZZZZED LIGHTYEAR BUUUUUUUZZXXXED LIGHTYEARR no, Tim Allen, not yet. Fuck, on that note Now I know why THERES A SNAKE IN MY BOOT yeah there is! Ok, ew Ok, gross Stop ew Stop Ew. Cut lil blonde Hot as Finneas O' Connell Possible homosexual, but god love him Cause I'm hungry Lookin for lunch Somebody as scrunches Pull up and crunches Cause my monster is Lookin to Humpty Dumpty Fuck, I forgot Rosie O'Donnal! I cant get no Satiafaftion— The Rolling Stones What's wrong, Saint Jimmy? Luscius? What is it. Precious would like to see you. Oh. The prince Lucius hasn't left his chamber in days—however, as his brother Percius has just returned from war, he quickly emerges from his resting place, an alter of sorts. Damn, I'm getting a headache. I almost never have headaches. It was true, and of course, as I started to write about this prince and his so said brother, Lucius and Perseus, I was reminded once more of Athens, where I had just been however briefly, in a short astral trip of sorts, wandering about in the dreamworld, looking for something or someone in place of my pillow to hold. Did you want to walk to Trader Joe's? I mean, kind of, but no. My muscles were sore and I had just spent some two hours in the gym, not on purpose but quite by accident, though only having run just under two miles, though at least uphill, and spending the rest of the time lifting—I had been bound to mostly beans and rice, and so however was bloated and gassy, quite slow and not as strong, my regular protein just out of reach… Dang. I have so much to fucking so today. I hadn't realized that somehow it was Saturday, although just a couple days before had been a Wednesday that felt like Sunday, and now again time was all out of sorts; it was a “holiday” weekend, and I was without a doubt, drowning in my own having-to-do's, and as such, weekends and days off were entirely not a thing, besides in ways that those bustled around me—and I was sure that some days had been lost, as I was planning to visit the food bank on Friday, but had somehow skipped over the end of the week entirely—somehow, that is, and I was sure sometimes that in skipping days, meditating and fasting about, however intermittently, that time itself shuffled in all the ways I had, between cross dimensions and parallels such as I—I had been hovering somewhere between the 6th and. 10th dimensions, for the most part, and none with having to understand the undoubted shifts in my own perception of time that were bound to happen, as I sprawled across the astral plains looking and searching for a sign that the tragic poverty, restlessness, and lack of peace wound end. Bound to your alter, my dear brother? Aye. So perhaps here there was another unfounded kingdom within the realm of Ascencia—Lucius, a prince, and Percius—seemingly slated the King, and yet I had unreached such a conclusion as to assimilate an entirely factionrd world, as of yet. What did you write last night? Uh…I don't know. Well, let's see Something had shaken me from my almost-sleep, laying sprawled across my bed, in the middle of the mattress, rather than to either side, which was rare; I typically preferred the left side of the mattress, anyway, but as I waited to launder my bedding, after a sweaty and sweltering almost summer day of lounging, smothered in shea butter and lasidasicly scrawling about what recordings had been buried in my phone, between the collection of books I had practically all found in the streets of New York and the rising temperatures of the tepid summer weather, my room was starting to smell funny—and without being able to burn sage anymore, for fear of being thrown back into the streets like a dog, I with every hope in the world figured that washing my thick bedding, comforter included, would restore the crisp and rigid, almost factory clean that I found satisfactory. Songs buzzed in and out of my head as if I hadn't enough already much to do—and still, I added into my growing pile of notes and mounds of work, even more songs—this time, The Rolling Stones. I can't get no Satisfaction… …but I try— —and I try— —and I try— And I try! I can't—get no—! God, I wish I could write something like that. The rock Gods had at the very least been accompanying me, and in a certain sense, so had the Gods at The Rock; I had been forced up out of my dormant state by a voice which urged me away from my near sleep—I had been up since six AM and it was something past midnight, and still the voice said— “Get up and write!” And though I had words tinkering around in my head like little coins in some sort of metal box, none of them quite made so much since that I had to get up and write—however, still the voice, though not angry, but firm, insisted. The voice, for once, sounded female— a welcome change, and though I had become quite fond of males in general, in the solemnly celibate sense, it was a difference and yet none at all— a voice of wisdom had projected itself at me, and as I dragged myself about, reaching for a notebook and flipping through the pages, finding that the notebook was practically full… ‘great, more shit to do' I held the words that had tinkered around in my mind like little whispers until I found a page to make them full formed, and the words which fell into my hand as scriptured by the pen—my favorite writing utensil, nearly out of its cherishable gel ink, danced upon the page nearly on its own, channeling the words written as such: Once prosperous to throw The stone asunder Glisten whispers of water Tears of al tears |ter| Of the altar, For follow for fello, A felon of Antigone Grace, with shield A tattered tail, So flew with feathered Phoenix ? Feared, Foreshadowed not, Agreed upon however, Was the velvet woven path of us, So honored in her fortress . Yeah, something about Rockefeller plaza. Well there were all these hooded figures in like weird, brown velvet robes— That's true, I saw that. Yeah, I was there, You WHAT, Look what I got. Fuck me, man. You know, there's a lot more to this story. I was hoping so, but however also, hoping not. Man, Jimmy fallon's wife is super hot. Gee! Yeah man, she's so cute. W0W. I like her, They're Gods. I think they're Gods. yuh. What else did I write? There was something else? What the fuck is wrong with that guy? Somethin. Yeah. The pages of the notebook were all full, something of a book of shadows and protection spells I had used in an attempt to ward off my ex husband—how of course, that they were done with, I should very well have been jotting them into with all the notes, into the documents—later to burn them, unable to afford the parchment book I wanted. For what a withered wa t would call and honor m for fortunes duty, Glorified wherein in am shadows, Cast upon reflections in redacted incantations and enchantments, foreword come, theone who waits Believing darkness be his fate Whatever, man. Fuck Jimmy Fallon. If you really feel that way! I feel a lot of ways. Well, don't. I'm so, so hungry… So, so lonely… So, so fuckin broke. Man—I learned all this dumb ass magic just to protect myself from this guy, and all this still happens! I think it's just Satan. [Satan Appears] Man— she is JACKED. Try this one. Flllow me, boy! Uh— okay. I'm staying single forever. Don't look at me. That's my girl. Don't look at me. What the fuck. Stop looking at her: Don't look at me! Men are hopeless. Fuck dude, like, the worst thing imaginable is that this Jimmy Fallon dude actually hates me so much for this— What? Uh oh. And is so fucking powerful. He is. A very, very powerful. Well, what is it! We don't— know. *gasps* He's a— SHHHHHH. [Redacted] Well, that's not doing much, is it? Seriously, just kill yourself again. Might have to! Fuck, why do all these robot demons SMELL like him? Satan? Yep. Satan ?! I'm— Seriously, save him. Seriously, God really loves Jimmy Fallon— (He's one of my favorites.) Favorite what's?! Just—favorites. Damn. This is getting to be like Greek Theatre. Great. Now everybody's gonna fucking die. It could be a comedy. Holy shit, yeah— This has mad good production value. I love it! Strange shit I just did give my OWSLA tat a kiss Smile for the camera, Pageantry of mattresses, A master of the MagicIan's chance at Chancellors dance, Look at Harrison trance Can I run a mile for President? A toy chest, A boy, just Obama I'm so much older Been through such trauma What the Willy wonka I should apply for Harvard New York over Boston So Columbia or Juliard I wish Son of a bitch, this is tragic I'm too old for scholarship Diploma's in another name I just got protective orders on I should start over But the world war is another Trump drama My Amazon cart is full of karma What you want from God? A trophy husband, Let's call him Oscar -undefeated. All this is weird I think imm married to the music Think of growing a beard Opening a beer And getting out of here All of my fears is Mommy dearest mommy dearest All of my hell is A body Imm a seed in a forest Been buried Bipolar, Supposedly, So tell me, Faery; How could I love you The way I I do If my mood We're atabilized My blu life Gave me blue eyes Clean tub of water I don't belong here It's too late for me too Swapping Vogue for the People My people who hate me But I been so played, The hatred betrays me I walk both ways Down a one way street {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū.

‘…is that a threat?' ‘Hm…' If it was, it was at least a good one— I was scared, at first, upon seeing what I had thought to be perhaps a package robbery—but was actually just a slit through the package—a clean slice, more specifically, through the bubble wrapped [Redacted] package, however, its contents still inside; The package had been left underneath another—which didn't belong to me, and though I had been cornered by security more than once at the [Redacted] market, for putting my nutritional needs above that of my morality—or rather, thought my morlity to exclude guilt from the nessecities, especially as I often pondered upon the elite had kept the lower classes in a devolved state by controlling the price of wellness, so much so that it had become impractical for the common being. I had never even thought to swipe someone else's mail—a personal foul, and at least in turn in that matter to all respect with karma, had never had any packages stolen, either—not that I had lived indoors long enough to have warranted that I was safe from what sometimes seemed like the non-human animals, especially of New York City, who crawled about the lower realms littering and taking up precious time, space, and energy—the almost less-than-common man, but still, actually and unfortunately—common, especially in New York. The Sage sticks and palo santo I had ordered were still intact, entirely— to my surprise, and I wondered what else my package might have included, without remembering such. I had become enfuriated with [Redacted], after realizing that there had been hidden charges and unrecognizable fees, on my credit card, of all the places—the Capital One credit card, with sky high interest rates and robotic customer service drones—who I mostly would hate talking to— and it seemed as though the [Redacted] algorithm had become just as predatory as the rest of them—as uncivilized as the trash-dropping, coughing subhumans that plagued the post-pandemic world, if there was such a thing. The overcrowded mess and overall pollution of the city at whole at best made it still acceptable to wear masks in public, to which I took full advantage of doing, as needed—which was as often as possible, actually, if not to hide the curiosities, and of course, the objections to whatever it would be on the train that sparked distaste—worst yet, I might even smile, and reveal my gap-tooth, only acceptable on Hurley models and Madonna, of course—either of whom I wished I was. It was 3:16 AM, and a long lost song found its way into my head as I fettered the words into the document, multitasking a “modest” breakfast as I mulled over the day, most of which I had spent attempting peace and solitude, neither of which actually even seemed attainable in my 3rd floor “office”, being so careful not to consider anything home or a comfort, for the fear that whatever Death curse someone had thought to m destroy me with once would extend into all the years and all the realms of my presence— it was true, as I explained to my aunt, that the people around me had within the last few years turned into demonic and vampiric advocates of what seemed to be the devil itself, were I even holy enough to be considered sacred in such a way that the devil may be chasing me—and I was, in some ways, but not in others—my ability to aggrandize my judgements and flex my morality where needed, but less when wanted as it stood true that I never actually enjoyed immorality—I hated living in a world where one would be made to steal, and made to lie, in order to survive. But that, for 30 years is where I had lived; in, for the most part, an evil world, ruled by man, as he denied and tortured all things that would be thought to be God—in his thirst for whatever it was that had waged a world of war. It seemed as though someone were sending a message, and it had been years since I had felt safe or comfortable anywhere, anyway—so I thought it best not to care, knowing that all in all, that the intentional hurt and harm done to me by any man, or any entity otherwise, would prove to l invoke the karmic justice law unto itself; that whatever pain I experienced would be amplified by its giver, and reflected back—that anyone who intended to hurt or kill me—would only hurt or kill themselves in doing so. At the very least, I was inspired to continue writing the script which I had drifted from entirely—its contents and its driver too mad to be palpable, however—as sometimes this kind of magic did occur in flashes at random, with vivid visions as if I were watching—or even living inside of the scene itself, spoke volumes that it should—or would, whether I wanted it or not, be written eventually. ‘Man, fuck Jimmy Fallon.' I knew nothing of the man at all besides his name and occupation, and that something had plastered him permanently into my mind with some kind of irreparable cement I could not seem to break lose or free from—and it was going to stay that way. The entirety of the festival project and all I had been prompted to have written had become a massive headache. I have a massive headache. UGH. Perhaps it was more multidimensionally attributed to the fact that I had been fawning over affordable razorblazes—I had been almost salivating at the thought of bleeding from my wrists—a constant pressure from the lack of things I wanted and needed piling up at my doorstep, my overdue bills, and the harrowing and what seemed like *manacle. Hm. A maniacle attack on my sanity, not actually practitioned by my abuser, but probably more likely the government, masquerading as such to plot and plan around various secret expirimentation, which would of course within the century become common knowledge, but as for such time we're simply conspiracies, perhaps to hide the shameful loss which was the war being fought with technology—which the dumbing down and brainwashing of millions had left us at an extreme risk, and those were were not at risk, with extreme bias against that which they had no ability or interest to understand. Unremarkably so, I was still astonished that something did indeed seem to have happened—something that was not in my head at all, but rather, very much outside of it—and it was beginning to occur to me that perhaps others had gained an interest in what indeed seemed to be attacking me, for years, by then, with fear, humiliation, and detriment—to which I could only ever think to fight with white magic; there was a controlled chaos to what seemed like my being at a wits end, which I was, but also wasn't—for the most part, at least in public, I could take even the most outrageous offenses poignantly and tactfully, however sometimes realizing that—in Keisha having left her sunglasses behind, she had also left with them a little bit of Harlem— “Move.” The mindless drone controlled robots often stepped directly into my path, as if being driven by some force which was meant to annoy or some other way terrorize me—however, I had grown accustomed to new York's overall rudeness, and had become almost socially inept..speaking of Just—socially unacceptable. What is this?! Gross. What is this?! Papaya juice. Is this a fucking—?! No it's a v8 My G-Wagon! Nice. Got it painted. What color even is that? It's like— mauve. MOVE. FUCKING-A. Jesus Christ. One time, The white devil appeared as a fucked up Edie Falco// And I was so fed up-to-here With The Bullshit, That I didn't even care what happened if I — MOVE OUT OF MY WAY: OR WHAT?! Damn, Mrs. Soprano, you look rough. Are you sure that's not just JACKIE. WHAT. That's the way Uh huh Uh huh I like it Uh huh Uh huh Schools out— Party with my friends! school's out! I'm a genie in a bottle, You gotta rub me the right way! I been too strong, for too long And I can't be without you baby! Is that all of them? Probably not: So mix, then, Probably not. Well Why not?! Because My Serato's been acting horrible. Tommy looked what I would learn to be like a be exact replica of 1988 Tom Cruise. Which reminds me… The 1987 Tom Cruise* is murdered by Supacree's jealous stalker, in a fit of rage, which spirals all known aliases and timelines into a terrible and chaotic nightmare, as Wait, what. I'm just being honest, I don't know how to write this. Here, let me help. YO. wtf. Should have had a V8! SPLASH, BITCH. WHERE's MY SHIIT, JIMMY? It's gone, I broke it. You what. It's missing; I broke it. What do you mean. AHAHA. Oh, I see what you mean, now. Yeah, that guy is different. [The amethyst shatters.] NOH. Woaaaaaaaaaaaaaaa_l GOLD. IT IS GOLDEN. THE ORB. What. The orb. It has chosen you. Uh. Oka. Who the fuck are these creatures—?! “Creetures” I love them. They are darling They are cute. Man, fuck with your bullshit—. —Stay in fucking— Where ever that's at! This is “Queens” Well, it's disgusting. GET LOST. Get lost HOW. Everything's on a grid system! FUCK. I lost it, Damn. Dang. Well, wanna play again? Nah, that's it. What?! Come on. No, seriously. I'm done. Wait, what are you doing? *pulls out rifle* WOAH. WOAH. You should go now. What is that, It's a gun, obviously. What the fuck, man! A rifle, actually, more specifically— What—why—what are you gonna do with that thing? I'm gonna shoot myself: ano— YES. In the head— Don't do that; And you, if you don't get out— Wait! Right now. *aims* Okay! Ah shit, this is getting serious: It s seriously like dick-deep in pussy in here right now. Nay: Maybe we should GO. Hello. M— Maybe we should stay: What! I like her. Get off my property. This is-/ This is MINE. I own this: This one's Mine! Oh, this is what they mean by “ecstatic dance” Actually, my feet are just coldX… Wait, hold on. Before you go off on a tangent about— mm— What is that I don't know what that is. U don't know what it is Look, I wanted that to be Dillon's baby so bad— (So did he) HAHAHAHA. I will end u Oh, baby, there's only one way you could ever do that. Everyone Thrrr she is. She's back! Aaaaaannnyyyeaaaayy— Please explain to us what's happening in this movie. Which movie The Tom Cryise one, Cause there can only be one Tom Cruise one Because Tom cruise is Tom Cruise. Wait. What. TOM HANKS YOU FORGOT MY NAME BRIEfLY YES, but also— That's WHY, this happened. TOM CRUISE I TOLD YOU I TOLD YOU I TOLD YOU-/ You STUPID BITC— Look — I gotta — Oh wait, that still works. What?! You fucked that guy too?! NO. I just. This is a lot of space. Well yeah, we're like—astronauts. How did you get this all in your loft? MAJOR TOM. ALRIGHT. I GOT IT. AHAHAHSJSJHAAHAHAHAHAHAHAHAHAHAHA NO MORE ECID. YAYAYAY. Whrrereeeeeeeeeeeeeee Wherereere in my miiiiiiiiind. Fuck I gotta buy that album….again I know I bought it once. dang. Youre cute, I know, huh. Buy me this Ok. [Beyoncé is not yet back with the coffee.] Deja Vu, Beyoncé Uh oh, uh oh— Uh oh! OHNONO ^ Matumbo AIIIIIIIIGGGGGGGHHHHHHH. Crazy in love— also Beyonce? Destiny's ChildrenS HAHAHA OK. FUCK YOU, DILLON FRANCIS. DEADMAU5 IS A WAY BETTER CONTROLLER *HEAPING GASP* YOU—TAKE THAT BACK. I WOULDNT. I will END YOU. YOU CANNOT. Where the fuck is that lady from? Oh, there she is! Pity! Oh dear! She's NEGROID: Shh, tisk-tisk. [ANNE HATHAWAY dabbed tf out.] Come on Annie! Get up! [she is not getting up] THINK OF THE KIDSz *nope* UGH. WASTED. That sucks! We gotta get her back in that princess movie before everything dies and we all collapse! Which princess movie is it?! Idk! Fuck this bitch! She's like all the princesses! KEKE Palmart* Sure! KEKE PALMER will be playing the PRINCESS from princess and the frog Put the princess—IN—the frog! NO. PUT THE PRINCESS IN THE— AGHHHH. PUT DILLON FRANCIS, BACK IN THE OVEN. NO Ugh. He's so heavy! He's not gonna fit. He WILL fit: NO: SAY UNCLE. ASHEJEBEB SAY IT. AAAAANNNNNNNNNNKKKKKKHHHH [a giant Ankh falls from the sky] Yo. That cannot be a good sign. I think it's not. SUBTRONICS *rips bong* Hey! You made it! Way, way late: Nice! Yes. Why are you naked? I don't know. SOLEÏL. Fuck, man. Wizardrddd! What is this game?! I dunno, but I just keep playing it. This shit says. This does say. This shit says ballsacks. I don't get kids these days “Ballsacks” Is that like, a good thing? Depends who's saying NEY-WHINNY-NEY-WHINNY-NEEEE Horse: ok, I win: JOHNNY DEPP literally cannot speak. Because he is not intoxicated. At all. lol someone help him, seriously. Ok, keep going. All the DISNEY CHANNEL KIDS are WILD ‘N OUT Which is ironic because— NICK CANNON Yep, Oh look, it's me again… NICK CANNON Look, the Nickelodeon Cult— What; I mean— The Illuminati just called, They want their stuff back. What STUFF. SAY IT. NEVER THAT. SAY MY NAMEs PASSWORD FALLON, YOU FUCKING HACK. oh, I'm a ‘hack' now that's— “Haha” Who's laughing?! You should be crying right about now. I'm an actor. Very funny. Tears of a clown. Shut up: I am crying, on the inside. -_- Sit down, dipshit: Ooh, now I'm dip— *cocks pistol* Shit, I thought you couldn't— Oh no, this part of the series gets pretty— You're in deep fucking shit; [JIMMY FALLON sits calmly at his desk, he scoops some “sugar” into his coffee and stirs, seemingly emotionless.] CUT TO DANCE BREAK. I wanna hold 'em like they do in Texas, please CUT TO: Texas border patrol holding cell. DIPLO (In a stupid ass cowboy hat) m *jail door slams* AH, COME ON. Fold 'em, let 'em hit me, raise it, baby, stay with me (I love it) I thought it was… “A little gambling is fun when you're with me” (I love it.) Maybe it WAS. What year was that anyway? Idk. What year was any year before [Lyrics Genius] Flashback: The 2000's Rewind it again. What did she just say? Idk. What did he say? Damn. Fuck, I missed it. Love game intuition, play the cards with spades to start THE ACE OF SPAAAAAAADES. Okay. Fine. He wants to be Satan? He's Satan. Yo, that's— SATAN. [Skrillex is Satan] Yeah, but he's so fucking cute. Supacree, what are you doing? BRB, I'm gonna go fuck this lil ass [censored] Damn. Ok. S/he does not fuck around, that guy. Yeah, that guy. And after he's been hooked, I'll play the one that's on his heart I guess we'll just have to… wait till they play it on the radio again… / Wait till the next rave. fuck. MIXTAPES. GETCHUR MIXTAPES. La da da Dee da da duh duhhh La da da Dee da daaaah da duuuuuum La da da da de da La da da da Dee da Da da Dee da da da da dum Okay, Google, let's see what you got. I got—Reddit.. r/NameThatSong 5 yr. ago Surprentis Join Can't figure out this song. Looking for help hey you guys remember that song from back in the day that went "la da dee da da da daaaa, la da dee da da da daaaaa, ah la da dee daaa da la daa dee daaa daa daa dee daa da daaa da daaaaa" i feel like it was on night at the roxbury maybe im wrong.. uh, ok— wtf is “night at the Roxbury” …Google? GOOGLE Here: you'll like this. Oh shit, ‘98 … FINALLY. JESUS CHRIST. Holy shit, you were on SNL in 1998?! Yes. How the fuck old are you? Jesus Christ! JESUS CHRIST …not as old as me. [but everyone's still mad as fuck at Jesus for eating all of the pizza] wtf, man: Just— inhaled it. *gnarf* Actually, you know what: Just stay—celibate: Oh check it out. THIS lady only shows up if I— *squints* if you what: Nothing. Nothing. ANNNNNNNE. GET. UP. She's not gonna go. She's dead bro. I'm not dead! YES! oh! She's up! YES *barfs*! [instantly back asleep] —m— That's it We're fucked. Disney's gonna kill us. The Illuminati's gonna kill us! Disney is the Illuminati. Yeah, but like—for kids. THIS IS NOT FOR KIDS. THIS IS NOT FOR KIDS. KIDS AVERT YOUR EYES, CHILDREN! All sixteen pairs of them! wtf who has that many kids Eight fucking kids, bro. ^_- ok, I like her. Yeesss. Ya. Imm drunk. K. gargle! Nah! GARGLE, RIGHT NOW OR I'll wash your mouth with soap! [pulls gun] THATS NOT SOAP. MY GUN'S NAME IS “SOAP” Shit, why are there so many guns in this shit?! Because Skrillex is like, Cartel, or whatever. And like—the Bloods. ☠️ And the Crips, probably, also— Like I said, He is Satan. GET OVER HERE AND- SHOW ME WHAT YOU GOTTTT: I got nothin. What: I got// Zero scenes You got no scene, broh? No scenes. None? Zip. None? Zero. Woah. Hold up. will— uh— “powers” Ferrel—like an animal that won't shut up, or something? Will bite you—may be rabid— Feral? You mean? Sure; whatever.d Just, stop talking, How the fuck do you do the same movie— like— infinitely. Recap: every will ferret* Sure! EVERY WILL FERRELL MOVIE IS ULTIMATELY... They're all the same movie! GET UP, After waking up in a hungover/still intoxicated rage, Anne Hathaway causes a showdown worthy of historical proportions, which concludes with her legendary “yeet” of a mysterious object of extra planetary origin—this initiates round two of the party which never should have happened, and almost never ended. In another parallel cross dimension: Irl JIMMY FALLON and Ū are imaginary friends; rather, Ū is a figment of JIMMY FALLON's imagination and vice-versa—this scene pays homage to Wilfred; they share stories with one another as they pass the bong/blunt in a solid back-to-back rotation, making the tragic stories they are telling almost hilarious, but only because they are so generously stoned. —_— So wait, he like— *passes blunt* —Here, take this— —Yeah— *passes bong* —Just switch me— Yee. So he like—“yeeted” your baby? He Yeeted my baby. *blowing out, coughing* That's not supposed to happen. No, it is not. Here, switch me. *switch* *rips* *shaking head in stoniness* [beat] So like— *rips bong* —you're like, Ū, so— You're like… I'm like, everybody. Right? Yeah. Yeah! I'm Ū, dawg. That is a cool name. Is—a cool name *hits blunt* Here, switch me— *rips bong* Is—not—a cool power to have. I bet not, though. You would imagine I wouldn't, that's in—coughs—sane. It is insane: cover your mouth: Sorry. No you're not, So how are you not like— Like what? I'm Ū, there what// So how are you not like— Seth McFarle—uhh Seth McFarlen lol *e What Uh, I am. SETH MCFARLENE No you're not, I'm right here. *suddenly not stoned* What the FUCK man: Woah, Seth McFarlene. HOW DID YOU GET INTO MY OFFICE. I walked in. That's boss status. What the fuck! I locked it! You did not. I walked in—like right behind you guys You probably forgot… You—I forgot— He forgot to lock The Rock lol stop Walk it out, Now walk it out // Walk it like I talk it Talk it like I RUN BITCH RUN FLORIST, RUN!!! Lmfao. Ok. CUT BACK TO: You probably forgot, dude. Alright, Seth McFarlene. Just—*hits blunt* stop talking . Load another bowl Giggity! *passes blunt* You want this? No, I'm straight. Are you, though? What?! Yeah, I'm— I mean, l'm good on the— You know what? Fuck it, gimmie that. Yee. Sauce. [there is a knock at the door] Welp, I gotta go. [Jimmy Fallon is suddenly alone in his office, with a blunt in one hand and a bong in the other. The lights automatically shut off; the coffee maker brings brewing automatically—-three more knocks at the door.] *sighs* [explitive] CUT TO: That fucking rager Is it day?! Is it night?! We don't know! It's been months, probably Weeks, at best— But all we actually know about this time and place is that— The HATTER is here. For fucks SAKE. GIVE ME ANOTHER BEER, SOMEBODY. ANYBODY. lol Johnny Del*. Sure JOHNNY DEPP is drinking Duh *beer?! Uh huh That's all we have, man. *light beers I'MMM BUZZZZZED LIGHTYEAR BUUUUUUUZZXXXED LIGHTYEARR no, Tim Allen, not yet. Fuck, on that note Now I know why THERES A SNAKE IN MY BOOT yeah there is! Ok, ew Ok, gross Stop ew Stop Ew. Cut lil blonde Hot as Finneas O' Connell Possible homosexual, but god love him Cause I'm hungry Lookin for lunch Somebody as scrunches Pull up and crunches Cause my monster is Lookin to Humpty Dumpty Fuck, I forgot Rosie O'Donnal! I cant get no Satiafaftion— The Rolling Stones What's wrong, Saint Jimmy? Luscius? What is it. Precious would like to see you. Oh. The prince Lucius hasn't left his chamber in days—however, as his brother Percius has just returned from war, he quickly emerges from his resting place, an alter of sorts. Damn, I'm getting a headache. I almost never have headaches. It was true, and of course, as I started to write about this prince and his so said brother, Lucius and Perseus, I was reminded once more of Athens, where I had just been however briefly, in a short astral trip of sorts, wandering about in the dreamworld, looking for something or someone in place of my pillow to hold. Did you want to walk to Trader Joe's? I mean, kind of, but no. My muscles were sore and I had just spent some two hours in the gym, not on purpose but quite by accident, though only having run just under two miles, though at least uphill, and spending the rest of the time lifting—I had been bound to mostly beans and rice, and so however was bloated and gassy, quite slow and not as strong, my regular protein just out of reach… Dang. I have so much to fucking so today. I hadn't realized that somehow it was Saturday, although just a couple days before had been a Wednesday that felt like Sunday, and now again time was all out of sorts; it was a “holiday” weekend, and I was without a doubt, drowning in my own having-to-do's, and as such, weekends and days off were entirely not a thing, besides in ways that those bustled around me—and I was sure that some days had been lost, as I was planning to visit the food bank on Friday, but had somehow skipped over the end of the week entirely—somehow, that is, and I was sure sometimes that in skipping days, meditating and fasting about, however intermittently, that time itself shuffled in all the ways I had, between cross dimensions and parallels such as I—I had been hovering somewhere between the 6th and. 10th dimensions, for the most part, and none with having to understand the undoubted shifts in my own perception of time that were bound to happen, as I sprawled across the astral plains looking and searching for a sign that the tragic poverty, restlessness, and lack of peace wound end. Bound to your alter, my dear brother? Aye. So perhaps here there was another unfounded kingdom within the realm of Ascencia—Lucius, a prince, and Percius—seemingly slated the King, and yet I had unreached such a conclusion as to assimilate an entirely factionrd world, as of yet. What did you write last night? Uh…I don't know. Well, let's see Something had shaken me from my almost-sleep, laying sprawled across my bed, in the middle of the mattress, rather than to either side, which was rare; I typically preferred the left side of the mattress, anyway, but as I waited to launder my bedding, after a sweaty and sweltering almost summer day of lounging, smothered in shea butter and lasidasicly scrawling about what recordings had been buried in my phone, between the collection of books I had practically all found in the streets of New York and the rising temperatures of the tepid summer weather, my room was starting to smell funny—and without being able to burn sage anymore, for fear of being thrown back into the streets like a dog, I with every hope in the world figured that washing my thick bedding, comforter included, would restore the crisp and rigid, almost factory clean that I found satisfactory. Songs buzzed in and out of my head as if I hadn't enough already much to do—and still, I added into my growing pile of notes and mounds of work, even more songs—this time, The Rolling Stones. I can't get no Satisfaction… …but I try— —and I try— —and I try— And I try! I can't—get no—! God, I wish I could write something like that. The rock Gods had at the very least been accompanying me, and in a certain sense, so had the Gods at The Rock; I had been forced up out of my dormant state by a voice which urged me away from my near sleep—I had been up since six AM and it was something past midnight, and still the voice said— “Get up and write!” And though I had words tinkering around in my head like little coins in some sort of metal box, none of them quite made so much since that I had to get up and write—however, still the voice, though not angry, but firm, insisted. The voice, for once, sounded female— a welcome change, and though I had become quite fond of males in general, in the solemnly celibate sense, it was a difference and yet none at all— a voice of wisdom had projected itself at me, and as I dragged myself about, reaching for a notebook and flipping through the pages, finding that the notebook was practically full… ‘great, more shit to do' I held the words that had tinkered around in my mind like little whispers until I found a page to make them full formed, and the words which fell into my hand as scriptured by the pen—my favorite writing utensil, nearly out of its cherishable gel ink, danced upon the page nearly on its own, channeling the words written as such: Once prosperous to throw The stone asunder Glisten whispers of water Tears of al tears |ter| Of the altar, For follow for fello, A felon of Antigone Grace, with shield A tattered tail, So flew with feathered Phoenix ? Feared, Foreshadowed not, Agreed upon however, Was the velvet woven path of us, So honored in her fortress . Yeah, something about Rockefeller plaza. Well there were all these hooded figures in like weird, brown velvet robes— That's true, I saw that. Yeah, I was there, You WHAT, Look what I got. Fuck me, man. You know, there's a lot more to this story. I was hoping so, but however also, hoping not. Man, Jimmy fallon's wife is super hot. Gee! Yeah man, she's so cute. W0W. I like her, They're Gods. I think they're Gods. yuh. What else did I write? There was something else? What the fuck is wrong with that guy? Somethin. Yeah. The pages of the notebook were all full, something of a book of shadows and protection spells I had used in an attempt to ward off my ex husband—how of course, that they were done with, I should very well have been jotting them into with all the notes, into the documents—later to burn them, unable to afford the parchment book I wanted. For what a withered wa t would call and honor m for fortunes duty, Glorified wherein in am shadows, Cast upon reflections in redacted incantations and enchantments, foreword come, theone who waits Believing darkness be his fate Whatever, man. Fuck Jimmy Fallon. If you really feel that way! I feel a lot of ways. Well, don't. I'm so, so hungry… So, so lonely… So, so fuckin broke. Man—I learned all this dumb ass magic just to protect myself from this guy, and all this still happens! I think it's just Satan. [Satan Appears] Man— she is JACKED. Try this one. Flllow me, boy! Uh— okay. I'm staying single forever. Don't look at me. That's my girl. Don't look at me. What the fuck. Stop looking at her: Don't look at me! Men are hopeless. Fuck dude, like, the worst thing imaginable is that this Jimmy Fallon dude actually hates me so much for this— What? Uh oh. And is so fucking powerful. He is. A very, very powerful. Well, what is it! We don't— know. *gasps* He's a— SHHHHHH. [Redacted] Well, that's not doing much, is it? Seriously, just kill yourself again. Might have to! Fuck, why do all these robot demons SMELL like him? Satan? Yep. Satan ?! I'm— Seriously, save him. Seriously, God really loves Jimmy Fallon— (He's one of my favorites.) Favorite what's?! Just—favorites. Damn. This is getting to be like Greek Theatre. Great. Now everybody's gonna fucking die. It could be a comedy. Holy shit, yeah— This has mad good production value. I love it! Strange shit I just did give my OWSLA tat a kiss Smile for the camera, Pageantry of mattresses, A master of the MagicIan's chance at Chancellors dance, Look at Harrison trance Can I run a mile for President? A toy chest, A boy, just Obama I'm so much older Been through such trauma What the Willy wonka I should apply for Harvard New York over Boston So Columbia or Juliard I wish Son of a bitch, this is tragic I'm too old for scholarship Diploma's in another name I just got protective orders on I should start over But the world war is another Trump drama My Amazon cart is full of karma What you want from God? A trophy husband, Let's call him Oscar -undefeated. All this is weird I think imm married to the music Think of growing a beard Opening a beer And getting out of here All of my fears is Mommy dearest mommy dearest All of my hell is A body Imm a seed in a forest Been buried Bipolar, Supposedly, So tell me, Faery; How could I love you The way I I do If my mood We're atabilized My blu life Gave me blue eyes Clean tub of water I don't belong here It's too late for me too Swapping Vogue for the People My people who hate me But I been so played, The hatred betrays me I walk both ways Down a one way street {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū.

‘…is that a threat?' ‘Hm…' If it was, it was at least a good one— I was scared, at first, upon seeing what I had thought to be perhaps a package robbery—but was actually just a slit through the package—a clean slice, more specifically, through the bubble wrapped [Redacted] package, however, its contents still inside; The package had been left underneath another—which didn't belong to me, and though I had been cornered by security more than once at the [Redacted] market, for putting my nutritional needs above that of my morality—or rather, thought my morlity to exclude guilt from the nessecities, especially as I often pondered upon the elite had kept the lower classes in a devolved state by controlling the price of wellness, so much so that it had become impractical for the common being. I had never even thought to swipe someone else's mail—a personal foul, and at least in turn in that matter to all respect with karma, had never had any packages stolen, either—not that I had lived indoors long enough to have warranted that I was safe from what sometimes seemed like the non-human animals, especially of New York City, who crawled about the lower realms littering and taking up precious time, space, and energy—the almost less-than-common man, but still, actually and unfortunately—common, especially in New York. The Sage sticks and palo santo I had ordered were still intact, entirely— to my surprise, and I wondered what else my package might have included, without remembering such. I had become enfuriated with [Redacted], after realizing that there had been hidden charges and unrecognizable fees, on my credit card, of all the places—the Capital One credit card, with sky high interest rates and robotic customer service drones—who I mostly would hate talking to— and it seemed as though the [Redacted] algorithm had become just as predatory as the rest of them—as uncivilized as the trash-dropping, coughing subhumans that plagued the post-pandemic world, if there was such a thing. The overcrowded mess and overall pollution of the city at whole at best made it still acceptable to wear masks in public, to which I took full advantage of doing, as needed—which was as often as possible, actually, if not to hide the curiosities, and of course, the objections to whatever it would be on the train that sparked distaste—worst yet, I might even smile, and reveal my gap-tooth, only acceptable on Hurley models and Madonna, of course—either of whom I wished I was. It was 3:16 AM, and a long lost song found its way into my head as I fettered the words into the document, multitasking a “modest” breakfast as I mulled over the day, most of which I had spent attempting peace and solitude, neither of which actually even seemed attainable in my 3rd floor “office”, being so careful not to consider anything home or a comfort, for the fear that whatever Death curse someone had thought to m destroy me with once would extend into all the years and all the realms of my presence— it was true, as I explained to my aunt, that the people around me had within the last few years turned into demonic and vampiric advocates of what seemed to be the devil itself, were I even holy enough to be considered sacred in such a way that the devil may be chasing me—and I was, in some ways, but not in others—my ability to aggrandize my judgements and flex my morality where needed, but less when wanted as it stood true that I never actually enjoyed immorality—I hated living in a world where one would be made to steal, and made to lie, in order to survive. But that, for 30 years is where I had lived; in, for the most part, an evil world, ruled by man, as he denied and tortured all things that would be thought to be God—in his thirst for whatever it was that had waged a world of war. It seemed as though someone were sending a message, and it had been years since I had felt safe or comfortable anywhere, anyway—so I thought it best not to care, knowing that all in all, that the intentional hurt and harm done to me by any man, or any entity otherwise, would prove to l invoke the karmic justice law unto itself; that whatever pain I experienced would be amplified by its giver, and reflected back—that anyone who intended to hurt or kill me—would only hurt or kill themselves in doing so. At the very least, I was inspired to continue writing the script which I had drifted from entirely—its contents and its driver too mad to be palpable, however—as sometimes this kind of magic did occur in flashes at random, with vivid visions as if I were watching—or even living inside of the scene itself, spoke volumes that it should—or would, whether I wanted it or not, be written eventually. ‘Man, fuck Jimmy Fallon.' I knew nothing of the man at all besides his name and occupation, and that something had plastered him permanently into my mind with some kind of irreparable cement I could not seem to break lose or free from—and it was going to stay that way. The entirety of the festival project and all I had been prompted to have written had become a massive headache. I have a massive headache. UGH. Perhaps it was more multidimensionally attributed to the fact that I had been fawning over affordable razorblazes—I had been almost salivating at the thought of bleeding from my wrists—a constant pressure from the lack of things I wanted and needed piling up at my doorstep, my overdue bills, and the harrowing and what seemed like *manacle. Hm. A maniacle attack on my sanity, not actually practitioned by my abuser, but probably more likely the government, masquerading as such to plot and plan around various secret expirimentation, which would of course within the century become common knowledge, but as for such time we're simply conspiracies, perhaps to hide the shameful loss which was the war being fought with technology—which the dumbing down and brainwashing of millions had left us at an extreme risk, and those were were not at risk, with extreme bias against that which they had no ability or interest to understand. Unremarkably so, I was still astonished that something did indeed seem to have happened—something that was not in my head at all, but rather, very much outside of it—and it was beginning to occur to me that perhaps others had gained an interest in what indeed seemed to be attacking me, for years, by then, with fear, humiliation, and detriment—to which I could only ever think to fight with white magic; there was a controlled chaos to what seemed like my being at a wits end, which I was, but also wasn't—for the most part, at least in public, I could take even the most outrageous offenses poignantly and tactfully, however sometimes realizing that—in Keisha having left her sunglasses behind, she had also left with them a little bit of Harlem— “Move.” The mindless drone controlled robots often stepped directly into my path, as if being driven by some force which was meant to annoy or some other way terrorize me—however, I had grown accustomed to new York's overall rudeness, and had become almost socially inept..speaking of Just—socially unacceptable. What is this?! Gross. What is this?! Papaya juice. Is this a fucking—?! No it's a v8 My G-Wagon! Nice. Got it painted. What color even is that? It's like— mauve. MOVE. FUCKING-A. Jesus Christ. One time, The white devil appeared as a fucked up Edie Falco// And I was so fed up-to-here With The Bullshit, That I didn't even care what happened if I — MOVE OUT OF MY WAY: OR WHAT?! Damn, Mrs. Soprano, you look rough. Are you sure that's not just JACKIE. WHAT. That's the way Uh huh Uh huh I like it Uh huh Uh huh Schools out— Party with my friends! school's out! I'm a genie in a bottle, You gotta rub me the right way! I been too strong, for too long And I can't be without you baby! Is that all of them? Probably not: So mix, then, Probably not. Well Why not?! Because My Serato's been acting horrible. Tommy looked what I would learn to be like a be exact replica of 1988 Tom Cruise. Which reminds me… The 1987 Tom Cruise* is murdered by Supacree's jealous stalker, in a fit of rage, which spirals all known aliases and timelines into a terrible and chaotic nightmare, as Wait, what. I'm just being honest, I don't know how to write this. Here, let me help. YO. wtf. Should have had a V8! SPLASH, BITCH. WHERE's MY SHIIT, JIMMY? It's gone, I broke it. You what. It's missing; I broke it. What do you mean. AHAHA. Oh, I see what you mean, now. Yeah, that guy is different. [The amethyst shatters.] NOH. Woaaaaaaaaaaaaaaa_l GOLD. IT IS GOLDEN. THE ORB. What. The orb. It has chosen you. Uh. Oka. Who the fuck are these creatures—?! “Creetures” I love them. They are darling They are cute. Man, fuck with your bullshit—. —Stay in fucking— Where ever that's at! This is “Queens” Well, it's disgusting. GET LOST. Get lost HOW. Everything's on a grid system! FUCK. I lost it, Damn. Dang. Well, wanna play again? Nah, that's it. What?! Come on. No, seriously. I'm done. Wait, what are you doing? *pulls out rifle* WOAH. WOAH. You should go now. What is that, It's a gun, obviously. What the fuck, man! A rifle, actually, more specifically— What—why—what are you gonna do with that thing? I'm gonna shoot myself: ano— YES. In the head— Don't do that; And you, if you don't get out— Wait! Right now. *aims* Okay! Ah shit, this is getting serious: It s seriously like dick-deep in pussy in here right now. Nay: Maybe we should GO. Hello. M— Maybe we should stay: What! I like her. Get off my property. This is-/ This is MINE. I own this: This one's Mine! Oh, this is what they mean by “ecstatic dance” Actually, my feet are just coldX… Wait, hold on. Before you go off on a tangent about— mm— What is that I don't know what that is. U don't know what it is Look, I wanted that to be Dillon's baby so bad— (So did he) HAHAHAHA. I will end u Oh, baby, there's only one way you could ever do that. Everyone Thrrr she is. She's back! Aaaaaannnyyyeaaaayy— Please explain to us what's happening in this movie. Which movie The Tom Cryise one, Cause there can only be one Tom Cruise one Because Tom cruise is Tom Cruise. Wait. What. TOM HANKS YOU FORGOT MY NAME BRIEfLY YES, but also— That's WHY, this happened. TOM CRUISE I TOLD YOU I TOLD YOU I TOLD YOU-/ You STUPID BITC— Look — I gotta — Oh wait, that still works. What?! You fucked that guy too?! NO. I just. This is a lot of space. Well yeah, we're like—astronauts. How did you get this all in your loft? MAJOR TOM. ALRIGHT. I GOT IT. AHAHAHSJSJHAAHAHAHAHAHAHAHAHAHAHA NO MORE ECID. YAYAYAY. Whrrereeeeeeeeeeeeeee Wherereere in my miiiiiiiiind. Fuck I gotta buy that album….again I know I bought it once. dang. Youre cute, I know, huh. Buy me this Ok. [Beyoncé is not yet back with the coffee.] Deja Vu, Beyoncé Uh oh, uh oh— Uh oh! OHNONO ^ Matumbo AIIIIIIIIGGGGGGGHHHHHHH. Crazy in love— also Beyonce? Destiny's ChildrenS HAHAHA OK. FUCK YOU, DILLON FRANCIS. DEADMAU5 IS A WAY BETTER CONTROLLER *HEAPING GASP* YOU—TAKE THAT BACK. I WOULDNT. I will END YOU. YOU CANNOT. Where the fuck is that lady from? Oh, there she is! Pity! Oh dear! She's NEGROID: Shh, tisk-tisk. [ANNE HATHAWAY dabbed tf out.] Come on Annie! Get up! [she is not getting up] THINK OF THE KIDSz *nope* UGH. WASTED. That sucks! We gotta get her back in that princess movie before everything dies and we all collapse! Which princess movie is it?! Idk! Fuck this bitch! She's like all the princesses! KEKE Palmart* Sure! KEKE PALMER will be playing the PRINCESS from princess and the frog Put the princess—IN—the frog! NO. PUT THE PRINCESS IN THE— AGHHHH. PUT DILLON FRANCIS, BACK IN THE OVEN. NO Ugh. He's so heavy! He's not gonna fit. He WILL fit: NO: SAY UNCLE. ASHEJEBEB SAY IT. AAAAANNNNNNNNNNKKKKKKHHHH [a giant Ankh falls from the sky] Yo. That cannot be a good sign. I think it's not. SUBTRONICS *rips bong* Hey! You made it! Way, way late: Nice! Yes. Why are you naked? I don't know. SOLEÏL. Fuck, man. Wizardrddd! What is this game?! I dunno, but I just keep playing it. This shit says. This does say. This shit says ballsacks. I don't get kids these days “Ballsacks” Is that like, a good thing? Depends who's saying NEY-WHINNY-NEY-WHINNY-NEEEE Horse: ok, I win: JOHNNY DEPP literally cannot speak. Because he is not intoxicated. At all. lol someone help him, seriously. Ok, keep going. All the DISNEY CHANNEL KIDS are WILD ‘N OUT Which is ironic because— NICK CANNON Yep, Oh look, it's me again… NICK CANNON Look, the Nickelodeon Cult— What; I mean— The Illuminati just called, They want their stuff back. What STUFF. SAY IT. NEVER THAT. SAY MY NAMEs PASSWORD FALLON, YOU FUCKING HACK. oh, I'm a ‘hack' now that's— “Haha” Who's laughing?! You should be crying right about now. I'm an actor. Very funny. Tears of a clown. Shut up: I am crying, on the inside. -_- Sit down, dipshit: Ooh, now I'm dip— *cocks pistol* Shit, I thought you couldn't— Oh no, this part of the series gets pretty— You're in deep fucking shit; [JIMMY FALLON sits calmly at his desk, he scoops some “sugar” into his coffee and stirs, seemingly emotionless.] CUT TO DANCE BREAK. I wanna hold 'em like they do in Texas, please CUT TO: Texas border patrol holding cell. DIPLO (In a stupid ass cowboy hat) m *jail door slams* AH, COME ON. Fold 'em, let 'em hit me, raise it, baby, stay with me (I love it) I thought it was… “A little gambling is fun when you're with me” (I love it.) Maybe it WAS. What year was that anyway? Idk. What year was any year before [Lyrics Genius] Flashback: The 2000's Rewind it again. What did she just say? Idk. What did he say? Damn. Fuck, I missed it. Love game intuition, play the cards with spades to start THE ACE OF SPAAAAAAADES. Okay. Fine. He wants to be Satan? He's Satan. Yo, that's— SATAN. [Skrillex is Satan] Yeah, but he's so fucking cute. Supacree, what are you doing? BRB, I'm gonna go fuck this lil ass [censored] Damn. Ok. S/he does not fuck around, that guy. Yeah, that guy. And after he's been hooked, I'll play the one that's on his heart I guess we'll just have to… wait till they play it on the radio again… / Wait till the next rave. fuck. MIXTAPES. GETCHUR MIXTAPES. La da da Dee da da duh duhhh La da da Dee da daaaah da duuuuuum La da da da de da La da da da Dee da Da da Dee da da da da dum Okay, Google, let's see what you got. I got—Reddit.. r/NameThatSong 5 yr. ago Surprentis Join Can't figure out this song. Looking for help hey you guys remember that song from back in the day that went "la da dee da da da daaaa, la da dee da da da daaaaa, ah la da dee daaa da la daa dee daaa daa daa dee daa da daaa da daaaaa" i feel like it was on night at the roxbury maybe im wrong.. uh, ok— wtf is “night at the Roxbury” …Google? GOOGLE Here: you'll like this. Oh shit, ‘98 … FINALLY. JESUS CHRIST. Holy shit, you were on SNL in 1998?! Yes. How the fuck old are you? Jesus Christ! JESUS CHRIST …not as old as me. [but everyone's still mad as fuck at Jesus for eating all of the pizza] wtf, man: Just— inhaled it. *gnarf* Actually, you know what: Just stay—celibate: Oh check it out. THIS lady only shows up if I— *squints* if you what: Nothing. Nothing. ANNNNNNNE. GET. UP. She's not gonna go. She's dead bro. I'm not dead! YES! oh! She's up! YES *barfs*! [instantly back asleep] —m— That's it We're fucked. Disney's gonna kill us. The Illuminati's gonna kill us! Disney is the Illuminati. Yeah, but like—for kids. THIS IS NOT FOR KIDS. THIS IS NOT FOR KIDS. KIDS AVERT YOUR EYES, CHILDREN! All sixteen pairs of them! wtf who has that many kids Eight fucking kids, bro. ^_- ok, I like her. Yeesss. Ya. Imm drunk. K. gargle! Nah! GARGLE, RIGHT NOW OR I'll wash your mouth with soap! [pulls gun] THATS NOT SOAP. MY GUN'S NAME IS “SOAP” Shit, why are there so many guns in this shit?! Because Skrillex is like, Cartel, or whatever. And like—the Bloods. ☠️ And the Crips, probably, also— Like I said, He is Satan. GET OVER HERE AND- SHOW ME WHAT YOU GOTTTT: I got nothin. What: I got// Zero scenes You got no scene, broh? No scenes. None? Zip. None? Zero. Woah. Hold up. will— uh— “powers” Ferrel—like an animal that won't shut up, or something? Will bite you—may be rabid— Feral? You mean? Sure; whatever.d Just, stop talking, How the fuck do you do the same movie— like— infinitely. Recap: every will ferret* Sure! EVERY WILL FERRELL MOVIE IS ULTIMATELY... They're all the same movie! GET UP, After waking up in a hungover/still intoxicated rage, Anne Hathaway causes a showdown worthy of historical proportions, which concludes with her legendary “yeet” of a mysterious object of extra planetary origin—this initiates round two of the party which never should have happened, and almost never ended. In another parallel cross dimension: Irl JIMMY FALLON and Ū are imaginary friends; rather, Ū is a figment of JIMMY FALLON's imagination and vice-versa—this scene pays homage to Wilfred; they share stories with one another as they pass the bong/blunt in a solid back-to-back rotation, making the tragic stories they are telling almost hilarious, but only because they are so generously stoned. —_— So wait, he like— *passes blunt* —Here, take this— —Yeah— *passes bong* —Just switch me— Yee. So he like—“yeeted” your baby? He Yeeted my baby. *blowing out, coughing* That's not supposed to happen. No, it is not. Here, switch me. *switch* *rips* *shaking head in stoniness* [beat] So like— *rips bong* —you're like, Ū, so— You're like… I'm like, everybody. Right? Yeah. Yeah! I'm Ū, dawg. That is a cool name. Is—a cool name *hits blunt* Here, switch me— *rips bong* Is—not—a cool power to have. I bet not, though. You would imagine I wouldn't, that's in—coughs—sane. It is insane: cover your mouth: Sorry. No you're not, So how are you not like— Like what? I'm Ū, there what// So how are you not like— Seth McFarle—uhh Seth McFarlen lol *e What Uh, I am. SETH MCFARLENE No you're not, I'm right here. *suddenly not stoned* What the FUCK man: Woah, Seth McFarlene. HOW DID YOU GET INTO MY OFFICE. I walked in. That's boss status. What the fuck! I locked it! You did not. I walked in—like right behind you guys You probably forgot… You—I forgot— He forgot to lock The Rock lol stop Walk it out, Now walk it out // Walk it like I talk it Talk it like I RUN BITCH RUN FLORIST, RUN!!! Lmfao. Ok. CUT BACK TO: You probably forgot, dude. Alright, Seth McFarlene. Just—*hits blunt* stop talking . Load another bowl Giggity! *passes blunt* You want this? No, I'm straight. Are you, though? What?! Yeah, I'm— I mean, l'm good on the— You know what? Fuck it, gimmie that. Yee. Sauce. [there is a knock at the door] Welp, I gotta go. [Jimmy Fallon is suddenly alone in his office, with a blunt in one hand and a bong in the other. The lights automatically shut off; the coffee maker brings brewing automatically—-three more knocks at the door.] *sighs* [explitive] CUT TO: That fucking rager Is it day?! Is it night?! We don't know! It's been months, probably Weeks, at best— But all we actually know about this time and place is that— The HATTER is here. For fucks SAKE. GIVE ME ANOTHER BEER, SOMEBODY. ANYBODY. lol Johnny Del*. Sure JOHNNY DEPP is drinking Duh *beer?! Uh huh That's all we have, man. *light beers I'MMM BUZZZZZED LIGHTYEAR BUUUUUUUZZXXXED LIGHTYEARR no, Tim Allen, not yet. Fuck, on that note Now I know why THERES A SNAKE IN MY BOOT yeah there is! Ok, ew Ok, gross Stop ew Stop Ew. Cut lil blonde Hot as Finneas O' Connell Possible homosexual, but god love him Cause I'm hungry Lookin for lunch Somebody as scrunches Pull up and crunches Cause my monster is Lookin to Humpty Dumpty Fuck, I forgot Rosie O'Donnal! I cant get no Satiafaftion— The Rolling Stones What's wrong, Saint Jimmy? Luscius? What is it. Precious would like to see you. Oh. The prince Lucius hasn't left his chamber in days—however, as his brother Percius has just returned from war, he quickly emerges from his resting place, an alter of sorts. Damn, I'm getting a headache. I almost never have headaches. It was true, and of course, as I started to write about this prince and his so said brother, Lucius and Perseus, I was reminded once more of Athens, where I had just been however briefly, in a short astral trip of sorts, wandering about in the dreamworld, looking for something or someone in place of my pillow to hold. Did you want to walk to Trader Joe's? I mean, kind of, but no. My muscles were sore and I had just spent some two hours in the gym, not on purpose but quite by accident, though only having run just under two miles, though at least uphill, and spending the rest of the time lifting—I had been bound to mostly beans and rice, and so however was bloated and gassy, quite slow and not as strong, my regular protein just out of reach… Dang. I have so much to fucking so today. I hadn't realized that somehow it was Saturday, although just a couple days before had been a Wednesday that felt like Sunday, and now again time was all out of sorts; it was a “holiday” weekend, and I was without a doubt, drowning in my own having-to-do's, and as such, weekends and days off were entirely not a thing, besides in ways that those bustled around me—and I was sure that some days had been lost, as I was planning to visit the food bank on Friday, but had somehow skipped over the end of the week entirely—somehow, that is, and I was sure sometimes that in skipping days, meditating and fasting about, however intermittently, that time itself shuffled in all the ways I had, between cross dimensions and parallels such as I—I had been hovering somewhere between the 6th and. 10th dimensions, for the most part, and none with having to understand the undoubted shifts in my own perception of time that were bound to happen, as I sprawled across the astral plains looking and searching for a sign that the tragic poverty, restlessness, and lack of peace wound end. Bound to your alter, my dear brother? Aye. So perhaps here there was another unfounded kingdom within the realm of Ascencia—Lucius, a prince, and Percius—seemingly slated the King, and yet I had unreached such a conclusion as to assimilate an entirely factionrd world, as of yet. What did you write last night? Uh…I don't know. Well, let's see Something had shaken me from my almost-sleep, laying sprawled across my bed, in the middle of the mattress, rather than to either side, which was rare; I typically preferred the left side of the mattress, anyway, but as I waited to launder my bedding, after a sweaty and sweltering almost summer day of lounging, smothered in shea butter and lasidasicly scrawling about what recordings had been buried in my phone, between the collection of books I had practically all found in the streets of New York and the rising temperatures of the tepid summer weather, my room was starting to smell funny—and without being able to burn sage anymore, for fear of being thrown back into the streets like a dog, I with every hope in the world figured that washing my thick bedding, comforter included, would restore the crisp and rigid, almost factory clean that I found satisfactory. Songs buzzed in and out of my head as if I hadn't enough already much to do—and still, I added into my growing pile of notes and mounds of work, even more songs—this time, The Rolling Stones. I can't get no Satisfaction… …but I try— —and I try— —and I try— And I try! I can't—get no—! God, I wish I could write something like that. The rock Gods had at the very least been accompanying me, and in a certain sense, so had the Gods at The Rock; I had been forced up out of my dormant state by a voice which urged me away from my near sleep—I had been up since six AM and it was something past midnight, and still the voice said— “Get up and write!” And though I had words tinkering around in my head like little coins in some sort of metal box, none of them quite made so much since that I had to get up and write—however, still the voice, though not angry, but firm, insisted. The voice, for once, sounded female— a welcome change, and though I had become quite fond of males in general, in the solemnly celibate sense, it was a difference and yet none at all— a voice of wisdom had projected itself at me, and as I dragged myself about, reaching for a notebook and flipping through the pages, finding that the notebook was practically full… ‘great, more shit to do' I held the words that had tinkered around in my mind like little whispers until I found a page to make them full formed, and the words which fell into my hand as scriptured by the pen—my favorite writing utensil, nearly out of its cherishable gel ink, danced upon the page nearly on its own, channeling the words written as such: Once prosperous to throw The stone asunder Glisten whispers of water Tears of al tears |ter| Of the altar, For follow for fello, A felon of Antigone Grace, with shield A tattered tail, So flew with feathered Phoenix ? Feared, Foreshadowed not, Agreed upon however, Was the velvet woven path of us, So honored in her fortress . Yeah, something about Rockefeller plaza. Well there were all these hooded figures in like weird, brown velvet robes— That's true, I saw that. Yeah, I was there, You WHAT, Look what I got. Fuck me, man. You know, there's a lot more to this story. I was hoping so, but however also, hoping not. Man, Jimmy fallon's wife is super hot. Gee! Yeah man, she's so cute. W0W. I like her, They're Gods. I think they're Gods. yuh. What else did I write? There was something else? What the fuck is wrong with that guy? Somethin. Yeah. The pages of the notebook were all full, something of a book of shadows and protection spells I had used in an attempt to ward off my ex husband—how of course, that they were done with, I should very well have been jotting them into with all the notes, into the documents—later to burn them, unable to afford the parchment book I wanted. For what a withered wa t would call and honor m for fortunes duty, Glorified wherein in am shadows, Cast upon reflections in redacted incantations and enchantments, foreword come, theone who waits Believing darkness be his fate Whatever, man. Fuck Jimmy Fallon. If you really feel that way! I feel a lot of ways. Well, don't. I'm so, so hungry… So, so lonely… So, so fuckin broke. Man—I learned all this dumb ass magic just to protect myself from this guy, and all this still happens! I think it's just Satan. [Satan Appears] Man— she is JACKED. Try this one. Flllow me, boy! Uh— okay. I'm staying single forever. Don't look at me. That's my girl. Don't look at me. What the fuck. Stop looking at her: Don't look at me! Men are hopeless. Fuck dude, like, the worst thing imaginable is that this Jimmy Fallon dude actually hates me so much for this— What? Uh oh. And is so fucking powerful. He is. A very, very powerful. Well, what is it! We don't— know. *gasps* He's a— SHHHHHH. [Redacted] Well, that's not doing much, is it? Seriously, just kill yourself again. Might have to! Fuck, why do all these robot demons SMELL like him? Satan? Yep. Satan ?! I'm— Seriously, save him. Seriously, God really loves Jimmy Fallon— (He's one of my favorites.) Favorite what's?! Just—favorites. Damn. This is getting to be like Greek Theatre. Great. Now everybody's gonna fucking die. It could be a comedy. Holy shit, yeah— This has mad good production value. I love it! Strange shit I just did give my OWSLA tat a kiss Smile for the camera, Pageantry of mattresses, A master of the MagicIan's chance at Chancellors dance, Look at Harrison trance Can I run a mile for President? A toy chest, A boy, just Obama I'm so much older Been through such trauma What the Willy wonka I should apply for Harvard New York over Boston So Columbia or Juliard I wish Son of a bitch, this is tragic I'm too old for scholarship Diploma's in another name I just got protective orders on I should start over But the world war is another Trump drama My Amazon cart is full of karma What you want from God? A trophy husband, Let's call him Oscar -undefeated. All this is weird I think imm married to the music Think of growing a beard Opening a beer And getting out of here All of my fears is Mommy dearest mommy dearest All of my hell is A body Imm a seed in a forest Been buried Bipolar, Supposedly, So tell me, Faery; How could I love you The way I I do If my mood We're atabilized My blu life Gave me blue eyes Clean tub of water I don't belong here It's too late for me too Swapping Vogue for the People My people who hate me But I been so played, The hatred betrays me I walk both ways Down a one way street {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū.

‘…is that a threat?' ‘Hm…' If it was, it was at least a good one— I was scared, at first, upon seeing what I had thought to be perhaps a package robbery—but was actually just a slit through the package—a clean slice, more specifically, through the bubble wrapped [Redacted] package, however, its contents still inside; The package had been left underneath another—which didn't belong to me, and though I had been cornered by security more than once at the [Redacted] market, for putting my nutritional needs above that of my morality—or rather, thought my morlity to exclude guilt from the nessecities, especially as I often pondered upon the elite had kept the lower classes in a devolved state by controlling the price of wellness, so much so that it had become impractical for the common being. I had never even thought to swipe someone else's mail—a personal foul, and at least in turn in that matter to all respect with karma, had never had any packages stolen, either—not that I had lived indoors long enough to have warranted that I was safe from what sometimes seemed like the non-human animals, especially of New York City, who crawled about the lower realms littering and taking up precious time, space, and energy—the almost less-than-common man, but still, actually and unfortunately—common, especially in New York. The Sage sticks and palo santo I had ordered were still intact, entirely— to my surprise, and I wondered what else my package might have included, without remembering such. I had become enfuriated with [Redacted], after realizing that there had been hidden charges and unrecognizable fees, on my credit card, of all the places—the Capital One credit card, with sky high interest rates and robotic customer service drones—who I mostly would hate talking to— and it seemed as though the [Redacted] algorithm had become just as predatory as the rest of them—as uncivilized as the trash-dropping, coughing subhumans that plagued the post-pandemic world, if there was such a thing. The overcrowded mess and overall pollution of the city at whole at best made it still acceptable to wear masks in public, to which I took full advantage of doing, as needed—which was as often as possible, actually, if not to hide the curiosities, and of course, the objections to whatever it would be on the train that sparked distaste—worst yet, I might even smile, and reveal my gap-tooth, only acceptable on Hurley models and Madonna, of course—either of whom I wished I was. It was 3:16 AM, and a long lost song found its way into my head as I fettered the words into the document, multitasking a “modest” breakfast as I mulled over the day, most of which I had spent attempting peace and solitude, neither of which actually even seemed attainable in my 3rd floor “office”, being so careful not to consider anything home or a comfort, for the fear that whatever Death curse someone had thought to m destroy me with once would extend into all the years and all the realms of my presence— it was true, as I explained to my aunt, that the people around me had within the last few years turned into demonic and vampiric advocates of what seemed to be the devil itself, were I even holy enough to be considered sacred in such a way that the devil may be chasing me—and I was, in some ways, but not in others—my ability to aggrandize my judgements and flex my morality where needed, but less when wanted as it stood true that I never actually enjoyed immorality—I hated living in a world where one would be made to steal, and made to lie, in order to survive. But that, for 30 years is where I had lived; in, for the most part, an evil world, ruled by man, as he denied and tortured all things that would be thought to be God—in his thirst for whatever it was that had waged a world of war. It seemed as though someone were sending a message, and it had been years since I had felt safe or comfortable anywhere, anyway—so I thought it best not to care, knowing that all in all, that the intentional hurt and harm done to me by any man, or any entity otherwise, would prove to l invoke the karmic justice law unto itself; that whatever pain I experienced would be amplified by its giver, and reflected back—that anyone who intended to hurt or kill me—would only hurt or kill themselves in doing so. At the very least, I was inspired to continue writing the script which I had drifted from entirely—its contents and its driver too mad to be palpable, however—as sometimes this kind of magic did occur in flashes at random, with vivid visions as if I were watching—or even living inside of the scene itself, spoke volumes that it should—or would, whether I wanted it or not, be written eventually. ‘Man, fuck Jimmy Fallon.' I knew nothing of the man at all besides his name and occupation, and that something had plastered him permanently into my mind with some kind of irreparable cement I could not seem to break lose or free from—and it was going to stay that way. The entirety of the festival project and all I had been prompted to have written had become a massive headache. I have a massive headache. UGH. Perhaps it was more multidimensionally attributed to the fact that I had been fawning over affordable razorblazes—I had been almost salivating at the thought of bleeding from my wrists—a constant pressure from the lack of things I wanted and needed piling up at my doorstep, my overdue bills, and the harrowing and what seemed like *manacle. Hm. A maniacle attack on my sanity, not actually practitioned by my abuser, but probably more likely the government, masquerading as such to plot and plan around various secret expirimentation, which would of course within the century become common knowledge, but as for such time we're simply conspiracies, perhaps to hide the shameful loss which was the war being fought with technology—which the dumbing down and brainwashing of millions had left us at an extreme risk, and those were were not at risk, with extreme bias against that which they had no ability or interest to understand. Unremarkably so, I was still astonished that something did indeed seem to have happened—something that was not in my head at all, but rather, very much outside of it—and it was beginning to occur to me that perhaps others had gained an interest in what indeed seemed to be attacking me, for years, by then, with fear, humiliation, and detriment—to which I could only ever think to fight with white magic; there was a controlled chaos to what seemed like my being at a wits end, which I was, but also wasn't—for the most part, at least in public, I could take even the most outrageous offenses poignantly and tactfully, however sometimes realizing that—in Keisha having left her sunglasses behind, she had also left with them a little bit of Harlem— “Move.” The mindless drone controlled robots often stepped directly into my path, as if being driven by some force which was meant to annoy or some other way terrorize me—however, I had grown accustomed to new York's overall rudeness, and had become almost socially inept..speaking of Just—socially unacceptable. What is this?! Gross. What is this?! Papaya juice. Is this a fucking—?! No it's a v8 My G-Wagon! Nice. Got it painted. What color even is that? It's like— mauve. MOVE. FUCKING-A. Jesus Christ. One time, The white devil appeared as a fucked up Edie Falco// And I was so fed up-to-here With The Bullshit, That I didn't even care what happened if I — MOVE OUT OF MY WAY: OR WHAT?! Damn, Mrs. Soprano, you look rough. Are you sure that's not just JACKIE. WHAT. That's the way Uh huh Uh huh I like it Uh huh Uh huh Schools out— Party with my friends! school's out! I'm a genie in a bottle, You gotta rub me the right way! I been too strong, for too long And I can't be without you baby! Is that all of them? Probably not: So mix, then, Probably not. Well Why not?! Because My Serato's been acting horrible. Tommy looked what I would learn to be like a be exact replica of 1988 Tom Cruise. Which reminds me… The 1987 Tom Cruise* is murdered by Supacree's jealous stalker, in a fit of rage, which spirals all known aliases and timelines into a terrible and chaotic nightmare, as Wait, what. I'm just being honest, I don't know how to write this. Here, let me help. YO. wtf. Should have had a V8! SPLASH, BITCH. WHERE's MY SHIIT, JIMMY? It's gone, I broke it. You what. It's missing; I broke it. What do you mean. AHAHA. Oh, I see what you mean, now. Yeah, that guy is different. [The amethyst shatters.] NOH. Woaaaaaaaaaaaaaaa_l GOLD. IT IS GOLDEN. THE ORB. What. The orb. It has chosen you. Uh. Oka. Who the fuck are these creatures—?! “Creetures” I love them. They are darling They are cute. Man, fuck with your bullshit—. —Stay in fucking— Where ever that's at! This is “Queens” Well, it's disgusting. GET LOST. Get lost HOW. Everything's on a grid system! FUCK. I lost it, Damn. Dang. Well, wanna play again? Nah, that's it. What?! Come on. No, seriously. I'm done. Wait, what are you doing? *pulls out rifle* WOAH. WOAH. You should go now. What is that, It's a gun, obviously. What the fuck, man! A rifle, actually, more specifically— What—why—what are you gonna do with that thing? I'm gonna shoot myself: ano— YES. In the head— Don't do that; And you, if you don't get out— Wait! Right now. *aims* Okay! Ah shit, this is getting serious: It s seriously like dick-deep in pussy in here right now. Nay: Maybe we should GO. Hello. M— Maybe we should stay: What! I like her. Get off my property. This is-/ This is MINE. I own this: This one's Mine! Oh, this is what they mean by “ecstatic dance” Actually, my feet are just coldX… Wait, hold on. Before you go off on a tangent about— mm— What is that I don't know what that is. U don't know what it is Look, I wanted that to be Dillon's baby so bad— (So did he) HAHAHAHA. I will end u Oh, baby, there's only one way you could ever do that. Everyone Thrrr she is. She's back! Aaaaaannnyyyeaaaayy— Please explain to us what's happening in this movie. Which movie The Tom Cryise one, Cause there can only be one Tom Cruise one Because Tom cruise is Tom Cruise. Wait. What. TOM HANKS YOU FORGOT MY NAME BRIEfLY YES, but also— That's WHY, this happened. TOM CRUISE I TOLD YOU I TOLD YOU I TOLD YOU-/ You STUPID BITC— Look — I gotta — Oh wait, that still works. What?! You fucked that guy too?! NO. I just. This is a lot of space. Well yeah, we're like—astronauts. How did you get this all in your loft? MAJOR TOM. ALRIGHT. I GOT IT. AHAHAHSJSJHAAHAHAHAHAHAHAHAHAHAHA NO MORE ECID. YAYAYAY. Whrrereeeeeeeeeeeeeee Wherereere in my miiiiiiiiind. Fuck I gotta buy that album….again I know I bought it once. dang. Youre cute, I know, huh. Buy me this Ok. [Beyoncé is not yet back with the coffee.] Deja Vu, Beyoncé Uh oh, uh oh— Uh oh! OHNONO ^ Matumbo AIIIIIIIIGGGGGGGHHHHHHH. Crazy in love— also Beyonce? Destiny's ChildrenS HAHAHA OK. FUCK YOU, DILLON FRANCIS. DEADMAU5 IS A WAY BETTER CONTROLLER *HEAPING GASP* YOU—TAKE THAT BACK. I WOULDNT. I will END YOU. YOU CANNOT. Where the fuck is that lady from? Oh, there she is! Pity! Oh dear! She's NEGROID: Shh, tisk-tisk. [ANNE HATHAWAY dabbed tf out.] Come on Annie! Get up! [she is not getting up] THINK OF THE KIDSz *nope* UGH. WASTED. That sucks! We gotta get her back in that princess movie before everything dies and we all collapse! Which princess movie is it?! Idk! Fuck this bitch! She's like all the princesses! KEKE Palmart* Sure! KEKE PALMER will be playing the PRINCESS from princess and the frog Put the princess—IN—the frog! NO. PUT THE PRINCESS IN THE— AGHHHH. PUT DILLON FRANCIS, BACK IN THE OVEN. NO Ugh. He's so heavy! He's not gonna fit. He WILL fit: NO: SAY UNCLE. ASHEJEBEB SAY IT. AAAAANNNNNNNNNNKKKKKKHHHH [a giant Ankh falls from the sky] Yo. That cannot be a good sign. I think it's not. SUBTRONICS *rips bong* Hey! You made it! Way, way late: Nice! Yes. Why are you naked? I don't know. SOLEÏL. Fuck, man. Wizardrddd! What is this game?! I dunno, but I just keep playing it. This shit says. This does say. This shit says ballsacks. I don't get kids these days “Ballsacks” Is that like, a good thing? Depends who's saying NEY-WHINNY-NEY-WHINNY-NEEEE Horse: ok, I win: JOHNNY DEPP literally cannot speak. Because he is not intoxicated. At all. lol someone help him, seriously. Ok, keep going. All the DISNEY CHANNEL KIDS are WILD ‘N OUT Which is ironic because— NICK CANNON Yep, Oh look, it's me again… NICK CANNON Look, the Nickelodeon Cult— What; I mean— The Illuminati just called, They want their stuff back. What STUFF. SAY IT. NEVER THAT. SAY MY NAMEs PASSWORD FALLON, YOU FUCKING HACK. oh, I'm a ‘hack' now that's— “Haha” Who's laughing?! You should be crying right about now. I'm an actor. Very funny. Tears of a clown. Shut up: I am crying, on the inside. -_- Sit down, dipshit: Ooh, now I'm dip— *cocks pistol* Shit, I thought you couldn't— Oh no, this part of the series gets pretty— You're in deep fucking shit; [JIMMY FALLON sits calmly at his desk, he scoops some “sugar” into his coffee and stirs, seemingly emotionless.] CUT TO DANCE BREAK. I wanna hold 'em like they do in Texas, please CUT TO: Texas border patrol holding cell. DIPLO (In a stupid ass cowboy hat) m *jail door slams* AH, COME ON. Fold 'em, let 'em hit me, raise it, baby, stay with me (I love it) I thought it was… “A little gambling is fun when you're with me” (I love it.) Maybe it WAS. What year was that anyway? Idk. What year was any year before [Lyrics Genius] Flashback: The 2000's Rewind it again. What did she just say? Idk. What did he say? Damn. Fuck, I missed it. Love game intuition, play the cards with spades to start THE ACE OF SPAAAAAAADES. Okay. Fine. He wants to be Satan? He's Satan. Yo, that's— SATAN. [Skrillex is Satan] Yeah, but he's so fucking cute. Supacree, what are you doing? BRB, I'm gonna go fuck this lil ass [censored] Damn. Ok. S/he does not fuck around, that guy. Yeah, that guy. And after he's been hooked, I'll play the one that's on his heart I guess we'll just have to… wait till they play it on the radio again… / Wait till the next rave. fuck. MIXTAPES. GETCHUR MIXTAPES. La da da Dee da da duh duhhh La da da Dee da daaaah da duuuuuum La da da da de da La da da da Dee da Da da Dee da da da da dum Okay, Google, let's see what you got. I got—Reddit.. r/NameThatSong 5 yr. ago Surprentis Join Can't figure out this song. Looking for help hey you guys remember that song from back in the day that went "la da dee da da da daaaa, la da dee da da da daaaaa, ah la da dee daaa da la daa dee daaa daa daa dee daa da daaa da daaaaa" i feel like it was on night at the roxbury maybe im wrong.. uh, ok— wtf is “night at the Roxbury” …Google? GOOGLE Here: you'll like this. Oh shit, ‘98 … FINALLY. JESUS CHRIST. Holy shit, you were on SNL in 1998?! Yes. How the fuck old are you? Jesus Christ! JESUS CHRIST …not as old as me. [but everyone's still mad as fuck at Jesus for eating all of the pizza] wtf, man: Just— inhaled it. *gnarf* Actually, you know what: Just stay—celibate: Oh check it out. THIS lady only shows up if I— *squints* if you what: Nothing. Nothing. ANNNNNNNE. GET. UP. She's not gonna go. She's dead bro. I'm not dead! YES! oh! She's up! YES *barfs*! [instantly back asleep] —m— That's it We're fucked. Disney's gonna kill us. The Illuminati's gonna kill us! Disney is the Illuminati. Yeah, but like—for kids. THIS IS NOT FOR KIDS. THIS IS NOT FOR KIDS. KIDS AVERT YOUR EYES, CHILDREN! All sixteen pairs of them! wtf who has that many kids Eight fucking kids, bro. ^_- ok, I like her. Yeesss. Ya. Imm drunk. K. gargle! Nah! GARGLE, RIGHT NOW OR I'll wash your mouth with soap! [pulls gun] THATS NOT SOAP. MY GUN'S NAME IS “SOAP” Shit, why are there so many guns in this shit?! Because Skrillex is like, Cartel, or whatever. And like—the Bloods. ☠️ And the Crips, probably, also— Like I said, He is Satan. GET OVER HERE AND- SHOW ME WHAT YOU GOTTTT: I got nothin. What: I got// Zero scenes You got no scene, broh? No scenes. None? Zip. None? Zero. Woah. Hold up. will— uh— “powers” Ferrel—like an animal that won't shut up, or something? Will bite you—may be rabid— Feral? You mean? Sure; whatever.d Just, stop talking, How the fuck do you do the same movie— like— infinitely. Recap: every will ferret* Sure! EVERY WILL FERRELL MOVIE IS ULTIMATELY... They're all the same movie! GET UP, After waking up in a hungover/still intoxicated rage, Anne Hathaway causes a showdown worthy of historical proportions, which concludes with her legendary “yeet” of a mysterious object of extra planetary origin—this initiates round two of the party which never should have happened, and almost never ended. In another parallel cross dimension: Irl JIMMY FALLON and Ū are imaginary friends; rather, Ū is a figment of JIMMY FALLON's imagination and vice-versa—this scene pays homage to Wilfred; they share stories with one another as they pass the bong/blunt in a solid back-to-back rotation, making the tragic stories they are telling almost hilarious, but only because they are so generously stoned. —_— So wait, he like— *passes blunt* —Here, take this— —Yeah— *passes bong* —Just switch me— Yee. So he like—“yeeted” your baby? He Yeeted my baby. *blowing out, coughing* That's not supposed to happen. No, it is not. Here, switch me. *switch* *rips* *shaking head in stoniness* [beat] So like— *rips bong* —you're like, Ū, so— You're like… I'm like, everybody. Right? Yeah. Yeah! I'm Ū, dawg. That is a cool name. Is—a cool name *hits blunt* Here, switch me— *rips bong* Is—not—a cool power to have. I bet not, though. You would imagine I wouldn't, that's in—coughs—sane. It is insane: cover your mouth: Sorry. No you're not, So how are you not like— Like what? I'm Ū, there what// So how are you not like— Seth McFarle—uhh Seth McFarlen lol *e What Uh, I am. SETH MCFARLENE No you're not, I'm right here. *suddenly not stoned* What the FUCK man: Woah, Seth McFarlene. HOW DID YOU GET INTO MY OFFICE. I walked in. That's boss status. What the fuck! I locked it! You did not. I walked in—like right behind you guys You probably forgot… You—I forgot— He forgot to lock The Rock lol stop Walk it out, Now walk it out // Walk it like I talk it Talk it like I RUN BITCH RUN FLORIST, RUN!!! Lmfao. Ok. CUT BACK TO: You probably forgot, dude. Alright, Seth McFarlene. Just—*hits blunt* stop talking . Load another bowl Giggity! *passes blunt* You want this? No, I'm straight. Are you, though? What?! Yeah, I'm— I mean, l'm good on the— You know what? Fuck it, gimmie that. Yee. Sauce. [there is a knock at the door] Welp, I gotta go. [Jimmy Fallon is suddenly alone in his office, with a blunt in one hand and a bong in the other. The lights automatically shut off; the coffee maker brings brewing automatically—-three more knocks at the door.] *sighs* [explitive] CUT TO: That fucking rager Is it day?! Is it night?! We don't know! It's been months, probably Weeks, at best— But all we actually know about this time and place is that— The HATTER is here. For fucks SAKE. GIVE ME ANOTHER BEER, SOMEBODY. ANYBODY. lol Johnny Del*. Sure JOHNNY DEPP is drinking Duh *beer?! Uh huh That's all we have, man. *light beers I'MMM BUZZZZZED LIGHTYEAR BUUUUUUUZZXXXED LIGHTYEARR no, Tim Allen, not yet. Fuck, on that note Now I know why THERES A SNAKE IN MY BOOT yeah there is! Ok, ew Ok, gross Stop ew Stop Ew. Cut lil blonde Hot as Finneas O' Connell Possible homosexual, but god love him Cause I'm hungry Lookin for lunch Somebody as scrunches Pull up and crunches Cause my monster is Lookin to Humpty Dumpty Fuck, I forgot Rosie O'Donnal! I cant get no Satiafaftion— The Rolling Stones What's wrong, Saint Jimmy? Luscius? What is it. Precious would like to see you. Oh. The prince Lucius hasn't left his chamber in days—however, as his brother Percius has just returned from war, he quickly emerges from his resting place, an alter of sorts. Damn, I'm getting a headache. I almost never have headaches. It was true, and of course, as I started to write about this prince and his so said brother, Lucius and Perseus, I was reminded once more of Athens, where I had just been however briefly, in a short astral trip of sorts, wandering about in the dreamworld, looking for something or someone in place of my pillow to hold. Did you want to walk to Trader Joe's? I mean, kind of, but no. My muscles were sore and I had just spent some two hours in the gym, not on purpose but quite by accident, though only having run just under two miles, though at least uphill, and spending the rest of the time lifting—I had been bound to mostly beans and rice, and so however was bloated and gassy, quite slow and not as strong, my regular protein just out of reach… Dang. I have so much to fucking so today. I hadn't realized that somehow it was Saturday, although just a couple days before had been a Wednesday that felt like Sunday, and now again time was all out of sorts; it was a “holiday” weekend, and I was without a doubt, drowning in my own having-to-do's, and as such, weekends and days off were entirely not a thing, besides in ways that those bustled around me—and I was sure that some days had been lost, as I was planning to visit the food bank on Friday, but had somehow skipped over the end of the week entirely—somehow, that is, and I was sure sometimes that in skipping days, meditating and fasting about, however intermittently, that time itself shuffled in all the ways I had, between cross dimensions and parallels such as I—I had been hovering somewhere between the 6th and. 10th dimensions, for the most part, and none with having to understand the undoubted shifts in my own perception of time that were bound to happen, as I sprawled across the astral plains looking and searching for a sign that the tragic poverty, restlessness, and lack of peace wound end. Bound to your alter, my dear brother? Aye. So perhaps here there was another unfounded kingdom within the realm of Ascencia—Lucius, a prince, and Percius—seemingly slated the King, and yet I had unreached such a conclusion as to assimilate an entirely factionrd world, as of yet. What did you write last night? Uh…I don't know. Well, let's see Something had shaken me from my almost-sleep, laying sprawled across my bed, in the middle of the mattress, rather than to either side, which was rare; I typically preferred the left side of the mattress, anyway, but as I waited to launder my bedding, after a sweaty and sweltering almost summer day of lounging, smothered in shea butter and lasidasicly scrawling about what recordings had been buried in my phone, between the collection of books I had practically all found in the streets of New York and the rising temperatures of the tepid summer weather, my room was starting to smell funny—and without being able to burn sage anymore, for fear of being thrown back into the streets like a dog, I with every hope in the world figured that washing my thick bedding, comforter included, would restore the crisp and rigid, almost factory clean that I found satisfactory. Songs buzzed in and out of my head as if I hadn't enough already much to do—and still, I added into my growing pile of notes and mounds of work, even more songs—this time, The Rolling Stones. I can't get no Satisfaction… …but I try— —and I try— —and I try— And I try! I can't—get no—! God, I wish I could write something like that. The rock Gods had at the very least been accompanying me, and in a certain sense, so had the Gods at The Rock; I had been forced up out of my dormant state by a voice which urged me away from my near sleep—I had been up since six AM and it was something past midnight, and still the voice said— “Get up and write!” And though I had words tinkering around in my head like little coins in some sort of metal box, none of them quite made so much since that I had to get up and write—however, still the voice, though not angry, but firm, insisted. The voice, for once, sounded female— a welcome change, and though I had become quite fond of males in general, in the solemnly celibate sense, it was a difference and yet none at all— a voice of wisdom had projected itself at me, and as I dragged myself about, reaching for a notebook and flipping through the pages, finding that the notebook was practically full… ‘great, more shit to do' I held the words that had tinkered around in my mind like little whispers until I found a page to make them full formed, and the words which fell into my hand as scriptured by the pen—my favorite writing utensil, nearly out of its cherishable gel ink, danced upon the page nearly on its own, channeling the words written as such: Once prosperous to throw The stone asunder Glisten whispers of water Tears of al tears |ter| Of the altar, For follow for fello, A felon of Antigone Grace, with shield A tattered tail, So flew with feathered Phoenix ? Feared, Foreshadowed not, Agreed upon however, Was the velvet woven path of us, So honored in her fortress . Yeah, something about Rockefeller plaza. Well there were all these hooded figures in like weird, brown velvet robes— That's true, I saw that. Yeah, I was there, You WHAT, Look what I got. Fuck me, man. You know, there's a lot more to this story. I was hoping so, but however also, hoping not. Man, Jimmy fallon's wife is super hot. Gee! Yeah man, she's so cute. W0W. I like her, They're Gods. I think they're Gods. yuh. What else did I write? There was something else? What the fuck is wrong with that guy? Somethin. Yeah. The pages of the notebook were all full, something of a book of shadows and protection spells I had used in an attempt to ward off my ex husband—how of course, that they were done with, I should very well have been jotting them into with all the notes, into the documents—later to burn them, unable to afford the parchment book I wanted. For what a withered wa t would call and honor m for fortunes duty, Glorified wherein in am shadows, Cast upon reflections in redacted incantations and enchantments, foreword come, theone who waits Believing darkness be his fate Whatever, man. Fuck Jimmy Fallon. If you really feel that way! I feel a lot of ways. Well, don't. I'm so, so hungry… So, so lonely… So, so fuckin broke. Man—I learned all this dumb ass magic just to protect myself from this guy, and all this still happens! I think it's just Satan. [Satan Appears] Man— she is JACKED. Try this one. Flllow me, boy! Uh— okay. I'm staying single forever. Don't look at me. That's my girl. Don't look at me. What the fuck. Stop looking at her: Don't look at me! Men are hopeless. Fuck dude, like, the worst thing imaginable is that this Jimmy Fallon dude actually hates me so much for this— What? Uh oh. And is so fucking powerful. He is. A very, very powerful. Well, what is it! We don't— know. *gasps* He's a— SHHHHHH. [Redacted] Well, that's not doing much, is it? Seriously, just kill yourself again. Might have to! Fuck, why do all these robot demons SMELL like him? Satan? Yep. Satan ?! I'm— Seriously, save him. Seriously, God really loves Jimmy Fallon— (He's one of my favorites.) Favorite what's?! Just—favorites. Damn. This is getting to be like Greek Theatre. Great. Now everybody's gonna fucking die. It could be a comedy. Holy shit, yeah— This has mad good production value. I love it! Strange shit I just did give my OWSLA tat a kiss Smile for the camera, Pageantry of mattresses, A master of the MagicIan's chance at Chancellors dance, Look at Harrison trance Can I run a mile for President? A toy chest, A boy, just Obama I'm so much older Been through such trauma What the Willy wonka I should apply for Harvard New York over Boston So Columbia or Juliard I wish Son of a bitch, this is tragic I'm too old for scholarship Diploma's in another name I just got protective orders on I should start over But the world war is another Trump drama My Amazon cart is full of karma What you want from God? A trophy husband, Let's call him Oscar -undefeated. All this is weird I think imm married to the music Think of growing a beard Opening a beer And getting out of here All of my fears is Mommy dearest mommy dearest All of my hell is A body Imm a seed in a forest Been buried Bipolar, Supposedly, So tell me, Faery; How could I love you The way I I do If my mood We're atabilized My blu life Gave me blue eyes Clean tub of water I don't belong here It's too late for me too Swapping Vogue for the People My people who hate me But I been so played, The hatred betrays me I walk both ways Down a one way street {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū.

For as long as I can remember I passionately wanted to know how life worked. I used to think that others had access to a grand rulebook and that I was missing out. When I began to develop my inner relationship with Source, I discovered how to be an inner researcher. Inner research requires a courageous heart. One that is willing to explore the unknown, no matter what. Because that's where true freedom lies… The light of our inner wisdom can bring such clarity of direction! As my guest today writes: An unprincipled life gives concepts a backseat and gives direct experience a front seat. Concepts are always abstract rather than real—they use words, which are symbols that merely point to reality. Direct experience is based in reality. What we are is reality. Stay tuned.As a child, Lisa remembered a place of love and light and experienced moments of profound love. But, having chosen an adventure of going from constriction to freedom, she complied with fundamentalism for many years. She worked as a chemical engineer and then medical device product manager. But her heart called her out of the corporate world. In 2009 she experienced how we are not our personas but Infinite Being having physical experiences. Now she coaches people and leads meditation groups. She is the author of two books, 'An Unprincipled Life: Living from the Unknown' and 'Living Awake: 20 Techniques to End "I Got It; I Lost It." Find Lisa Carrillo at: www.experiencingthetrueself.comFind Laurie Seymour at https://thebacainstitute.com/ .Want to reach out to me? You can email me directly at laurie@thebacainstitute.com If you are enjoying our show and you'd like to spread the love, please subscribe, download, comment, and tell your friends and family about us. We want to thank you for your continued support. We really appreciate it! Find more episodes of Wisdom Talk Radio HERE Discover your Quantum Connection Style! (QUIZ)The first step to mastering your Quantum Connection is to know your natural style of being in the world.We are each designed to connect with Source differently. Knowing your style, with both your superpowers and your learning edge, is the first step of aligning with your inner guidance at a deeper level than you ever thought you could. It's the doorway to creating what you truly want in your life.Click here to take the quiz now: Quantum Connection QuizSupport this podcast at — https://redcircle.com/wisdom-talk-radio/donationsAdvertising Inquiries: https://redcircle.com/brands

「僕が君をよくしてあげる、ずっと君と同じでいたい」という気持ちを感じる、激重で怖い愛の歌。 A heavy and crazy love song that makes you feel, ``I'll make you good, I want to be the same as you forever.'' I Got It:https://www.youtube.com/watch?v=LDwJuoejyy4 I Got It /IMP. 作詞：C.J.RuRu・BGP Universe・TakEnd 作曲：C.J.RuRu・BGP Universe・TakEnd 編曲：Shinichiro Murayama・Janis Kleinman Crazy in love　ずっとビビってきてI felt in love 胸の中　入り込んでく刺激の連鎖( U did it? ) 気づいたらもう　Can't help 手に付かない何も 君さえいれば世界は　輝きを増すよ　きっと (Please please tell me now) Got-gotta get it right　夢みたい Be mine (I'll make you good)   Don-Dili-Don-Don Dili-Dili-Don-Don Take it (I got it got it got it　I got it got it got it) Don-Dili-Don-Don Dili-Dili-Don-Don Take it (I got it got it got it　I got it got it got it) Ah I know you wanna feel more　Like da gotta go on あげるよもっともっと　So let it flow (I got it got it got it　I got it got it　I got it got it got it　I got it) I'm gonna make you rock Like a glue　That wiggling move 　Stick wit'you Can't explain　But feelin' so great　あまいテンポで やめない挑戦　愛のためなら当然 まんざらでもないハプニング　全部素敵でスリリング 頭の中リピートしてる　君といた名場面集 (Please please tell me now) 逃れられず沼る　でも(I like it) (I'll make you good) Don-Dili-Don-Don Dili-Dili-Don-Don Take it (I got it got it got it　I got it got it got it) Don-Dili-Don-Don Dili-Dili-Don-Don Take it (I got it got it got it　I got it got it got it) Ah I know you wanna feel more　Like da gotta go on あげるよもっともっと　So let it flow (I got it got it got it　I got it got it　I got it got it got it　I got it) I'm gonna make you rock You wish my command　So you don't worry anymore(oh) ‘Cause I'll make you right　I got you　I got it My way and Your way　繋がり重なってく風景 I say and You say 暗闇から導く光線 キズ癒すPotion　響かすPassion　Love sceneはSlow motion Let-Let-Let's get it on　Ready go ! ! Don-Dili-Don-Don Dili-Dili-Don-Don Take it (I got it got it got it　I got it got it got it) (Yeah Yeah) Don-Dili-Don-Don Dili-Dili-Don-Don(You fell it) Take it (I got it got it got it　I got it got it got it) Ah I know you wanna feel more　Like da beat gotta go on あげるよもっともっと　So let it flow (I got it got it got it　I got it got it　I got it got it got it　I got it) I'm gonna make you rock I got it got it got it　I got it got it got it I got it got it got it　I got it got it got it I got it got it got it　I got it got it got it SNS

There are so many things to enjoy about playing bingo. That includes spending time with good friends and making new ones.  But the absolute best thing is when you get to utter these words, "I GOT IT."  That's especially true when you're playing for thousands of dollars. And thanks to South Point's $2 million dollar extravaganza, I got to say it myself.  What a great way to close out 2023.

Hey HomeGirl! Sometimes you just have to tell people to Proceed with Caution when it comes to you. Chiiile LISTEN, I learned this the hard way, but once I got it I GOT IT. Tune in HomeGirls, 'cause this episode is about to straight change your life. It's time to heal, grow, and evolve together! Want Neimoya to discuss a certain topic or answer a question on the pod? Complete this form: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://forms.gle/yno2RayFEdtEsP139⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Let's Connect!

This was the weirdest show EVER!The guys start off the show by going over a few updates from Pappa J as well as a package that was sent to the guys from Streamlabs.After, they move onto some snack time and a new segment called I Got It!At the end of the show the guys were suprised with some crazy news from The Delicate flower!Rememebr to post your high scores from Fly The Plane and Diamond Picker in the Big Lip Radio Discord.

I think I Got IT!Well, I think I finally got the Hand Held Recorder Set Right.Is it perfect? – Probably Not, But We'll find Out!Please listen in to judge for yourself and I will also share a lesson or two.

Willie Chambers (born March 3, 1938) is a singer, guitarist, and former member of The Chambers Brothers, a rock band in the 1960s with hits "In The Midnight Hour", "I Can't Turn You Loose", and "Time Has Come Today". He continues to be a regular attraction at various venues in Los Angeles and further afield.   Early career Edit Originally from Carthage, Mississippi, the Chambers Brothers first honed their skills as members of the choir in their Baptist church. This arrangement ended in 1952 when the eldest brother, George, was drafted into the Army. George relocated to Los Angeles after his discharge, and his brothers soon joined him. Beginning in 1954, the foursome played gospel and folk music throughout the Southern California region, but remained little known until 1965 when they began performing in New York City. Consisting of George (September 26, 1931 – October 12, 2019)[5] on washtub bass (later on bass guitar Danelectro and Gibson Thunderbird), Lester (b. April 13, 1940) on harmonica, and Willie (b. March 3, 1938) and Joe (b. August 22, 1942) on guitar, the group started to venture outside the gospel circuit, playing at coffeehouses that booked folk acts. They played at places like The Ash Grove, a very popular Los Angeles folk club. It became one of their favorite haunts and brought them into contact with Hoyt Axton, Ramblin' Jack Elliott, Reverend Gary Davis, and Barbara Dane. When Dane spotted the brothers there, she knew they would be perfect to do these freedom songs that people wanted to hear then. Dane became a great supporter, performing and recording with the brothers. With the addition of Brian Keenan (January 28, 1943 – October 5, 1985) on drums, Dane took them on tour with her and introduced them to Pete Seeger, who helped put the Chambers Brothers on the bill of the 1965 Newport Folk Festival. One of the songs they performed, "I Got It", appeared on the Newport Folk Festival 1965 compilation LP, which was issued on the Vanguard label. They were becoming more accepted in the folk community, but, like many on the folk circuit, were looking to electrify their music and develop more of a rock and roll sound. Joe Chambers recalled in a May 1994 Goldmine article that people at the Newport Folk Festival were breaking down fences and rushing to the stage. "Newport had never seen or heard anything like that." After the group finished and the crowd finally settled down, the MC came up and said "Whether you know it or not, that was rock 'n' roll." That night they played at a post-concert party for festival performers and went to a recording session of the newly electrified Bob Dylan. Shortly after appearing at Newport, the group released its debut album, People Get Ready. The group recorded "All Strung Out Over You" which was composed by Rudy Clark. It was released on Columbia 4-43957 on December 19, 1966. It was rushed out by Columbia after the label had rejected an early version of "Time Has Come Today". "All Strung Out Over You" became a regional hit for the group which gave them the opportunity to re-record "The Time Has Come Today".

WHOA! Well the universe taught be a HUGE lesson over the past few weeks, and with a little help from my friends and Goethe, I think I GOT IT! Hoping this might help you too! p.s. We talk Marble Dildos too p.p.s. Mic is BLOWN UP! You will hear why but hope to have it fixed!

Get Connected with Bishop Israel Ade-Ajala Friday, January 13, 2023 is also on the following radio stations: 670AM & 1220AM and online on 670KLTT.COM; 1220KLDC.COM & CTKRADIO.ORGToday, Bishop Israel preaches on: "I Got It!".

Aprendemos como usar GOTTA y I GOT IT en inglés. Lección escrita en https://www.inglestotal.com/gotta-got-it-en-ingles/ The post Gotta y I got it en Ingles – Curso de Ingles Intermedio lección 14 appeared first on Cursos de ingles gratis Aprender ingles con audio. Clases de ingles gratuito.

I Got It.

Capes were worn and friendships were torn, as episode 104 of UNHEARD sees the trio dive deep into topics around Kendrick Lamar's 'Mr. Morale & The Big Steppers'(1:10). Plus, what should we look forward to from Joey Bada$$ on his upcoming project, '2000'(36:26)?Industry Shit with Vance returns to break down Drake's new deal with UMG(45:44). And much more. This week's music in order played is Kendrick Lamar "Rich Spirit," PGF Nuk "Waddup," IDK "Breathe," and Ogi "I Got It."

Ladies, it's time to let go of the need to have all your shit together. In this episode of The Unconditionally Worthy Podcast, I welcome Elayne Fluker, Speaker, Author, and Host of the Support is Sexy podcast. Elayne's new book, Get Over "I Got It", encourages ambitious women to learn how to embrace support not only for their success, but also for their peace of mind. Together, we explore what it means to overcome the “I got it” syndrome and how that intersects with self-worth.IN THIS EPISODE, WE TALK ABOUT…Elayne's self-worth journey: Not knowing she had self-worth issues, attempting suicide at 15 years old, & learning to live with depression and anxiety.Consciously using and not using social media, keeping in mind its negative effects on mental health.The intersectionality of self-worth, “I got it” syndrome, and intergenerational trauma in BIPOC families.Elayne's experience with “I got it” syndrome & How she overcame it as an adult.How to implement the acronym H.E.L.P. to embrace and invite support into your life.Stream & Download The Unconditionally Worthy Podcast NOW for FREE on Apple Podcast, Google, Stitcher, Pandora, and Spotify!To connect further with Elayne Fluker:Visit her website: www.elaynefluker.comFollow her on Instagram: www.instagram.com/elayneflukerFollow her on Twitter: www.twitter.com/elaynefluker Connect with her on Facebook: www.facebook.com/elayneflukerConnect with her on LinkedIn: www.linkedin.com/in/elaynefluker Listen to Support is Sexy Podcast: www.elaynefluker.com/podcast Pre-order Get Over “I Got It”: www.getoverigotit.comTo connect further with me:Visit my website: www.dradiagooden.com Connect with me on Facebook: www.facebook.com/dradiagooden Follow me on Instagram: www.instagram.com/dradiagooden Connect with me on Linkedin: www.linkedin.com/in/adia-gooden-4b26751b Watch the full interview on YouTube: https://youtu.be/lJmfimAckII 

The JoCo Cruise Crazy Episode (3 of 4) Days at Sea. Meeting The Crew, A Lifeboat Break, A False Island, The Acts and Shows. Wil Wheaton. Coulton as Conductor, Poverty and Vacation, Capsule Hotel, Laser Tag Near Laser Tag, I Got It, No I Really Got It, Lost at Sea.

On this episode we talk about local artist not getting love. Is that right or wrong? Next we talk about role reversal in this day and age is it cool? Social media is a big influence has it changed for the good or the bad? why and who created chat room social media vibes was he a loser or smart. Also is education a scam IDK!!!!!! Hood ESPN we biiiiiikkkkkeeeeee with another argument is kyrie hurting or helping the nets IDK!!!!!!!!!!!!!! Also i think Ohski like me PAUSE!!!!!!!! lol Music from Andre KP Stockett album- ADORE TIME song Definition of Hustling, Sean McGee album Failed Expectations song Resurrected A Boogie wit da Hoodie 24 hours feat lil Dirk and Dej Loaf album Sell Sole song I Got It

TJ and Justin sat down with our good friend Noah from I Got It to discuss the latest on the NFT Charter Membership program that I Got It has soft launched with the likes of Mikey Williams, Fernando Tatis, Vlad Guerrero Jr., Ronald Acuna Jr., and Shane Bieber! In addition to updates about the Charter Membership program Noah also hits on key topics on portability, gifting, and some added technical features that I Got It is working on. And did I mention an athlete pipeline with the likes of Tyreek Hill, Aaron Donald, and Quinn Ewers! SPECIAL GIVEAWAY DETAILS: https://webapp.igotitapp.com/platforms/igi/items/6/17800 - Sign up at this link to win a free signed Brandon Ingram basketball. Use PROMO CODE OTM86 to be entered. Giveaway will close on Friday 12/17 at 12:00AM EST. Best of luck! #OTM #TOC Follow The Owners Club on Twitter: https://twitter.com/TOCNFT Join The Owners Club Discord: http://bit.ly/tocnftdiscord Website: https://toc.otmnft.com/ Website: https://www.otmnft.com/ Twitter: https://twitter.com/OwnTheMomentNFT YouTube: https://www.youtube.com/c/OwnTheMoment Discord: http://bit.ly/otmdiscord

Elayne highlights how she got into her work by attending a Momentum workshop that completely transformed her life. By posting positive messages on her social media pages, she was able to reach women entrepreneurs. She encourages women to seek support, and not only when in crisis. While on the entrepreneurial journey, people get so fixated on the goal that they forget to enjoy the moment's joy. She recommends that it is important to talk to people about the journey and take care of oneself. It is important to seek help and not only when we are in crisis. Have a list of people, resources, or organizations that you might reach out to for help or people to put your product in front of the right audience. About Our Guest Elayne Fluker is a media entrepreneur, and host of the Support is Sexy podcast for women entrepreneurs and the CEO of Chic Rebellion Media. Chic Rebellion Media is a firm that is built on the notion of women supporting women, particularly along the entrepreneurial journey. She has interviewed more than 500 women entrepreneurs from different cultures, backgrounds, and experiences on her podcast. She has a book, “Get Over 'I Got It': How to Stop Playing Superwoman, Get Support, and Remember That Having It All Doesn't Mean Doing It All Alone.” Insights from the Podcast — Unlearn that support does not necessarily mean that someone is in crisis. Also, support should be an ongoing process. We should not wait until we are in crisis to seek support. — Understand how important it is to give yourself time to fall back and reflect. Assess the season you are in and what is set to bloom without forcing it or making it happen. You will discover that some things that are not as important as you thought they were. — Discover how H.E.L.P must be used in the art of asking for support H- Having it all does not mean doing it all alone E- Ask Empowering questions L- Let go of the how and leave the question P- Believe in the Possibilities — Insights on how to have an empowered ask through the 5Rs 1- Be Ready when you show up 2- Reason: why is it important to you or the other person? 3- Receipts: what have you done? What are you doing? What is your value? 4- Why are you making the Request: be very direct because the other party does not know what you want, and it will not magically show up 5- Show Reciprocity: be ready to give and receive Quotes from the show: “We need to stop associating support with a crisis. This is a thought and behavior that we need to unlearn” –Elayne Fluker, Emerging Women Podcast. “Do not miss out on the joy of this moment. Remember why you started and the intention. It is easy for us to get distracted, just fall back and remember why you started your journey and take care of yourself ” –Elayne Fluker, Emerging Women Podcast. “If you knew how, you would have done it already. It will happen when we leave the questions that we do not have answers to” –Elayne Fluker, Emerging Women Podcast. “All the movements in the world were based on belief possibilities. All the things that are magical in this country all started with a belief” –Elayne Fluker, Emerging Women Podcast. “An exceptional life is a life of low probability. If we get caught in what's probable, we will not believe in the possibilities” –Elayne Fluker, Emerging Women Podcast. “To adopt a possibility mindset, one needs to think of what's possible and not what's probable. This makes one open to the magic that is out there and one that is available. Believing in possibilities opens one up” –Elayne Fluker, Emerging Women Podcast. “Success does not mean that we have to toil or be drained. Imagine the impact of success that has to be resourced and filed with ease and grace. It does not have to involve being away from family” –Chantal Pierrat Emerging Women Podcast. “Success is what happens when you close the gap between reality and possibility” –Elayne Fluker, Emerging Women Podcast.

Gary and Cody were joined by Noah Abramowitz of I Got It, a marketplace technology company and NFT foundry that's revolutionizing fan engagement, to discuss the launch of their brand new Charter Membership NFT collection that allows collectors and investors to get in on the ground floor of the game's biggest names. I Got It kicked off their NFT launch with high school hoops phenom, Mikey Williams. Baseball's biggest names such as Ronald Acuna, Vladimir Guerrero & Fernando Tatis are on the horizon. Noah sticks around to discuss the MLB playoffs and the landscape of the MLB card market before the guys close with some NBA Opening Night thoughts. Join the virtual fancave Discord here to learn more: discord.gg/igi Check out the NFT drops here: https://webapp.igotitapp.com/ TIMESTAMPS: What is ‘I Got It' (2:10) | What is the I Got It buying experience (9:50) | Will counts be capped? (12:16) | What do Charter members gain (16:35) | Upcoming drops on I Got It (18:22) | Atlanta Braves card market (21:00) | Is the future in physical or digital cards? (25:20) | Los Angeles Dodgers card market (28:30) | The New York Yankees are a disgrace (31:07) | NBA Opening Night (35:46) | Giannis is still a freak (37:32) | Top Shot Series 3 expectations (39:18) | NBA return thoughts (45:02)

Gary and Cody were joined by Noah Abramowitz of I Got It, a marketplace technology company and NFT foundry that's revolutionizing fan engagement, to discuss the launch of their brand new Charter Membership NFT collection that allows collectors and investors to get in on the ground floor of the game's biggest names. I Got It kicked off their NFT launch with high school hoops phenom, Mikey Williams. Baseball's biggest names such as Ronald Acuna, Vladimir Guerrero & Fernando Tatis are on the horizon. Noah sticks around to discuss the MLB playoffs and the landscape of the MLB card market before the guys close with some NBA Opening Night thoughts. Join the virtual fancave Discord here to learn more: discord.gg/igi Check out the NFT drops here: https://webapp.igotitapp.com/ TIMESTAMPS: What is ‘I Got It' (2:10) | What is the I Got It buying experience (9:50) | Will counts be capped? (12:16) | What do Charter members gain (16:35) | Upcoming drops on I Got It (18:22) | Atlanta Braves card market (21:00) | Is the future in physical or digital cards? (25:20) | Los Angeles Dodgers card market (28:30) | The New York Yankees are a disgrace (31:07) | NBA Opening Night (35:46) | Giannis is still a freak (37:32) | Top Shot Series 3 expectations (39:18) | NBA return thoughts (45:02)

I was joined by Noah Abramowitz from I Got It and Charisse Williams to talk about her son, Mikey WIlliams', upcoming NFT project. We also discussed: - Name, Image, and Likeness Implications - Ed O'Bannon - NBA Top Shot - Charisse's thoughts on the NFT space - How other student athletes could benefit from NFTs - the specifics of the Mikey Williams Charter Membership drop. Information on the Mikey Williams Charter Membership can be found here. --- Send in a voice message: https://anchor.fm/nfteach/message

The OTM team is back with another episode of the NFT Weekly show and this week we are joined by the I Got It team to give a sneak peek into all that they have going on. Sports are in full swing with the NBA season tipoff this week and the NFT market continues to grow rapidly. We will cover the following: - Top Shot Run it Back drop recap - Challenge / Quest speculation - NBA season is back! - I Got It NFT Charter Memberships - Mikey Williams!? #OTM #TOC Follow The Owners Club on Twitter: https://twitter.com/TOCNFT Join The Owners Club Discord: http://bit.ly/tocnftdiscord Website: https://www.otmnft.com/ Twitter: https://twitter.com/OwnTheMomentNFT YouTube: https://www.youtube.com/c/OwnTheMoment Discord: http://bit.ly/otmdiscord

Danny Tenaglia featuring Carole Sylvan – “Look Ahead” (Album Version) Aftershock – “Slave To The Vibe” (12 Inch Club Mix) Tammy Banks – “My Life” (Underground Mix) Umosia – “Unity” (JN Body Mix) Yo Bots – “I Got It” (Groove Mix) Direckt – “Two Fatt Guitars” (Babetastic – Original Mix) AC Soul Symphony – “K-Jee” […] The post The Penthouse Sessions 17th Oct 2021 appeared first on SSRadio.

In this episode, Dr. Karmetria Burton speaks with Author and Podcaster Elayne Fluker. Elayne recently published a book titled: https://www.amazon.com/Get-Over-Got-Superwoman-Remember/dp/1400213797/ref=sr_1_1?dchild=1&hvadid=77790617176253&hvbmt=bb&hvdev=c&hvqmt=p&keywords=elayne+fluker&qid=1634076301&sr=8-1 (Get Over 'I Got It': How to Stop Playing Superwoman, Get Support, and Remember That Having It All Doesn't Mean Doing It All). Elayne also has an amazing podcast titled: Support is Sexy, which features interviews with more than 500 diverse and inspiring women entrepreneurs from around the world, who candidly share the ups and downs of their entrepreneurial journeys — where they started, when they struggled and how they still made it happen!  In this episode, Dr. Burton and Elayne speak about how to ask for H.E.L.P, the importance of NOT doing it alone and empowering yourself through your community. Elayne's new Book! https://www.amazon.com/Get-Over-Got-Superwoman-Remember/dp/1400213797/ref=sr_1_1?dchild=1&hvadid=77790617176253&hvbmt=bb&hvdev=c&hvqmt=p&keywords=elayne+fluker&qid=1634076301&sr=8-1 Questions about today's episode? Reach out to Dr Karmetria Burton: Instagram: https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbWJhWUR2blEzS0dUVk9YZTRjaDdPdW0tU3RXUXxBQ3Jtc0tsWWNRaXRabmlnOUl2WXVkMExJSUVSdUVnOVM2cFNDOGZKR0diWUdTNmVCNE5tSmdtMkZoY0JmT2RMczdOVFF0RUFGSEJoa3JBRk9oY2toNmtxX1FmNTV1TklhSi1Za0dYbUZqWDJEbnZQQTRndGxzdw&q=https%3A%2F%2Fwww.instagram.com%2Fdrkarmetriab%2F (https://www.instagram.com/drkarmetriab/)​ Websites: https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbTgyVHhKcmVOQkJoUTE5V2hTRVExWmUxVnU5UXxBQ3Jtc0tsQnUtT0d6R0VaYmNNM3ZCdUtSbzh5TEpvUEZ5R2RYU2pJNTdnc2Y5ZkQ1TU85UUhXdWFSSFN4QUJxRml4U2o3dUdya2FwY2Rpd0JkQW5OZEgxcDlMQU90U1gxZVRlNjBTbXdxZ05MSXl3Q1RVOEFjcw&q=https%3A%2F%2Fwww.karmetriaburton.com%2F (https://www.karmetriaburton.com/)​ https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbG9fYXpoT1phMklkaUVBN2wwakZWa2p2WXV0UXxBQ3Jtc0ttTWRGUkRkQTRYdS14R2ExWWg5Vkc4SGVWR3RNVEhRVmRjY0N1UDRiWDZzaUNFakxjVXgwSS1rbmY4eWxQRWxvdFAyWEFNNGJyRlhDc0haQjdOaHhuVHZpamVOaGtrbHhwSkNfdHVMdDJpZS02Y1RwRQ&q=https%3A%2F%2Fwww.paintyourlipsred.com%2F (https://www.paintyourlipsred.com/)

If you're on Martha's Vineyard August 12, 2021, join me for my first in-person book signing for "Get Over 'I Got It'". Together with entrepreneur India Rose -- who owns the Sideline Store in Vineyard Haven -- I am celebrating the resilience of Black women entrepreneurs and, of course, encouraging us all to continue to support each other and get the support we need. Our success depends on our willingness to work together. Join us from 3pm - 7pm on Thursday, August 12, for music, (safe) mingling, and a special book signing of Get Over '"I Got It" at the Sideline store, 49 Main Street, Vineyard Haven. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sneaky Octopus, Snake, Beer Tent, Harris' Camping Trip, Wild Tape Worm, Throwing Hatchets, Gun Safety, Boy's Trips, Corn Fest, Baby Gifts, I-Got-It, Fish Love Square, Stem Cell Research, Celebrity Death Pool, Comedy

For this week's episode I am joined by Elayne Fluker. Elayne Fluker is the author of “Get Over ‘I Got it,' and the host of Support is Sexy Podcast. In our chat Elayne explores reasons that women sometimes find it difficult asking for support. She goes on to share practical ways in which women can learn to embrace support, not just for their success but also for their peace of mind. Elayne's BioElayne Fluker is author of the new book, Get Over "I Got It" (HarperCollins Leadership), where she encourages unapologetically ambitious women to learn how to embrace support not only for their success, but also their peace of mind. As a speaker at organizations such as LinkedIn, the United Nations, the Women Presidents' Organization, NYU, Columbia, Spelman College and Howard University, she gives women a roadmap for making empowered asks and living a fulfilled life. Elayne is also host of the Support is Sexy podcast where she has interviewed more than 500 diverse women entrepreneurs around the world, and she is founder of SiS.Academy -- an online learning platform educating and empowering Black Women entrepreneurs. Most recently Elayne was named a "Founder of Change" for SiS.Academy as part of the American Express "100 for 100" program featuring 100 innovative Black women entrepreneurs. Elayne Fluker Social Media HandlesFacebook - https://www.facebook.com/elayneflukerTwitter - https://twitter.com/elayneflukerInstagram - https://www.instagram.com/elaynefluker/LinkedIn - https://www.linkedin.com/in/elaynefluker/ Get the Elayne'e BookPre-order Get Over I Got It - www.getoverigotit.comSupport is Sexy PodcastSupport is Sexy - http://elaynefluker.com/podcast WebsiteElayne Fluker - www.elaynefluker.com

The New Album From One Of Atlanta's Trapstars With A Solid Project. RATE: 7.5/10 Favorites: Like 34 & 8, Posse On Bouldercrest, Dboy Style, I Got It, Trap Shit, Top Of Shit, Fold Dat Money Up, Never Runnin Out Of Money, Invoices, Bust Down, How I See It, Live At The Red Carpet Least Favorites: Shit Crazy, Rich Shit, Gucci Coming 4 You Keep On Craving My Lil Junkies

Nurah Speaks is back with another fresh episode, this time talking about the ‘I Got It' mentality? Don't know what that is? It is the compulsion of us Black women to reflexively say, “I got it” when offered assistance or support. We say, “I got it” sometimes without even assessing if help is warranted for the given circumstances. Some of us are so in the habit of not needing anyone that we turn away aid when we could actually use it. This episode examines why we do that and the implications of this behavior. If you would like to engage with the Nurah Speaks podcast, submit your listener questions to info@NurahSpeaks.com. Listeners can also learn more about Nurah by visiting her website: NurahSpeaks.com or reading her blog by clicking this link. Follow Nurah Speaks @NurahSpeaksPodcast on Facebook, Twitter and Instagram. To bring Nurah as a speaker at your next event, email info@NurahSpeaks.com. Remember, don't just Join the Movement, Be the Movement!

Time Warp Radio Presents:

"Things That Are Hard For All Of Us To Ask For, Are; Love And Support" - Elayne Fluker After working in media as a journalist for more than 20 years, Elayne Fluker launched a business that is firmly planted in the notion of women supporting women, particularly along the entrepreneurial journey. She found her sweet spot: doing what she loves and what she does best—a blend of personal development and personal branding... is the host of the Support Is Sexy Podcast featuring interviews with more than 500 diverse women entrepreneurs, and the author of her soon to be released book Get Over "I Got It" In this episode we discuss about what inside of us holds us back and how we can learn to ask God and others for help and how we can discover new ways to push past our obstacles and find our All with her new book "Get Over "I Got It” "We Are All, As Human Beings, More Connected Than We Ever Imagined" - Elayne Fluker Timestamps: 1:50 Elayne's start with Momentum workshop and personal development 2:18 "Things that are hard for all of us to ask for, are; Love and Support" - Elayne Fluker 4:02 Understanding support, when we feel either Defiant, Defensive or Defeated 9:24 "We Are All, As Human Beings, More Connected Than We Ever Imagined" - Elayne Fluker 15:10 Nicole Roberts Jones' Annual Brilliance School Business Course 17:52 Ways to say YES and ask for and find H,E,L,P 18:38 "Having It All, Doesn't mean Doing It All Alone" - Elayne Fluker 25:16 How you can Get over "I Got It" with Elayne's new book and find your all! "Having It All, Doesn't mean Doing It All Alone" - Elayne Fluker Links: getoverigotit.com www.thebrillianceschool.com

Ball Hog Beats records a live track "I Got It" to promote the return of his online beat licensing store.  --- Send in a voice message: https://anchor.fm/ballhogbeats/message

Today’s Invisible Stories guest is the multitalented Elayne Fluker. Elaine is a coach, speaker, entrepreneur, and advocate and leader for women looking to grow their businesses. She is the author of the brand new book, Get Over ‘I Got It’, which launched in early May 2021. According to her book, too many ambitious women strive to accomplish all their goals alone, leading to dangerous levels of stress and anxiety. Elayne’s book teaches women how a strong support network and meaningful connections are crucial not only to long-term success, but to peace of mind. As a coach and advisor, Elayne helps her clients get over what she calls “I Got It!” Syndrome, clarifying their vision, growing their support network, and determining what that next chapter can look like for them.  In this podcast, Elayne and I talk about empowering women of color, and her story-telling roots. Elayne gives us insight into: How she uses her platform to amplify the voices of women of color, particularly through her podcast Support Is Sexy. How she managed to overcome plenty of rejection when it came to her book, and to persevere and find herself a trustworthy publishing agent. She also talks about using her industry knowledge of publishing to navigate getting a traditional publishing deal.  The methods she used to increase her wordcount and enhance the content of the book without adding fluff or filler. She added meaningful content by taking inspiration from the women she interviewed. 

It's a brand new season and I'm traveling to Georgia  to hang out with Elayne Fluker: a rockstar human, speaker, change maker and author of the exciting new book, Get Over "I Got It" (HarperCollins Leadership), where she encourages unapologetically ambitious women to learn how to embrace support not only for their success, but also their peace of mind. Elayne is also host of the Support is Sexy podcast featuring interviews with more than 500 diverse women entrepreneurs around the world, and she is founder of SiS.Academy -- an online learning platform educating and empowering Black Women entrepreneurs. Most recently Elayne was named a "Founder of Change" for SiS.Academy as part of the American Express "100 for 100" program featuring 100 innovative Black women entrepreneurs. We talk about growing up quiet, cultural humility, finding her voice at Essence Magazine , how she's empowering black women entrepreneurs through her work at SIS Academy and amplifying women around the world by sharing  her stories and messages about the power and strength we find through supporting one another. To connect with Elayne on LinkedInElayne across all social platforms @elayneflukerTo order Elayne's book Get Over I Got ItAlso mentioned in this episode: Janet JacksonSusan Cain's book Quiet

When the universe talks, you listen. When it screams, you sit your ass down and take it all in. This week it screamed to me, and whether I was ready or not, I became its captive audience."Live the question," was a piece of advice I took away from my conversation on the Support is Sexy podcast, with the fierce and formidable, Elayne Fluker. Elayne will be a guest on the show in the coming weeks, and you should all go pre-order her book,Get Over "I Got It": How to stop playing superwoman, get support & remember that having it all doesn't mean doing it all alone.UM, OKAY, ELAYNE.Like the title suggests, the book centers on how as women pursuing it all, we have to recognize we need the support to make sure we're not doing it all ALONE.I started thinking - as I always do with these conversations - when I FEEL LIKE I have to do it all alone, and how often do I realize that I can't do it all alone. The answer to both was, "almost always."Then - bam, bam, bam. I was served 3 lessons on support. Some easy, some I really didn't want to receive, but nonetheless, all insanely valuable.Lesson one was realizing that I had to ask for itLesson two was realizing the value of support, and how much I appreciate a safe space to give and receive itLesson three was realizing the gift you give others when you say exactly what you need; especially if those people love you and want to show up when you're hurtingWe are the teachers of the lessons we're learning. I am learning that support is a symbiotic relationship; the more we give, the more we get. The more we ask, the more we answer. X,KLG

This week Ruly goes out for a part on the new new teen wolf ... spoiler alert I Got It!!!!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-ruly/message

This week, the Queens put on their dancing shoes to review the latest comeback from GFriend. Listen as Emily and Charity discuss the single 'Mago', music video, album picks, fashion, bias choices and more! The Queens also review Taemin's powerful comeback Never Gonna Dance Again: Act 2 - The Third Album. Plus a breakdown of the latest from Treasure, Super Junior, Han from Stray Kids, SuperM Mtopia, BTS, k-pop news, poll results, a quiz and more! https://www.buzzfeed.com/han_38/describe-your-daily-routine-and-ill-tell-you-whic-cf6eyhs3o9

The most common question I get asked is 'Chrissie, how do you even balance all of that?!' well here's my answer. I love everything that I do so I had to find a way to make it all work and finally after many failed attempts - I GOT IT. SIGN UP TO THE SOCIAL MEDIA FOR SMALL BIZ DIGITAL MASTERCLASS: https://bit.ly/37ojR6b SHOP THE INFLUENCER EBOOK https://www.chrissiemilan.com/shop WHERE TO FIND US: https://www.instagram.com/theceotable/ https://www.instagram.com/chrissiemilan Join our mailing list: https://bit.ly/33bk2zx

We’ve been talking about thought leadership for the past few episodes - what it means to be a thought leader, what thought leaders have in common, and the importance of having a container/project for your message. My guest Elayne Fluker has done exactly that - even though she didn’t start out with that plan in mind. It evolved as she paid attention to what she needed and what she was hearing from her audience and community. From a personal mantra of “Support is Sexy” to a hashtag to a podcast and now a book coming out in 2021 with HarperCollins Leadership, Elayne’s evolution shows how powerful it can be to stay consistent with your message and to give your audience a way to be involved. It was such a joy to have this conversation with Elayne and I know you’re going to leave it feeling inspired.   Elayne and I talk about: Her recent decision to make the intentional and transparent change about who she works with in her business, beyond the “riches in the niches,” to a calling to serve Black women entrepreneurs The unique challenges Black women entrepreneurs face (Sojourner Syndrome and Superwoman Syndrome) How an event Elayne attended in 2015 sparked “Support is Sexy” for her The two things people find the hardest to ask for: love and support How “Support is Sexy” grew from a personal mantra to a hashtag to a podcast to a book Paying attention to who you’re already serving and what they’re naturally getting behind How Elayne got her book agent and book contract with a traditional publisher What Elayne did when she finished the first draft of her book and it was only half the length it needed to be and she had no idea what else to add to it This episode is part of our series on thought leadership.    About My Guest: Elayne Fluker is a coach and advisor for Black women who want to make entrepreneurship part of their next chapter. Elayne is also the founder of the content and consulting agency, Chic Rebellion Media, and she is creator of Support is Sexy, her beloved podcast featuring interviews with more than 500 diverse women entrepreneurs around the world. In 2019, Elayne founded SiS.Academy -- an online learning platform with video workshops taught by top women entrepreneurs and experts -- to help women have access to information that will help them grow their businesses. Her first book, which encourages unapologetically ambitious women to get over "I Got It!" Syndrome and embrace support as their super power, will be published by HarperCollins Leadership in 2021.   About Us: The Speaking Your Brand podcast is hosted by Carol Cox. At Speaking Your Brand, we help women entrepreneurs and professionals clarify their brand message and story, create their signature talks, and develop their thought leadership platforms. Our mission is to get more women in positions of influence and power because it's through women's stories and visibility that we challenge the status quo and change existing systems. Check out our coaching programs at https://www.speakingyourbrand.com. Links: Show notes at https://www.speakingyourbrand.com/186 Pre-order Elayne’s upcoming book “Get Over ‘I Got It’”: getoverigotit.com Listen to Elayne’s podcast “Support is Sexy”: http://elaynefluker.com/podcast/ Elayne’s Black. Women. Business. newsletter on Linkedin: https://www.linkedin.com/newsletters/black-women-business-6683882050593841152/ Elayne’s Black. Women. Business. community for Black women entrepreneurs: blackwomenbusiness.us.  Elayne’s SiS.academy: https://www.sis.academy/ Carol’s book coach Joelle Hahn: https://brooklynbookdoctor.com/   Subscribe to get updates about the Speaking Your Brand live virtual summit on October 15: https://www.speakingyourbrand.com/summit/ Schedule a consult call to talk about creating your signature talk and thought leadership platform: https://www.speakingyourbrand.com/contact.  Connect on LinkedIn: Carol Cox = https://www.linkedin.com/in/carolcox Elayne Fluker (guest) = https://www.linkedin.com/in/elaynefluker/ Related Podcast Episodes: Episode 167: Creating a Sense of Belonging with Your Audience with Traci Baxley, Ed.D. Episode 180: You Say You Want to be a Thought Leader: What That Really Means & How to Find Your Voice with Carol Cox and Diane Diaz Episode 184: Why Some Speakers Become Thought Leaders with Carol Cox [Thought Leadership Series]

Remember in The Empire Strikes Back when Han and Leia were bickering on the Falcon and he was like, “I GOT IT, LADY!” Yes? Same. Yes, we also remember that. Because trivia.In episode 29, hosts Alyce and Laura miss* Project Luminous by a hair and have to talk about… Star Wars? A true departure. So brave. One must always be blazing trails. Fun fact: Beavis & Butthead comes up a lot in this episode. Who knew that Alyce’s obscure hidden talent is her Beavis impression? What’s in the news:Another Star Wars movie is allegedly in the works. But is it, though? Dave Filoni speaks with Entertainment Weekly about Season 7 of The Clone WarsDetails on The Rise of Skywalker digital release and blu-rayRecap On Tap:Force Collector - skip 27:00-1:07:15 to avoid spoilersThe Rise of Kylo Ren #3 - spoilers at 1:08:50-1:20:14The Clone Wars Season 7 premiere, The Bad Batch with special guest Maria! Avoiding spoilers? (sorry European listeners!) skip 1:27:20-1:50:13Helpful links referenced in this episode:More Force Toasted goodness on The Sith List, Episode 184Stay tuned to the Rogue Won feed for our upcoming guest spot with Rogue Won Johnny! Twitter: @forcetoastpod | @sLeiaAllDay | @ShutUp_LauraInstagram: @forcetoastpodEmail: forcetoastpod@gmail.comWebsite: forcetoastpod.com*This podcast contains a sh!t ton of profanity and boozin. You can find a bleeped version of this podcast absolutely nowhere. Cheers!

We discuss ReeseSeeMoney new single I GOT IT & his future goals of going to school to become the future CEO of his own record label!!! --- Send in a voice message: https://anchor.fm/mzhiphop/message

Welcome back to Dwight In Shining Armor: The Sunken Kingdom, the unofficial behind the scenes podcast about everything Dwight!In this eighth episode of the second season, “Invincible”, Josh Breslow talks again with the Creators/Showrunner of Dwight in Shining Armor, LeeAnne H. Adams & Brian J. Adams, and, for the first time ever, Director of Photography, Bengt Jonsson, and the sneaky sneak himself, Kyle More, who plays Wenzo Thief!What even is a Director of Photography?Lights, Camera… That’s It!When Does Bengt Find the Time?D&D IRL!Bop-It? Clear It!Our Animated Selves!Harnessing the Power of the Sun!Who Gets the Best Toys!Forging Heroes!I Got It! I Got It! Brain Eating Canibals!Portal Eminations!Ya Cha CHAAAAA!Thiefs vs. Thieves!Writing Similes Like a Poet!Practical Lighting!Wenzo School Marm!To Mythologize or to Serialize!And most importantly: How to Visit the Past at a Discount!Find out more at https://the-sunken-kingdom.pinecast.co

Episode fifty-two of A History of Rock Music in Five Hundred Songs looks at “Twenty Flight Rock” by Eddie Cochran, and at the first great rock and roll film Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Teen-Age Crush” by Tommy Sands.  —-more—- Resources There are several books available on Cochran, but for this episode I mostly relied on Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. I’ll be using others as well in forthcoming episodes. While there are dozens of compilations of Cochran’s music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. And as always there’s a Mixcloud with the full versions of all the songs featured in today’s episode. Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript To tell the story of rock music, it’s important to tell the story of the music’s impact on other media. Rock and roll was a cultural phenomenon that affected almost everything, and it affected TV, film, clothing and more. So today, we’re going to look at how a film made the career of one of the greats of rock and roll music: [Excerpt: Eddie Cochran, “Twenty Flight Rock”] Eddie Cochran was born in Albert Lea, Minnesota, though in later life he would always claim to be an Okie rather than from Albert Lea. His parents were from Oklahoma, they moved to Minnesota shortly before Eddie was born, and they moved back to Oklahoma City when he was small, moved back again to Minnesota, and then moved off to California with the rest of the Okies. Cochran was a staggeringly precocious guitarist. On the road trip to California from Albert Lea, he had held his guitar on his lap for the entire journey, referring to it as his best friend. And once he hit California he quickly struck up a musical relationship with two friends — Guybo Smith, who played bass, and Chuck Foreman, who played steel guitar. The three of them got hold of a couple of tape recorders, which allowed them not only to record themselves, but to experiment with overdubbing in the style of Les Paul. Some of those recordings have seen release in recent years, and they’re quite astonishing: [Excerpt: Eddie Cochran and Chuck Foreman, “Rockin’ It”] Cochran plays all the guitars on that (except the steel guitar, which is Foreman) and he was only fourteen years old at the time. He played with several groups who were playing the Okie Western Swing and proto-rockabilly that was popular in California at the time, and eventually hooked up with a singer from Mississippi who was born Garland Perry, but who changed his name to Hank Cochran, allowing the duo to perform under the name “the Cochran Brothers”. The Cochran Brothers soon got a record deal. When they started out, they were doing pure country music, and their first single was a Louvin Brothers style close harmony song, about Jimmie Rodgers and Hank Williams: [Excerpt: The Cochran Brothers, “Two Blue Singing Stars”] But while Hank was perfectly happy making this kind of music, Eddie was getting more and more interested in the new rock and roll music that was starting to become popular, and the two of them eventually split up over actual musical differences. Hank Cochran would go on to have a long and successful career in the country industry, but Eddie was floundering. He knew that this new music was what he should be playing, and he was one of the best guitarists around, but he wasn’t sure how to become a rock and roller, or even if he wanted to be a singer at all, rather than just a guitar player. He hooked up with Jerry Capehart, a singer and songwriter who the Cochran Brothers had earlier backed on a single: [Excerpt: Jerry Capehart and the Cochran Brothers, “Walkin’ Stick Boogie”] The two of them started writing songs together, and Eddie also started playing as a session musician. He played on dozens of sessions in the mid-fifties, mostly uncredited, and scholars are still trying to establish a full list of the records he played on. But while he was doing this, he still hadn’t got himself a record contract, other than for a single record on an independent label: [Excerpt: Eddie Cochran, “Skinny Jim”] Cochran was in the studio recording demos for consideration by record labels when Boris Petroff, a B-movie director who was a friend of Cochran’s collaborator Jerry Capehart, dropped in. Petroff decided that Cochran had the looks to be a film star, and right there offered him a part in a film that was being made under the working title Do-Re-Mi. Quite how Petroff had the ability to give Cochran a part in a film he wasn’t working on, I don’t know, but he did, and the offer was a genuine one, as Cochran confirmed the next day. There were many, many, rock and roll films made in the 1950s, and most of them were utterly terrible. It says something about the genre as a whole when I tell you that Elvis’ early films, which are not widely regarded as cinematic masterpieces, are among the very best rock and roll films of the decade. The 1950s were the tipping point for television ownership in both the US and the UK, but while TV was quickly becoming a mass medium, cinema-going was still at levels that would stagger people today — *everyone* went to the cinema. And when you went to the cinema, you didn’t go just to see one film. There’d be a main film, a shorter film called a B-movie that lasted maybe an hour, and short features like cartoons and newsreels. That meant that there was a much greater appetite for cheap films that could be used to fill out a programme, despite their total lack of quality. This is where, for example, all the films that appear in Mystery Science Theater 3000 come from, or many of them. And these B-movies would be made in a matter of weeks, or even days, and so would quickly be turned round to cash in on whatever trend was happening right at that minute. And so between 1956 and 1958 there were several dozen films, with titles like “Rock! Rock! Rock!”, “Don’t Knock The Rock” and so on. [Excerpt: Bill Haley and the Comets, “Don’t Knock the Rock”] In every case, these films were sold entirely on the basis of the musical performances therein, with little or no effort to sell them as narratives, even though they all had plots of sorts. They were just excuses to get footage of as many different hit acts as possible into the cinemas, ideally before their songs dropped off the charts. (Many of them also contained non-hit acts, like Teddy Randazzo, who seemed to appear in all of them despite never having a single make the top fifty. Randazzo did, though, go on to write a number of classic hits for other artists). Very few of the rock and roll films of the fifties were even watchable at all. We talked in the episode on “Brown-Eyed Handsome Man” about the film “Rock! Rock! Rock!” which Chuck Berry appeared in — that was actually towards the more watchable end of these films, terrible as it was. The film that Cochran was signed to appear in, which was soon renamed The Girl Can’t Help It, is different. There are plenty of points at which the action stops for a musical performance, but there is an actual plot, and actual dialogue and acting. While the film isn’t a masterpiece or anything like that, it is a proper film. And it’s made by a proper studio. While, for example, Rock! Rock! Rock! was made by a fly-by-night company called Vanguard Productions, The Girl Can’t Help It was made by Twentieth Century Fox. And it was made in both colour and Cinemascope. The budget for Rock! Rock! Rock! was seventy-five thousand dollars compared to the 1.3 million dollars spent on The Girl Can’t Help It. [Excerpt: Little Richard, “The Girl Can’t Help It”] Indeed, it seems to be as much an attempt to cash in on a Billy Wilder film as it is an attempt to cash in on rock and roll. The previous year, The Seven-Year Itch had been a big hit, with Tom Ewell playing an unassuming middle-aged man who becomes worryingly attracted to a much younger woman, played by Marilyn Monroe. The film had been a massive success (and it’s responsible for the famous scene with Monroe on the air grate, which is still homaged and parodied to this day) and so the decision was taken to cast Tom Ewell as an unassuming middle-aged man who becomes worryingly attracted to a much younger woman, played by Jayne Mansfield doing her usual act of being a Marilyn Monroe impersonator. Just as the film was attempting to sell itself on the back of a more successful hit film, the story also bears a certain amount of resemblance to one by someone else. The playwright Garson Kanin had been inspired in 1955 by the tales of the jukebox wars — he’d discovered that most of the jukeboxes in the country were being run by the Mafia, and that which records got stocked and played depended very much on who would do favours for the various gangsters involved. Gangsters would often destroy rivals’ jukeboxes, and threaten bar owners if they were getting their jukeboxes from the wrong set of mobsters. Kanin took this idea and turned it into a novella, Do-Re-Mi, about a helpless schlub who teams up with a gangster named “Fatso” to enter the record business, and on the way more or less accidentally makes a young woman into a singing star. Do-Re-Mi later became a moderately successful stage musical, which introduced the song “Make Someone Happy”. [Excerpt: Doris Day, “Make Someone Happy”] Meanwhile the plot of The Girl Can’t Help It has a helpless schlub team up with a mobster named “Fats”, and the two of them working together to make the mobster’s young girlfriend into a singing star. I’ve seen varying accounts as to why The Girl Can’t Help It was renamed from Do-Re-Mi and wasn’t credited as being based on Kanin’s novella. Some say that the film was made without the rights having been acquired, and changed to the point that Kanin wouldn’t sue. Others say that Twentieth Century Fox acquired the rights perfectly legally, but that the director, Frank Tashlin changed the script around so much that Kanin asked that his credit be removed, because it was now so different from his novella that he could probably resell the rights at some future point. The latter seems fairly likely to me, given that Tashlin’s next film, Will Success Spoil Rock Hunter?, which also starred Jayne Mansfield, contained almost nothing from the play on which it was based. Indeed, the original play Will Success Spoil Rock Hunter? was by the author of the original play on which The Seven-Year Itch was based. The playwright had been so annoyed at the way in which his vision had been messed with for the screen that he wrote Will Success Spoil Rock Hunter? as a satire about the way the film industry changes writers’ work, and Mansfield was cast in the play. When Tashlin wanted Mansfield to star in The Girl Can’t Help It but she was contractually obliged to appear in the play, Fox decided the easiest thing to do was just to buy up the rights to the play and relieve Mansfield of her obligation so she could star in The Girl Can’t Help It. They then, once The Girl Can’t Help It finished, got Frank Tashlin to write a totally new film with the title Will Success Spoil Rock Hunter?, keeping only the title and Mansfield’s character. While The Girl Can’t Help It has a reputation for satirising rock and roll, it actually pulls its punches to a surprising extent. For example, there’s a pivotal scene where the main mobster character, Fats, calls our hero after seeing Eddie Cochran on TV: [excerpt: dialogue from “The Girl Can’t Help It”] Note the wording there, and what he doesn’t say. He doesn’t say that Cochran can’t sing, merely that he “ain’t got a trained voice”. The whole point of this scene is to set up that Jerry Jordan, Mansfield’s character, could become a rock and roll star even though she can’t sing at all, and yet when dealing with a real rock and roll star they are careful to be more ambiguous. Because, of course, the main thing that sold the film was the appearance of multiple rock and roll stars — although “stars” is possibly overstating it for many of those present in the film. One thing it shared with most of the exploitation films was a rather slapdash attitude to which musicians the film would actually feature. And so it has the genuinely big rock and roll stars of the time Little Richard, the Platters, and Fats Domino, the one-hit wonder Gene Vincent (but what a one hit to have), and a bunch of… less well-known people, like the Treniers — a jump band who’d been around since the forties and never really made a major impact, or Eddie Fontaine (about whom the less said the better), or the ubiquitous Teddy Randazzo, performing here with an accordion accompaniment. [Excerpt: Teddy Randazzo and the Three Chuckles, “Cinnamon Sinner”] And Cochran was to be one of those lesser-known acts, so he and Capehart had to find a song that might be suitable for him to perform in the film. Very quickly they decided on a song called “Twenty Flight Rock”, written by a songwriter called Nelda Fairchild. There has been a lot of controversy as to who actually contributed what to the song, which is copyrighted in the names of both Fairchild and Cochran. Fairchild always claimed that she wrote the whole thing entirely by herself, and that Cochran got his co-writing credit for performing the demo, while Cochran’s surviving relatives are equally emphatic in their claims that he was an equal contributor as a songwriter. We will almost certainly never know the truth. Cochran is credited as the co-writer of several other hit songs, usually with Capehart, but never as the sole writer of a hit. Fairchild, meanwhile, was a professional songwriter, but pieces like “Freddie the Little Fir Tree” don’t especially sound like the work of the same person who wrote “Twenty Flight Rock”. As both credited writers are now dead, the best we can do is use our own judgment, and my personal judgment is that Cochran probably contributed at least something to the song’s writing. The original version of “Twenty Flight Rock”, as featured in the film, was little more than a demo — it featured Cochran on guitar, Guybo Smith on double bass, and Capehart slapping a cardboard box to add percussion. Cochran later recorded a more fully-arranged version of the song, which came out after the film, but the extra elements, notably the backing vocals, added little to the simplistic original: [Excerpt: Eddie Cochran, “Twenty Flight Rock”] It was that simpler version that appeared in the film, and which took its place alongside several other classic tracks in the film’s soundtrack. The film was originally intended to have a theme tune recorded by Fats Domino, who appeared in the film performing his hit “Blue Monday”, but when Bobby Troup mentioned this to Art Rupe, Rupe suggested that Little Richard would be a more energetic star to perform the song (and I’m sure this was entirely because of his belief that Richard would be the better talent, and nothing to do with Rupe owning Richard’s label, but not Domino’s). As a result, Domino’s role in the film was cut down to a single song, while Richard ended up doing three — the title song, written by Troup, “Ready Teddy” by John Marascalco and Bumps Blackwell, and “She’s Got It”. We’ve mentioned before that John Marascalco’s writing credits sometimes seem to be slightly exaggerated, and “She’s Got It” is one record that tends to bear that out. Listen to “She’s Got It”, which has Marascalco as the sole credited writer: [Excerpt: Little Richard, “She’s Got It”] And now listen to “I Got It”, an earlier record by Richard, which has Little Richard credited as the sole writer: [Excerpt: Little Richard, “I Got It”] Hmm… The Girl Can’t Help It was rather poorly reviewed in America. In France it was a different story. There’s a pervasive legend that the people of France revere Jerry Lewis as a genius. This is nonsense. But the grain of truth in it is that Cahiers du Cinema, the most important film magazine in France by a long way — the magazine for which Godard, Truffaut, and others wrote, and which popularised the concept of auteur theory, absolutely loved Frank Tashlin. In 1957, Tashlin was the only director to get two films on their top ten films of the year list — The Girl Can’t Help It at number eight, and Will Success Spoil Rock Hunter at number two. The other eight films on the list were directed by Chaplin, Fellini, Hitchcock, Bunuel, Ingmar Bergman, Nicholas Ray, Fritz Lang and Sidney Lumet. Tashlin directed several films starring Jerry Lewis, and those films, like Tashlin’s other work, got a significant amount of praise in the magazine. And that’s where that legend actually comes from, though Cahiers did also give some more guarded praise to some of the films Lewis directed himself later. Tashlin wasn’t actually that good a director, but what he did have is a visual style that came from a different area of filmmaking than most of his competitors. Tashlin had started out as a cartoon director, working on Warner Brothers cartoons. He wasn’t one of the better directors for Warners, and didn’t direct any of the classics people remember from the studio — he mostly made forgettable Porky Pig shorts. But this meant he had an animator’s sense for a visual gag, and thus gave his films a unique look. For advocates of auteur theory, that was enough to push him into the top ranks. And so The Girl Can’t Help It became a classic film, and Cochran got a great deal of attention, and a record deal. According to Si Waronker, the head of Liberty Records, Eddie Cochran getting signed to the label had nothing to do with him being cast in The Girl Can’t Help It, and Waronker had no idea the film was being made when Cochran got signed. This seems implausible, to say the least. Johnny Olenn, Abbey Lincoln and Julie London, three other Liberty Records artists, appeared in the film — and London was by some way Liberty’s biggest star. Not only that, but London’s husband, Bobby Troup, wrote the theme song and was musical director for the film. But whether or not Cochran was signed on account of his film appearance, “Twenty Flight Rock” wasn’t immediately released as a single. Indeed, by the time it came out Cochran had already appeared in another film, in which he had backed Mamie Van Doren — another Marilyn Monroe imitator in the same vein as Mansfield — on several songs, as well as having a small role and a featured song himself. Oddly, when that film, Untamed Youth, came out, Cochran’s backing on Van Doren’s recordings had been replaced by different instrumentalists. But he still appears on the EP that was released of the songs, including this one, which Cochran co-wrote with Capehart: [Excerpt: Mamie Van Doren, “Ooh Ba La Baby”] It had originally been planned to release “Twenty Flight Rock” as Cochran’s first single on Liberty, to coincide with the film’s release but then it was put back for several months, as Si Waronker wanted Cochran to release “Sitting in the Balcony” instead. That song had been written and originally recorded by John D Loudermilk: [Excerpt: John D Loudermilk, “Sitting in the Balcony”] Waronker had wanted to release Loudermilk’s record, but he hadn’t been able to get the rights, so he decided to get Cochran to record a note-for-note cover version and release that instead: [Excerpt: Eddie Cochran, “Sitting in the Balcony”] Cochran was not particularly happy with that record, though he was happy enough once the record started selling in comparatively vast quantities, spurred by his appearance in The Girl Can’t Help It, and reached number eighteen in the charts. The problem was that Cochran and Waronker had fundamentally different ideas about what Cochran actually was as an artist. Cochran thought of himself primarily as a guitarist — and the guitar solo on “Sittin’ in the Balcony” was the one thing about Cochran’s record which distinguished it from Loudermilk’s original — and also as a rock and roller. Waronker, on the other hand, was convinced that someone with Cochran’s good looks and masculine voice could easily be another Pat Boone. Liberty was fundamentally not geared towards making rock and roll records. Its other artists included the Hollywood composer Lionel Newman, the torch singer Julie London, and a little later novelty acts like the Chipmunks — the three Chipmunks, Alvin, Simon, and Theodore, being named after Al Bennett, Si Waronker, and Theodore Keep, the three men in charge of the label. And their attempts to force Cochran into the mould of a light-entertainment crooner produced a completely forgettable debut album, Singin’ to My Baby, which has little of the rock and roll excitement that would characterise Cochran’s better work. (And a warning for anyone who decides to go out and listen to that album anyway — one of the few tracks on there that *is* in Cochran’s rock and roll style is a song called “Mean When I’m Mad”, which is one of the most misogynist things I have heard, and I’ve heard quite a lot — it’s basically an outright rape threat. So if that’s something that will upset you, please steer clear of Cochran’s first album, while knowing you’re missing little artistically.) “Twenty Flight Rock” was eventually released as a single, in its remade version, in November 1957, almost a year after The Girl Can’t Help It came out. Unsurprisingly, coming out so late after the film, it didn’t chart, and it would be a while yet before Cochran would have his biggest hit. But just because it didn’t chart, doesn’t mean it didn’t make an impression. There’s one story, more than any other, that sums up the impact both of “The Girl Can’t Help It” and of “Twenty Flight Rock” itself. In July 1957, a skiffle group called the Quarrymen, led by a teenager called John Lennon, played a village fete in Woolton, a suburb of Liverpool. After the show, they were introduced to a young boy named Paul McCartney by a mutual friend. Lennon and McCartney hit it off, but the thing that persuaded Lennon to offer McCartney a place in the group was when McCartney demonstrated that he knew all the words to “Twenty Flight Rock”. Lennon wasn’t great at remembering lyrics, and was impressed enough by this that he decided that this new kid needed to be in the group. [Excerpt: Paul McCartney, “Twenty Flight Rock”] That’s the impact that The Girl Can’t Help It had, and the impact that “Twenty Flight Rock” had. But Eddie Cochran’s career was just starting, and we’ll see more of him in future episodes…

Episode fifty-two of A History of Rock Music in Five Hundred Songs looks at "Twenty Flight Rock" by Eddie Cochran, and at the first great rock and roll film Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Teen-Age Crush" by Tommy Sands.  ----more---- Resources There are several books available on Cochran, but for this episode I mostly relied on Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. I'll be using others as well in forthcoming episodes. While there are dozens of compilations of Cochran's music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. And as always there's a Mixcloud with the full versions of all the songs featured in today's episode. Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript To tell the story of rock music, it's important to tell the story of the music's impact on other media. Rock and roll was a cultural phenomenon that affected almost everything, and it affected TV, film, clothing and more. So today, we're going to look at how a film made the career of one of the greats of rock and roll music: [Excerpt: Eddie Cochran, "Twenty Flight Rock"] Eddie Cochran was born in Albert Lea, Minnesota, though in later life he would always claim to be an Okie rather than from Albert Lea. His parents were from Oklahoma, they moved to Minnesota shortly before Eddie was born, and they moved back to Oklahoma City when he was small, moved back again to Minnesota, and then moved off to California with the rest of the Okies. Cochran was a staggeringly precocious guitarist. On the road trip to California from Albert Lea, he had held his guitar on his lap for the entire journey, referring to it as his best friend. And once he hit California he quickly struck up a musical relationship with two friends -- Guybo Smith, who played bass, and Chuck Foreman, who played steel guitar. The three of them got hold of a couple of tape recorders, which allowed them not only to record themselves, but to experiment with overdubbing in the style of Les Paul. Some of those recordings have seen release in recent years, and they're quite astonishing: [Excerpt: Eddie Cochran and Chuck Foreman, "Rockin' It"] Cochran plays all the guitars on that (except the steel guitar, which is Foreman) and he was only fourteen years old at the time. He played with several groups who were playing the Okie Western Swing and proto-rockabilly that was popular in California at the time, and eventually hooked up with a singer from Mississippi who was born Garland Perry, but who changed his name to Hank Cochran, allowing the duo to perform under the name "the Cochran Brothers". The Cochran Brothers soon got a record deal. When they started out, they were doing pure country music, and their first single was a Louvin Brothers style close harmony song, about Jimmie Rodgers and Hank Williams: [Excerpt: The Cochran Brothers, "Two Blue Singing Stars"] But while Hank was perfectly happy making this kind of music, Eddie was getting more and more interested in the new rock and roll music that was starting to become popular, and the two of them eventually split up over actual musical differences. Hank Cochran would go on to have a long and successful career in the country industry, but Eddie was floundering. He knew that this new music was what he should be playing, and he was one of the best guitarists around, but he wasn't sure how to become a rock and roller, or even if he wanted to be a singer at all, rather than just a guitar player. He hooked up with Jerry Capehart, a singer and songwriter who the Cochran Brothers had earlier backed on a single: [Excerpt: Jerry Capehart and the Cochran Brothers, "Walkin' Stick Boogie"] The two of them started writing songs together, and Eddie also started playing as a session musician. He played on dozens of sessions in the mid-fifties, mostly uncredited, and scholars are still trying to establish a full list of the records he played on. But while he was doing this, he still hadn't got himself a record contract, other than for a single record on an independent label: [Excerpt: Eddie Cochran, "Skinny Jim"] Cochran was in the studio recording demos for consideration by record labels when Boris Petroff, a B-movie director who was a friend of Cochran's collaborator Jerry Capehart, dropped in. Petroff decided that Cochran had the looks to be a film star, and right there offered him a part in a film that was being made under the working title Do-Re-Mi. Quite how Petroff had the ability to give Cochran a part in a film he wasn't working on, I don't know, but he did, and the offer was a genuine one, as Cochran confirmed the next day. There were many, many, rock and roll films made in the 1950s, and most of them were utterly terrible. It says something about the genre as a whole when I tell you that Elvis' early films, which are not widely regarded as cinematic masterpieces, are among the very best rock and roll films of the decade. The 1950s were the tipping point for television ownership in both the US and the UK, but while TV was quickly becoming a mass medium, cinema-going was still at levels that would stagger people today -- *everyone* went to the cinema. And when you went to the cinema, you didn't go just to see one film. There'd be a main film, a shorter film called a B-movie that lasted maybe an hour, and short features like cartoons and newsreels. That meant that there was a much greater appetite for cheap films that could be used to fill out a programme, despite their total lack of quality. This is where, for example, all the films that appear in Mystery Science Theater 3000 come from, or many of them. And these B-movies would be made in a matter of weeks, or even days, and so would quickly be turned round to cash in on whatever trend was happening right at that minute. And so between 1956 and 1958 there were several dozen films, with titles like "Rock! Rock! Rock!", "Don't Knock The Rock" and so on. [Excerpt: Bill Haley and the Comets, “Don't Knock the Rock”] In every case, these films were sold entirely on the basis of the musical performances therein, with little or no effort to sell them as narratives, even though they all had plots of sorts. They were just excuses to get footage of as many different hit acts as possible into the cinemas, ideally before their songs dropped off the charts. (Many of them also contained non-hit acts, like Teddy Randazzo, who seemed to appear in all of them despite never having a single make the top fifty. Randazzo did, though, go on to write a number of classic hits for other artists). Very few of the rock and roll films of the fifties were even watchable at all. We talked in the episode on "Brown-Eyed Handsome Man" about the film "Rock! Rock! Rock!" which Chuck Berry appeared in -- that was actually towards the more watchable end of these films, terrible as it was. The film that Cochran was signed to appear in, which was soon renamed The Girl Can't Help It, is different. There are plenty of points at which the action stops for a musical performance, but there is an actual plot, and actual dialogue and acting. While the film isn't a masterpiece or anything like that, it is a proper film. And it's made by a proper studio. While, for example, Rock! Rock! Rock! was made by a fly-by-night company called Vanguard Productions, The Girl Can't Help It was made by Twentieth Century Fox. And it was made in both colour and Cinemascope. The budget for Rock! Rock! Rock! was seventy-five thousand dollars compared to the 1.3 million dollars spent on The Girl Can't Help It. [Excerpt: Little Richard, “The Girl Can't Help It”] Indeed, it seems to be as much an attempt to cash in on a Billy Wilder film as it is an attempt to cash in on rock and roll. The previous year, The Seven-Year Itch had been a big hit, with Tom Ewell playing an unassuming middle-aged man who becomes worryingly attracted to a much younger woman, played by Marilyn Monroe. The film had been a massive success (and it's responsible for the famous scene with Monroe on the air grate, which is still homaged and parodied to this day) and so the decision was taken to cast Tom Ewell as an unassuming middle-aged man who becomes worryingly attracted to a much younger woman, played by Jayne Mansfield doing her usual act of being a Marilyn Monroe impersonator. Just as the film was attempting to sell itself on the back of a more successful hit film, the story also bears a certain amount of resemblance to one by someone else. The playwright Garson Kanin had been inspired in 1955 by the tales of the jukebox wars -- he'd discovered that most of the jukeboxes in the country were being run by the Mafia, and that which records got stocked and played depended very much on who would do favours for the various gangsters involved. Gangsters would often destroy rivals' jukeboxes, and threaten bar owners if they were getting their jukeboxes from the wrong set of mobsters. Kanin took this idea and turned it into a novella, Do-Re-Mi, about a helpless schlub who teams up with a gangster named "Fatso" to enter the record business, and on the way more or less accidentally makes a young woman into a singing star. Do-Re-Mi later became a moderately successful stage musical, which introduced the song "Make Someone Happy". [Excerpt: Doris Day, “Make Someone Happy”] Meanwhile the plot of The Girl Can't Help It has a helpless schlub team up with a mobster named "Fats", and the two of them working together to make the mobster's young girlfriend into a singing star. I've seen varying accounts as to why The Girl Can't Help It was renamed from Do-Re-Mi and wasn't credited as being based on Kanin's novella. Some say that the film was made without the rights having been acquired, and changed to the point that Kanin wouldn't sue. Others say that Twentieth Century Fox acquired the rights perfectly legally, but that the director, Frank Tashlin changed the script around so much that Kanin asked that his credit be removed, because it was now so different from his novella that he could probably resell the rights at some future point. The latter seems fairly likely to me, given that Tashlin's next film, Will Success Spoil Rock Hunter?, which also starred Jayne Mansfield, contained almost nothing from the play on which it was based. Indeed, the original play Will Success Spoil Rock Hunter? was by the author of the original play on which The Seven-Year Itch was based. The playwright had been so annoyed at the way in which his vision had been messed with for the screen that he wrote Will Success Spoil Rock Hunter? as a satire about the way the film industry changes writers' work, and Mansfield was cast in the play. When Tashlin wanted Mansfield to star in The Girl Can't Help It but she was contractually obliged to appear in the play, Fox decided the easiest thing to do was just to buy up the rights to the play and relieve Mansfield of her obligation so she could star in The Girl Can't Help It. They then, once The Girl Can't Help It finished, got Frank Tashlin to write a totally new film with the title Will Success Spoil Rock Hunter?, keeping only the title and Mansfield's character. While The Girl Can't Help It has a reputation for satirising rock and roll, it actually pulls its punches to a surprising extent. For example, there's a pivotal scene where the main mobster character, Fats, calls our hero after seeing Eddie Cochran on TV: [excerpt: dialogue from "The Girl Can't Help It"] Note the wording there, and what he doesn't say. He doesn't say that Cochran can't sing, merely that he "ain't got a trained voice". The whole point of this scene is to set up that Jerry Jordan, Mansfield's character, could become a rock and roll star even though she can't sing at all, and yet when dealing with a real rock and roll star they are careful to be more ambiguous. Because, of course, the main thing that sold the film was the appearance of multiple rock and roll stars -- although "stars" is possibly overstating it for many of those present in the film. One thing it shared with most of the exploitation films was a rather slapdash attitude to which musicians the film would actually feature. And so it has the genuinely big rock and roll stars of the time Little Richard, the Platters, and Fats Domino, the one-hit wonder Gene Vincent (but what a one hit to have), and a bunch of… less well-known people, like the Treniers -- a jump band who'd been around since the forties and never really made a major impact, or Eddie Fontaine (about whom the less said the better), or the ubiquitous Teddy Randazzo, performing here with an accordion accompaniment. [Excerpt: Teddy Randazzo and the Three Chuckles, “Cinnamon Sinner”] And Cochran was to be one of those lesser-known acts, so he and Capehart had to find a song that might be suitable for him to perform in the film. Very quickly they decided on a song called "Twenty Flight Rock", written by a songwriter called Nelda Fairchild. There has been a lot of controversy as to who actually contributed what to the song, which is copyrighted in the names of both Fairchild and Cochran. Fairchild always claimed that she wrote the whole thing entirely by herself, and that Cochran got his co-writing credit for performing the demo, while Cochran's surviving relatives are equally emphatic in their claims that he was an equal contributor as a songwriter. We will almost certainly never know the truth. Cochran is credited as the co-writer of several other hit songs, usually with Capehart, but never as the sole writer of a hit. Fairchild, meanwhile, was a professional songwriter, but pieces like "Freddie the Little Fir Tree" don't especially sound like the work of the same person who wrote "Twenty Flight Rock". As both credited writers are now dead, the best we can do is use our own judgment, and my personal judgment is that Cochran probably contributed at least something to the song's writing. The original version of "Twenty Flight Rock", as featured in the film, was little more than a demo -- it featured Cochran on guitar, Guybo Smith on double bass, and Capehart slapping a cardboard box to add percussion. Cochran later recorded a more fully-arranged version of the song, which came out after the film, but the extra elements, notably the backing vocals, added little to the simplistic original: [Excerpt: Eddie Cochran, "Twenty Flight Rock"] It was that simpler version that appeared in the film, and which took its place alongside several other classic tracks in the film's soundtrack. The film was originally intended to have a theme tune recorded by Fats Domino, who appeared in the film performing his hit "Blue Monday", but when Bobby Troup mentioned this to Art Rupe, Rupe suggested that Little Richard would be a more energetic star to perform the song (and I'm sure this was entirely because of his belief that Richard would be the better talent, and nothing to do with Rupe owning Richard's label, but not Domino's). As a result, Domino's role in the film was cut down to a single song, while Richard ended up doing three -- the title song, written by Troup, "Ready Teddy" by John Marascalco and Bumps Blackwell, and "She's Got It". We've mentioned before that John Marascalco's writing credits sometimes seem to be slightly exaggerated, and “She's Got It” is one record that tends to bear that out. Listen to “She's Got It”, which has Marascalco as the sole credited writer: [Excerpt: Little Richard, “She's Got It”] And now listen to “I Got It”, an earlier record by Richard, which has Little Richard credited as the sole writer: [Excerpt: Little Richard, “I Got It”] Hmm… The Girl Can't Help It was rather poorly reviewed in America. In France it was a different story. There's a pervasive legend that the people of France revere Jerry Lewis as a genius. This is nonsense. But the grain of truth in it is that Cahiers du Cinema, the most important film magazine in France by a long way -- the magazine for which Godard, Truffaut, and others wrote, and which popularised the concept of auteur theory, absolutely loved Frank Tashlin. In 1957, Tashlin was the only director to get two films on their top ten films of the year list -- The Girl Can't Help It at number eight, and Will Success Spoil Rock Hunter at number two. The other eight films on the list were directed by Chaplin, Fellini, Hitchcock, Bunuel, Ingmar Bergman, Nicholas Ray, Fritz Lang and Sidney Lumet. Tashlin directed several films starring Jerry Lewis, and those films, like Tashlin's other work, got a significant amount of praise in the magazine. And that's where that legend actually comes from, though Cahiers did also give some more guarded praise to some of the films Lewis directed himself later. Tashlin wasn't actually that good a director, but what he did have is a visual style that came from a different area of filmmaking than most of his competitors. Tashlin had started out as a cartoon director, working on Warner Brothers cartoons. He wasn't one of the better directors for Warners, and didn't direct any of the classics people remember from the studio -- he mostly made forgettable Porky Pig shorts. But this meant he had an animator's sense for a visual gag, and thus gave his films a unique look. For advocates of auteur theory, that was enough to push him into the top ranks. And so The Girl Can't Help It became a classic film, and Cochran got a great deal of attention, and a record deal. According to Si Waronker, the head of Liberty Records, Eddie Cochran getting signed to the label had nothing to do with him being cast in The Girl Can't Help It, and Waronker had no idea the film was being made when Cochran got signed. This seems implausible, to say the least. Johnny Olenn, Abbey Lincoln and Julie London, three other Liberty Records artists, appeared in the film -- and London was by some way Liberty's biggest star. Not only that, but London's husband, Bobby Troup, wrote the theme song and was musical director for the film. But whether or not Cochran was signed on account of his film appearance, "Twenty Flight Rock" wasn't immediately released as a single. Indeed, by the time it came out Cochran had already appeared in another film, in which he had backed Mamie Van Doren -- another Marilyn Monroe imitator in the same vein as Mansfield -- on several songs, as well as having a small role and a featured song himself. Oddly, when that film, Untamed Youth, came out, Cochran's backing on Van Doren's recordings had been replaced by different instrumentalists. But he still appears on the EP that was released of the songs, including this one, which Cochran co-wrote with Capehart: [Excerpt: Mamie Van Doren, "Ooh Ba La Baby"] It had originally been planned to release "Twenty Flight Rock" as Cochran's first single on Liberty, to coincide with the film's release but then it was put back for several months, as Si Waronker wanted Cochran to release "Sitting in the Balcony" instead. That song had been written and originally recorded by John D Loudermilk: [Excerpt: John D Loudermilk, "Sitting in the Balcony"] Waronker had wanted to release Loudermilk's record, but he hadn't been able to get the rights, so he decided to get Cochran to record a note-for-note cover version and release that instead: [Excerpt: Eddie Cochran, "Sitting in the Balcony"] Cochran was not particularly happy with that record, though he was happy enough once the record started selling in comparatively vast quantities, spurred by his appearance in The Girl Can't Help It, and reached number eighteen in the charts. The problem was that Cochran and Waronker had fundamentally different ideas about what Cochran actually was as an artist. Cochran thought of himself primarily as a guitarist -- and the guitar solo on "Sittin' in the Balcony" was the one thing about Cochran's record which distinguished it from Loudermilk's original -- and also as a rock and roller. Waronker, on the other hand, was convinced that someone with Cochran's good looks and masculine voice could easily be another Pat Boone. Liberty was fundamentally not geared towards making rock and roll records. Its other artists included the Hollywood composer Lionel Newman, the torch singer Julie London, and a little later novelty acts like the Chipmunks -- the three Chipmunks, Alvin, Simon, and Theodore, being named after Al Bennett, Si Waronker, and Theodore Keep, the three men in charge of the label. And their attempts to force Cochran into the mould of a light-entertainment crooner produced a completely forgettable debut album, Singin' to My Baby, which has little of the rock and roll excitement that would characterise Cochran's better work. (And a warning for anyone who decides to go out and listen to that album anyway -- one of the few tracks on there that *is* in Cochran's rock and roll style is a song called "Mean When I'm Mad", which is one of the most misogynist things I have heard, and I've heard quite a lot -- it's basically an outright rape threat. So if that's something that will upset you, please steer clear of Cochran's first album, while knowing you're missing little artistically.) “Twenty Flight Rock” was eventually released as a single, in its remade version, in November 1957, almost a year after The Girl Can't Help It came out. Unsurprisingly, coming out so late after the film, it didn't chart, and it would be a while yet before Cochran would have his biggest hit. But just because it didn't chart, doesn't mean it didn't make an impression. There's one story, more than any other, that sums up the impact both of "The Girl Can't Help It" and of "Twenty Flight Rock" itself. In July 1957, a skiffle group called the Quarrymen, led by a teenager called John Lennon, played a village fete in Woolton, a suburb of Liverpool. After the show, they were introduced to a young boy named Paul McCartney by a mutual friend. Lennon and McCartney hit it off, but the thing that persuaded Lennon to offer McCartney a place in the group was when McCartney demonstrated that he knew all the words to "Twenty Flight Rock". Lennon wasn't great at remembering lyrics, and was impressed enough by this that he decided that this new kid needed to be in the group. [Excerpt: Paul McCartney, “Twenty Flight Rock”] That's the impact that The Girl Can't Help It had, and the impact that "Twenty Flight Rock" had. But Eddie Cochran's career was just starting, and we'll see more of him in future episodes...

Episode fifty-two of A History of Rock Music in Five Hundred Songs looks at “Twenty Flight Rock” by Eddie Cochran, and at the first great rock and roll film Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Teen-Age Crush” by Tommy Sands.  —-more—- Resources There are several books available on Cochran, but for this episode I mostly relied on Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. I’ll be using others as well in forthcoming episodes. While there are dozens of compilations of Cochran’s music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. And as always there’s a Mixcloud with the full versions of all the songs featured in today’s episode. Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript To tell the story of rock music, it’s important to tell the story of the music’s impact on other media. Rock and roll was a cultural phenomenon that affected almost everything, and it affected TV, film, clothing and more. So today, we’re going to look at how a film made the career of one of the greats of rock and roll music: [Excerpt: Eddie Cochran, “Twenty Flight Rock”] Eddie Cochran was born in Albert Lea, Minnesota, though in later life he would always claim to be an Okie rather than from Albert Lea. His parents were from Oklahoma, they moved to Minnesota shortly before Eddie was born, and they moved back to Oklahoma City when he was small, moved back again to Minnesota, and then moved off to California with the rest of the Okies. Cochran was a staggeringly precocious guitarist. On the road trip to California from Albert Lea, he had held his guitar on his lap for the entire journey, referring to it as his best friend. And once he hit California he quickly struck up a musical relationship with two friends — Guybo Smith, who played bass, and Chuck Foreman, who played steel guitar. The three of them got hold of a couple of tape recorders, which allowed them not only to record themselves, but to experiment with overdubbing in the style of Les Paul. Some of those recordings have seen release in recent years, and they’re quite astonishing: [Excerpt: Eddie Cochran and Chuck Foreman, “Rockin’ It”] Cochran plays all the guitars on that (except the steel guitar, which is Foreman) and he was only fourteen years old at the time. He played with several groups who were playing the Okie Western Swing and proto-rockabilly that was popular in California at the time, and eventually hooked up with a singer from Mississippi who was born Garland Perry, but who changed his name to Hank Cochran, allowing the duo to perform under the name “the Cochran Brothers”. The Cochran Brothers soon got a record deal. When they started out, they were doing pure country music, and their first single was a Louvin Brothers style close harmony song, about Jimmie Rodgers and Hank Williams: [Excerpt: The Cochran Brothers, “Two Blue Singing Stars”] But while Hank was perfectly happy making this kind of music, Eddie was getting more and more interested in the new rock and roll music that was starting to become popular, and the two of them eventually split up over actual musical differences. Hank Cochran would go on to have a long and successful career in the country industry, but Eddie was floundering. He knew that this new music was what he should be playing, and he was one of the best guitarists around, but he wasn’t sure how to become a rock and roller, or even if he wanted to be a singer at all, rather than just a guitar player. He hooked up with Jerry Capehart, a singer and songwriter who the Cochran Brothers had earlier backed on a single: [Excerpt: Jerry Capehart and the Cochran Brothers, “Walkin’ Stick Boogie”] The two of them started writing songs together, and Eddie also started playing as a session musician. He played on dozens of sessions in the mid-fifties, mostly uncredited, and scholars are still trying to establish a full list of the records he played on. But while he was doing this, he still hadn’t got himself a record contract, other than for a single record on an independent label: [Excerpt: Eddie Cochran, “Skinny Jim”] Cochran was in the studio recording demos for consideration by record labels when Boris Petroff, a B-movie director who was a friend of Cochran’s collaborator Jerry Capehart, dropped in. Petroff decided that Cochran had the looks to be a film star, and right there offered him a part in a film that was being made under the working title Do-Re-Mi. Quite how Petroff had the ability to give Cochran a part in a film he wasn’t working on, I don’t know, but he did, and the offer was a genuine one, as Cochran confirmed the next day. There were many, many, rock and roll films made in the 1950s, and most of them were utterly terrible. It says something about the genre as a whole when I tell you that Elvis’ early films, which are not widely regarded as cinematic masterpieces, are among the very best rock and roll films of the decade. The 1950s were the tipping point for television ownership in both the US and the UK, but while TV was quickly becoming a mass medium, cinema-going was still at levels that would stagger people today — *everyone* went to the cinema. And when you went to the cinema, you didn’t go just to see one film. There’d be a main film, a shorter film called a B-movie that lasted maybe an hour, and short features like cartoons and newsreels. That meant that there was a much greater appetite for cheap films that could be used to fill out a programme, despite their total lack of quality. This is where, for example, all the films that appear in Mystery Science Theater 3000 come from, or many of them. And these B-movies would be made in a matter of weeks, or even days, and so would quickly be turned round to cash in on whatever trend was happening right at that minute. And so between 1956 and 1958 there were several dozen films, with titles like “Rock! Rock! Rock!”, “Don’t Knock The Rock” and so on. [Excerpt: Bill Haley and the Comets, “Don’t Knock the Rock”] In every case, these films were sold entirely on the basis of the musical performances therein, with little or no effort to sell them as narratives, even though they all had plots of sorts. They were just excuses to get footage of as many different hit acts as possible into the cinemas, ideally before their songs dropped off the charts. (Many of them also contained non-hit acts, like Teddy Randazzo, who seemed to appear in all of them despite never having a single make the top fifty. Randazzo did, though, go on to write a number of classic hits for other artists). Very few of the rock and roll films of the fifties were even watchable at all. We talked in the episode on “Brown-Eyed Handsome Man” about the film “Rock! Rock! Rock!” which Chuck Berry appeared in — that was actually towards the more watchable end of these films, terrible as it was. The film that Cochran was signed to appear in, which was soon renamed The Girl Can’t Help It, is different. There are plenty of points at which the action stops for a musical performance, but there is an actual plot, and actual dialogue and acting. While the film isn’t a masterpiece or anything like that, it is a proper film. And it’s made by a proper studio. While, for example, Rock! Rock! Rock! was made by a fly-by-night company called Vanguard Productions, The Girl Can’t Help It was made by Twentieth Century Fox. And it was made in both colour and Cinemascope. The budget for Rock! Rock! Rock! was seventy-five thousand dollars compared to the 1.3 million dollars spent on The Girl Can’t Help It. [Excerpt: Little Richard, “The Girl Can’t Help It”] Indeed, it seems to be as much an attempt to cash in on a Billy Wilder film as it is an attempt to cash in on rock and roll. The previous year, The Seven-Year Itch had been a big hit, with Tom Ewell playing an unassuming middle-aged man who becomes worryingly attracted to a much younger woman, played by Marilyn Monroe. The film had been a massive success (and it’s responsible for the famous scene with Monroe on the air grate, which is still homaged and parodied to this day) and so the decision was taken to cast Tom Ewell as an unassuming middle-aged man who becomes worryingly attracted to a much younger woman, played by Jayne Mansfield doing her usual act of being a Marilyn Monroe impersonator. Just as the film was attempting to sell itself on the back of a more successful hit film, the story also bears a certain amount of resemblance to one by someone else. The playwright Garson Kanin had been inspired in 1955 by the tales of the jukebox wars — he’d discovered that most of the jukeboxes in the country were being run by the Mafia, and that which records got stocked and played depended very much on who would do favours for the various gangsters involved. Gangsters would often destroy rivals’ jukeboxes, and threaten bar owners if they were getting their jukeboxes from the wrong set of mobsters. Kanin took this idea and turned it into a novella, Do-Re-Mi, about a helpless schlub who teams up with a gangster named “Fatso” to enter the record business, and on the way more or less accidentally makes a young woman into a singing star. Do-Re-Mi later became a moderately successful stage musical, which introduced the song “Make Someone Happy”. [Excerpt: Doris Day, “Make Someone Happy”] Meanwhile the plot of The Girl Can’t Help It has a helpless schlub team up with a mobster named “Fats”, and the two of them working together to make the mobster’s young girlfriend into a singing star. I’ve seen varying accounts as to why The Girl Can’t Help It was renamed from Do-Re-Mi and wasn’t credited as being based on Kanin’s novella. Some say that the film was made without the rights having been acquired, and changed to the point that Kanin wouldn’t sue. Others say that Twentieth Century Fox acquired the rights perfectly legally, but that the director, Frank Tashlin changed the script around so much that Kanin asked that his credit be removed, because it was now so different from his novella that he could probably resell the rights at some future point. The latter seems fairly likely to me, given that Tashlin’s next film, Will Success Spoil Rock Hunter?, which also starred Jayne Mansfield, contained almost nothing from the play on which it was based. Indeed, the original play Will Success Spoil Rock Hunter? was by the author of the original play on which The Seven-Year Itch was based. The playwright had been so annoyed at the way in which his vision had been messed with for the screen that he wrote Will Success Spoil Rock Hunter? as a satire about the way the film industry changes writers’ work, and Mansfield was cast in the play. When Tashlin wanted Mansfield to star in The Girl Can’t Help It but she was contractually obliged to appear in the play, Fox decided the easiest thing to do was just to buy up the rights to the play and relieve Mansfield of her obligation so she could star in The Girl Can’t Help It. They then, once The Girl Can’t Help It finished, got Frank Tashlin to write a totally new film with the title Will Success Spoil Rock Hunter?, keeping only the title and Mansfield’s character. While The Girl Can’t Help It has a reputation for satirising rock and roll, it actually pulls its punches to a surprising extent. For example, there’s a pivotal scene where the main mobster character, Fats, calls our hero after seeing Eddie Cochran on TV: [excerpt: dialogue from “The Girl Can’t Help It”] Note the wording there, and what he doesn’t say. He doesn’t say that Cochran can’t sing, merely that he “ain’t got a trained voice”. The whole point of this scene is to set up that Jerry Jordan, Mansfield’s character, could become a rock and roll star even though she can’t sing at all, and yet when dealing with a real rock and roll star they are careful to be more ambiguous. Because, of course, the main thing that sold the film was the appearance of multiple rock and roll stars — although “stars” is possibly overstating it for many of those present in the film. One thing it shared with most of the exploitation films was a rather slapdash attitude to which musicians the film would actually feature. And so it has the genuinely big rock and roll stars of the time Little Richard, the Platters, and Fats Domino, the one-hit wonder Gene Vincent (but what a one hit to have), and a bunch of… less well-known people, like the Treniers — a jump band who’d been around since the forties and never really made a major impact, or Eddie Fontaine (about whom the less said the better), or the ubiquitous Teddy Randazzo, performing here with an accordion accompaniment. [Excerpt: Teddy Randazzo and the Three Chuckles, “Cinnamon Sinner”] And Cochran was to be one of those lesser-known acts, so he and Capehart had to find a song that might be suitable for him to perform in the film. Very quickly they decided on a song called “Twenty Flight Rock”, written by a songwriter called Nelda Fairchild. There has been a lot of controversy as to who actually contributed what to the song, which is copyrighted in the names of both Fairchild and Cochran. Fairchild always claimed that she wrote the whole thing entirely by herself, and that Cochran got his co-writing credit for performing the demo, while Cochran’s surviving relatives are equally emphatic in their claims that he was an equal contributor as a songwriter. We will almost certainly never know the truth. Cochran is credited as the co-writer of several other hit songs, usually with Capehart, but never as the sole writer of a hit. Fairchild, meanwhile, was a professional songwriter, but pieces like “Freddie the Little Fir Tree” don’t especially sound like the work of the same person who wrote “Twenty Flight Rock”. As both credited writers are now dead, the best we can do is use our own judgment, and my personal judgment is that Cochran probably contributed at least something to the song’s writing. The original version of “Twenty Flight Rock”, as featured in the film, was little more than a demo — it featured Cochran on guitar, Guybo Smith on double bass, and Capehart slapping a cardboard box to add percussion. Cochran later recorded a more fully-arranged version of the song, which came out after the film, but the extra elements, notably the backing vocals, added little to the simplistic original: [Excerpt: Eddie Cochran, “Twenty Flight Rock”] It was that simpler version that appeared in the film, and which took its place alongside several other classic tracks in the film’s soundtrack. The film was originally intended to have a theme tune recorded by Fats Domino, who appeared in the film performing his hit “Blue Monday”, but when Bobby Troup mentioned this to Art Rupe, Rupe suggested that Little Richard would be a more energetic star to perform the song (and I’m sure this was entirely because of his belief that Richard would be the better talent, and nothing to do with Rupe owning Richard’s label, but not Domino’s). As a result, Domino’s role in the film was cut down to a single song, while Richard ended up doing three — the title song, written by Troup, “Ready Teddy” by John Marascalco and Bumps Blackwell, and “She’s Got It”. We’ve mentioned before that John Marascalco’s writing credits sometimes seem to be slightly exaggerated, and “She’s Got It” is one record that tends to bear that out. Listen to “She’s Got It”, which has Marascalco as the sole credited writer: [Excerpt: Little Richard, “She’s Got It”] And now listen to “I Got It”, an earlier record by Richard, which has Little Richard credited as the sole writer: [Excerpt: Little Richard, “I Got It”] Hmm… The Girl Can’t Help It was rather poorly reviewed in America. In France it was a different story. There’s a pervasive legend that the people of France revere Jerry Lewis as a genius. This is nonsense. But the grain of truth in it is that Cahiers du Cinema, the most important film magazine in France by a long way — the magazine for which Godard, Truffaut, and others wrote, and which popularised the concept of auteur theory, absolutely loved Frank Tashlin. In 1957, Tashlin was the only director to get two films on their top ten films of the year list — The Girl Can’t Help It at number eight, and Will Success Spoil Rock Hunter at number two. The other eight films on the list were directed by Chaplin, Fellini, Hitchcock, Bunuel, Ingmar Bergman, Nicholas Ray, Fritz Lang and Sidney Lumet. Tashlin directed several films starring Jerry Lewis, and those films, like Tashlin’s other work, got a significant amount of praise in the magazine. And that’s where that legend actually comes from, though Cahiers did also give some more guarded praise to some of the films Lewis directed himself later. Tashlin wasn’t actually that good a director, but what he did have is a visual style that came from a different area of filmmaking than most of his competitors. Tashlin had started out as a cartoon director, working on Warner Brothers cartoons. He wasn’t one of the better directors for Warners, and didn’t direct any of the classics people remember from the studio — he mostly made forgettable Porky Pig shorts. But this meant he had an animator’s sense for a visual gag, and thus gave his films a unique look. For advocates of auteur theory, that was enough to push him into the top ranks. And so The Girl Can’t Help It became a classic film, and Cochran got a great deal of attention, and a record deal. According to Si Waronker, the head of Liberty Records, Eddie Cochran getting signed to the label had nothing to do with him being cast in The Girl Can’t Help It, and Waronker had no idea the film was being made when Cochran got signed. This seems implausible, to say the least. Johnny Olenn, Abbey Lincoln and Julie London, three other Liberty Records artists, appeared in the film — and London was by some way Liberty’s biggest star. Not only that, but London’s husband, Bobby Troup, wrote the theme song and was musical director for the film. But whether or not Cochran was signed on account of his film appearance, “Twenty Flight Rock” wasn’t immediately released as a single. Indeed, by the time it came out Cochran had already appeared in another film, in which he had backed Mamie Van Doren — another Marilyn Monroe imitator in the same vein as Mansfield — on several songs, as well as having a small role and a featured song himself. Oddly, when that film, Untamed Youth, came out, Cochran’s backing on Van Doren’s recordings had been replaced by different instrumentalists. But he still appears on the EP that was released of the songs, including this one, which Cochran co-wrote with Capehart: [Excerpt: Mamie Van Doren, “Ooh Ba La Baby”] It had originally been planned to release “Twenty Flight Rock” as Cochran’s first single on Liberty, to coincide with the film’s release but then it was put back for several months, as Si Waronker wanted Cochran to release “Sitting in the Balcony” instead. That song had been written and originally recorded by John D Loudermilk: [Excerpt: John D Loudermilk, “Sitting in the Balcony”] Waronker had wanted to release Loudermilk’s record, but he hadn’t been able to get the rights, so he decided to get Cochran to record a note-for-note cover version and release that instead: [Excerpt: Eddie Cochran, “Sitting in the Balcony”] Cochran was not particularly happy with that record, though he was happy enough once the record started selling in comparatively vast quantities, spurred by his appearance in The Girl Can’t Help It, and reached number eighteen in the charts. The problem was that Cochran and Waronker had fundamentally different ideas about what Cochran actually was as an artist. Cochran thought of himself primarily as a guitarist — and the guitar solo on “Sittin’ in the Balcony” was the one thing about Cochran’s record which distinguished it from Loudermilk’s original — and also as a rock and roller. Waronker, on the other hand, was convinced that someone with Cochran’s good looks and masculine voice could easily be another Pat Boone. Liberty was fundamentally not geared towards making rock and roll records. Its other artists included the Hollywood composer Lionel Newman, the torch singer Julie London, and a little later novelty acts like the Chipmunks — the three Chipmunks, Alvin, Simon, and Theodore, being named after Al Bennett, Si Waronker, and Theodore Keep, the three men in charge of the label. And their attempts to force Cochran into the mould of a light-entertainment crooner produced a completely forgettable debut album, Singin’ to My Baby, which has little of the rock and roll excitement that would characterise Cochran’s better work. (And a warning for anyone who decides to go out and listen to that album anyway — one of the few tracks on there that *is* in Cochran’s rock and roll style is a song called “Mean When I’m Mad”, which is one of the most misogynist things I have heard, and I’ve heard quite a lot — it’s basically an outright rape threat. So if that’s something that will upset you, please steer clear of Cochran’s first album, while knowing you’re missing little artistically.) “Twenty Flight Rock” was eventually released as a single, in its remade version, in November 1957, almost a year after The Girl Can’t Help It came out. Unsurprisingly, coming out so late after the film, it didn’t chart, and it would be a while yet before Cochran would have his biggest hit. But just because it didn’t chart, doesn’t mean it didn’t make an impression. There’s one story, more than any other, that sums up the impact both of “The Girl Can’t Help It” and of “Twenty Flight Rock” itself. In July 1957, a skiffle group called the Quarrymen, led by a teenager called John Lennon, played a village fete in Woolton, a suburb of Liverpool. After the show, they were introduced to a young boy named Paul McCartney by a mutual friend. Lennon and McCartney hit it off, but the thing that persuaded Lennon to offer McCartney a place in the group was when McCartney demonstrated that he knew all the words to “Twenty Flight Rock”. Lennon wasn’t great at remembering lyrics, and was impressed enough by this that he decided that this new kid needed to be in the group. [Excerpt: Paul McCartney, “Twenty Flight Rock”] That’s the impact that The Girl Can’t Help It had, and the impact that “Twenty Flight Rock” had. But Eddie Cochran’s career was just starting, and we’ll see more of him in future episodes…

Whoever thought that a playa named Jasper would make himself known in the year 2019?!? Well Ms. Janelle had the pleasure of bringing this news forward. Intro Cut: Skinny Bob- "3 AM (With You) Outro Cut: Taj AlexandHer- "I Got It"

New music by Ruslan & Paul Russell, and Sareem Poems calls on his illect brethren. Flashback by ill Harmonics from 2002. And of course the songs you voted for us to play again on www.definitionradio.com. Playlist: "Rattle Ya Cage" by Izzy n The Profit "Nuclear Arms7" by Griffin "Turn It Up" by Imperial & K.I.N.E.T.I.K. "45th Avenua Interlude" by Paul Russell ft. Ruslan, Jon Keith "Braggadocio" by W.O.T.S. "I Got It" by Tee Wyla ft. Armond Wakeup, Jonathan Baker "Satan's Hostage" by Malachi John "Fight Club" by Sivion, Andreon Michael, Lucyclubhouse "Hoodie" by The Winnie Coopers "Old School" by B. Reith "Take Two" by ill harmonics "Psycho" by Gallery Drive "break chains." by D4C ft. Jonnie 3:16 "Work For It" by Sareem Poems, James Gardin, Sivion, Sojourn, Tee-Wyla Vote on the playlist at www.definitionradio.com/show/641 Leave your requests/shout-outs on our facebook/twitter. www.facebook.com/DefinitionRadio www.twitter.com/DefinitionHH www.krosswerdz.com

On this episode of the Just the Tip podcast, Jesse is joined by her friend Candice to discuss relationship timelines and how to get the relationship you want. The post Just The Tip Podcast Season 2 Episode #4: I Want It, I Got It appeared first on Tinder District.

New song off D4C's latest album, Next Chapter. A family colaboration by Sivion, with his childrem Andreon Michael and Lucyclubhouse. Triple-play of singing rappers (or is it rappers who can sing). Flashback to two tracks off the 2004 Beatmart "Best of Submissions" mixtape by DJ Morph. Tracklist: "Over Here" by nobigdyl. "Joy" by James Gardin "Vibes" by Jupiter 7 "I Got It" by Tee Wyla, Armond Wakeup, Jonathan Baker "One Time 4 ur Mind" by Eskatology "Fight Club" by Sivion, Andreon Michael, Lucyclubhouse "Go Get It Now" by Izzy "Donuts" by Andy Mineo ft. Phonte, Christon Gray "The Kite" by MattmaN ft. Cas Metah, Elias, Griffin "Old School" by B. Reith "Scratch Freestyle" by DJ Morph ft. Wordz "How it is" by DJ Morph ft. Manchild, Adan Genesis "I'm So Potential" by Die-Rek "break chains." by D4C ft. Jonnie 3:16 "For this Life" by Eternia ft. Pheonix Pagliacci Vote on the playlist at www.definitionradio.com/show/633 Leave your requests/shout-outs on our facebook/twitter. www.facebook.com/DefinitionRadio www.twitter.com/DefinitionHH www.krosswerdz.com

It’s those blokes again, Oaks & Jabs play some new music from James & Jon & Jupiter plus some Aussie stuff with a flashback from Grits as they debate the responsibility of the artist to help them hijack outros and even take that to the next level with a pre-written response verse. Mind blown. Tracklist: “Go O Say Moore” by Ozay Moore “In The Pocket” by Jon Corbin ft. Eternia “My DJ Waps” by Fonke Knomaads “Vibes” by Jupiter 7 “I Got It” by Tee-Wyla ft. Armond WakeUp & Jonathan Baker “Joy” by James Gardin “Love And Hate” by Percy Page “Lesson To Learn” by Jon Corbin ft. Shad, Orijin & Rel McCoy “Taken” by Syllable Driven ft. Rezadent “Maze” by Sareem Poems & Ess Be “Ooh Aah” by Grits ft. tobyMac “Home” by James Gardin Vote on the playlist at www.definitionradio.com/show/625 Leave your requests/shout-outs on our facebook/twitter. www.facebook.com/DefinitionRadio www.twitter.com/DefinitionHH www.krosswerdz.com

Meet Dayo Greenway at 6:00 p.m. EST - www.Sharvette.com Ifedayo Greenway is the founder and visionary of IG & M.O.R.E (Ife Greenway & Ministry of Real Empowerment). She is a mother, inspirational writer, minister and motivational speaker who is passionate about impacting & changing lives. With a degree in criminal justice, Ifedayo has been a Professional Investigator for nineteen years. She has been a licensed minister of the gospel for eight years. She uses the same research, analytical and communication skills learned in both the professional and faith arena to strategize and create new methods of overcoming personal obstacles. In addition to being an Inspirational Writer, she is the author of Empowered To Become MORE (volumes I and II) and a contributing and best selling author of You Need It, I Got It! She writes to the heart that's mangled with pain and speaks with the hopes of connecting with people's issues and being the “ministry moment” that empowers them to persevere. Committed to transparency and being relatable, Ifedayo uses her journey, real life challenges and practical experiences to empower and strengthen others. She encourages others to find their authentic voice, manage difficulties and continue to pursue personal goals.

Josh "DOT" Stone has production credits that read like a Billboard Top 10 list as he worked with everyone from Nicki Minaj to G-Eazy, but now he's ready to jump on the mic himself.  After putting out songs recently "You Need It, I Got It" and "Who The Greatest Is", DOT brings by his newest track "Make You Famous" featuring all of the members of Dipset reunited.  We're excited to sit down with him and chat about his start in the music game, his hockey injury that changed everything and his take on the current state of hip hop.   Check out the full interview below and keep up with Josh "DOT" Stone here: @itsdotofficial  

THE WORLD IS AN OYSTER & WE'VE GOT BLAKE SCHWARZENBACH ON THE SHOW THIS WEEK!!! Right on the heels of Jawbreaker's recent show announcements, Blake took sometime out of the practice schedule to sit down & talk everything from The Wipers to Ratt to Econochrist. This one is so much fun, so kickback, relax & get ready…I GOT IT!!! Also Touched On: Blake Is stoked To Meet Damon From Blur Playing With Radiohead, Oasis & NO DOUBT Middle School In Portland An AMAZING First Grip Of Singles: The Wipers, Sado Nation and Echo & The Bunnymen Getting The Forgetters Sound Loving Post-Punk Guitars Growing Up A Music Kid Dad’s New Wave Girlfriend Pat Benatar & Loverboy Van Halen The Kinks Loving Palm Muted Guitar The Beat & Power Pop Moving To LA Going To The Palladium To See The Adolescents Meeting The New Romantics Getting Into The Paisley Underground: Where The Cool Kids Go Dream Syndicate: The Days Of Wine & Roses Seeing the Go-Go’s Give The Drummer Some: Starting In Music On Forming Red Harvest: The Surf Goth Power Trio E Minor C Progression: The Best Magnolia Thunderpussy SST Records Covering Bad Religion Boinker Music: New Wave Crap Renouncing Punk & Getting Into Metal Loving Sludgey Stuff… & Ratt Being Too Angry For Santa Cruz Getting Kicked Out Of College For Arson Going to NYU Reaching Synthesis Learning About East Coast Hardcore Loving The DC Scene Too Much Male Bravado In The CB’s Scene Flower: The Pre-Cell Band Live Skull Embrace Jawbreaker: The Result Of A Happy Failure Dramarama: The Root Of So Much Sending A Tape To MRR The First Show With The Post Three O’Clock Band At Club 88 The Partitions Of LA Government Issue At The AntiClub To LA Meeting Econochrist & Having A Firework Battle Bitchmagnet: An Amazing Band With A Terrible Name Getting On Boner Records… They Were Pretty Dark & MUCH, MUCH MORE!!!! BROUGHT TO YOU BY VANS

BY THE TIME WE GOT TO OSLO, THE SNOW WAS GONE My New Year’s Resolution: 1) Write better blurbs Ok…let’s… Ok. No wait. Here we go…no. Wait. I GOT IT! It’s… No hold on. Ummm. Ok. Scrap that. Can I make a different resolution. My New Year’s Resolution (Take 2): 1) Quit this blurb-writing gig and get a real job. It’s a new day, it’s a new year, it’s a new life…and I’m feeling POD! It’s the first SILENCE! Of 2018 and it arrives wearing a top hat, spats and little else! Gary Lactus and The Beast Must Die bring you a timely festive edition to warm your coals. HO HO HO (sshhhhh). Seasonal sponsorship, Christmas admin and standard festive cheer? All here. Presents are compared and there’s some chat about Judge Dredd Complete Case Files v29, 2000AD Sci-Fi specials, Misty, The Gosh Comics 50% Sale, Ian Miller’s Swamp Thing and the wonderful Paperbacks From Hell.. Head to the Reviewniverse with your giddy hosts as they talk the light fantastic about The Leopard from Lime St, Klaus: The Crisis In Xmasville, Doom Patrol, Shade The Changing Girl, Parasdiso, Mister Miracle, X-Men: Grand Design, Jack Kirby’s 2001, Assassinistas and probably something I’ve forgotten. Yule be sorry! HA @silencepod @frasergeesin @thebeastmustdie @bobsymindless @kellykanayama silencepodcast@gmail.com You can support us using Patreon if you like.

On this episode we talk through the recent announcement of the Grammy nominations for 2018. Sarah tells us about her time at a recent Bryson Tiller concert and we, as always, talk through our ten tracks from the last two weeks. This weeks tracks are: SZA - "Supermodel" YONAKA - "Run" U2 - "Get Out Of Your Own Way" Kiesza & Skygge - "Hello Shadow" Ebenezer - "Survival" Manus - "I Got It" French Montana feat. Pharrell Williams - "Bring Dem Things" Jai Paul - "BTSTU" Bryson Tiller - "Run Me Dry" Steel Bangelz feat. Yungen, Not3s, MoStack & Mr. Eazi - "Bad"

Episode 2: In which we discuss, Battle Chasers: Nightwar, Avengers Infinity War, Black Panther, Marvel's Runaways, Street Fighter comics, Ed Piskor, Moebius, and more!! Also check out the world podcast premier of Manus's new song " I Got It," that was featured on Comedy Centrals Broad City. Special shout out to Joe Mad and Airship Syndicate for the amazing game! For more go to www.battlechasers.com Click here to check out Manus on Spotify!!  Click here to learn more about the Moebius' Probe Droid Click here to learn more about Adam Warlock (watch the video) Click here to learn more about BILL Sienkiewicz's New Mutants "Demon Bear Saga" story arc      

We kicked this episode off with Phil Cohen Co-Founder & CEO of AudioCommon.com to explain exactly how his platform is "redefining the way music is created" and how artists can financially benefit. Former inbox winner ENEME has stepped up and returned to debut his new project with us called "To Thee World Ends". The emcee opens up on situations from getting married to losing his mother; using life's ups and downs as a fuel for motivation. If you recall DUBB was our very first guest of 2015 and promised to return with new music upon his return. Well it's "Perfect Timing" as DUBB explains his state mind and meaning behind the latest release Hosted By DJ Whoo Kid & DJ Skee while breaking down songs like "Middle America" ft. Jake&Papa, "Reverse Racism" & "Favorite Things". We see the progression and encourage you to support the movement. Speaking of Jake&Papa, the R&B duo have been non-stop since we last spoke with them upon the release of Athena's Erotica 2.0. They've been getting a lot of attention online and in the streets for "I Got It" and even hit LA radio with new single "Leave Me" ft. DUBB. Not only have Jake&Papa been ripping shows locally, throughout CA. and recently at SXSW, but managed to wrap up a project in the meantime. We couldn't get the title for you just yet but did get blessed with an exclusive and convinced them to create their own acapella version of YG - "You Broke".

After doing a 4-year timeout, Taj-He-Spitz is back making his debut on Blacktop Radio. Merquillo asks Taji how he's grown from a preteen in Yahoo chatrooms to a buzzing artist receiving fanmail from Philadelphia, Canada, and Japan. Taji leaks three singles off his upcoming EP "I Got It" including the title track "I Got It", "Single Girls" and "Big Bank". "I don't make trend music, I make 'in' music... I just feel like right now I would rather tell you about them problems you got with that welfare office. Or I'd rather tell you about the problems you got with yo baby mama. Or I'd rather tell you bout how you ain't got that money that you be singing along to when you hear that song. But you will get this money, and you will get the benefits and all that if you just give it to God, you know. That's what I came to push. I came to represent the people that's been oppressed instead of joining the oppressors" - Taj-He-Spitz. Follow Taj-He-Spitz: http://twitter.com/tajhespitz Instagram: tajhespitz707 Follow Merquillo: http://twitter.com/merquillo Instagram: Merquillo

This week we talk with Bawse Dawg, aka Bling Dawg aka Ricky Rudie, about his career and ability to change with the times but keep the original 'rrrrrrrrrrrr' tone in his delivery. We discuss his distinct cadence and Jamaican rap style that is unique to him from the 1990's. He explains the motivation behind the creation of his own label 'Dawg House', voicing new riddims with fellow artists yet also the good/bad about being a solo agent in the Dancehall industry. We also get a snippet of his new track with Peetah Morgan, and Bounty Killa was the first to voice on this new riddim! Next interview we'll ask if he's rolling with Team Celtics or the Miami Heat? Set Up Shop - Damian Marley VIP ft Busy Signal - Bling Dawg Weird Hugging - Bling Dawg Nuh Tell Mi - Bling Dawg Full Bling Dawg Interview I Got It, You Godda Love Me - Bling Dawg Pedal To The Floor - Bling Dawg I Will Never Change - Wayne Marshall Puff It - I-Octane Jiggle Fi Me - I-Octane Sunsplash Mix Show is 10am-1pm (EST) Weekly on www.DaFlavaRadio.com/index.php with Selecta Princess & Kenn Obara Reggae + Dancehall + Interviews #Atlanta #Kenya #Gambia #Connecticut sponsored by: Sunsplash Media, Caribbean International Shipping Services  • Cooyah CY Clothing Inc. • Startime Computers Four Seasons Music & www.JayForce.com