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

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

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

Today's conversation goes deep into what really happens when women finally step into a menopause support space, the privacy they protect fiercely, the relief they feel when they discover they're not alone, and the hunger for real, accessible care. Guiding this exploration is Angela MacGregor, the powerhouse founder of the National Menopause Show. Angela is rewriting the script on how Canada talks about menopause: bold, future-focused, and grounded in evidence and humanity. Together, we unpack why so many women show up to these sessions quietly and alone, why access to informed care still feels out of reach, and how normalization and community are slowly breaking decades of stigma. Angela brings her signature clarity and courage as we explore what it truly means to elevate menopause from a whispered topic to a national priority,  one honest conversation at a time. What You'll Hear in This Episode Why privacy is a top reason women attend menopause sessions solo The massive access gap in menopause care — and how it impacts real lives The moment of “Oh… it's not just me” that shifts everything How stigma dissolves when menopause becomes a normalized, public conversation The cultural shift Angela is championing through the National Menopause Show Key Takeaways Women often seek menopause support alone for privacy Access to menopause-informed care remains limited Shared experiences bring relief, connection, and validation Every menopause journey is unique — and deserves respect Education empowers women, providers, and workplaces Larger cultural conversations are changing fast Safe, stigma-free spaces are essential for women's health and confidence Chapters: 00:00:00 -  Introduction to Angela MacGregor  00:03:00 - The National Menopause Show's Impact 00:09:00 - Challenges Women Face During Menopause 00:15:00 - The Importance of Community and Education 00:21:00  - Advocacy and Support from Healthcare Providers Let's Stay Connected: Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook Group⁠⁠⁠⁠⁠⁠⁠⁠⁠  Got questions or feedback? Drop us a message at lisa@liberatedmenopause.ca Download my Free Guide - How To Reignite Your Purpose Without Feeling Overwhelmed or Guilty!

De line-ups vliegen ons om de oren, dus is het hoog tijd voor een nieuw seizoen van de Festivalpodcast! In de eerste aflevering duiken Jos en Luc het konijnenhol in om hun favoriete acts van de eerste drop van Down The Rabbit Hole te bespreken. Ook bellen we met festivaldirecteur Ide Koffeman om hem alles te vragen over de aankomende editie van het festival in Beuningen. Door je te abonneren op de show via Spotify, Apple Podcasts, KINK.nl of waar jij het liefst naar je podcast luistert weet je precies wanneer we weer terug zijn. Anders kun je ook op de hoogte blijven van ons via het whatsapp-kanaal van Festileaks! Zoals altijd staande ovaties, oneindige karmapunten en spontane confettidouches voor: Mick Hummel voor een schitterend podcastlogo.Wietze Wempe & Malou Gouders voor ons intro-anthem.Nora de Haas, Joris Timmerman en Jos Willemsen als de immer stralende podcastredactie en de montageEn jou, als lieve luisteraar!   Het Festivalpodcast-anthem uit je hoofd leren? Hieronder de lyrics: Werelden vol avontuurvan Main Stage tot aan Dixieland. Muntjes op en vrienden kwijt,maar nog is hier niks irritant.Te vroeg gepiekt, maar geen paniek. Je slaapritme toch al verziekt. Hé een laser, confettiregen, yoga overwegen.Met een grote klodder mayo, op je broodje knakworst. Lauwe halve liter, maakt niet uit heb toch dorst.Luchtbed leeggelopen, Tent weer afgebroken.Al m’n geld verbrast, ‘t is de Festivalpodcast!  

Vom Praktikanten bei iMotion zum Tomorrowland-Mainstage-Act – BENNETTs Reise klingt wie ein modernes Märchen der elektronischen Musik. Sein Megahit „Vois sur ton chemin“ stürmte auf Platz 1 der deutschen Single-Charts, wurde mit 3x Gold, 13x Platin und sogar Diamant in Frankreich ausgezeichnet und sammelte über 800 Millionen Streams weltweit. Doch BENNETTs Weg begann ganz anders: Früher noch im Hip-Hop und Rap unterwegs, fand er über das DJ Morilla und den Zenit Club in Koblenz den Weg zur elektronischen Musik. Nach einem dritten Platz beim Bootshaus Contest 2023 katapultierte ihn sein unverkennbarer Sound in die oberste Liga. Im Gespräch mit Bassgeflüster erzählt BENNETT, wie „Vois sur ton chemin“ entstand, wie der Track sein Leben komplett verändert hat, warum er den Spagat zwischen Underground bei HÖR und Mainstage bei Tomorrowland meistert – und dass er mit Prada 2000 & Part Time Killer skaten wird. Jetzt reinhören – Bassgeflüster, bei SUNSHINE LIVE und überall, wo es Podcasts gibt.

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LOS40 Dance FESTIVAL: Conexión Main Stage. Los sonidos más bailables de la electrónica mainstream. Sábados y domingos, de 20 a 22h, revive los momentos más épicos, y los himnos que más han sonado en los festivales de todo el planeta, con LOS40 Dance FESTIVAL, en LOS40 Dance by Germán Pascual ¡mucho más que un programa de radio!

LOS40 Dance FESTIVAL: Conexión Main Stage. Los sonidos más bailables de la electrónica mainstream. Sábados y domingos, de 20 a 22h, revive los momentos más épicos, y los himnos que más han sonado en los festivales de todo el planeta, con LOS40 Dance FESTIVAL, en LOS40 Dance by Germán Pascual ¡mucho más que un programa de radio!

From transforming Porsche and BMW to rowing across oceans, Kevin Gaskell has led a life packed with achievement. In this episode, he shares how he turned his boardroom experience into a thriving speaking career. Kevin talks about finding his niche, building his team, staying energised, and crafting stories that audiences remember. He also reveals the importance of preparation, humility, and humour in delivering real value to clients. A must-listen for anyone who wants to build a world-class speaking business grounded in authenticity, professionalism, and passion.

In this episode of Poducer, we sit down with Zen Selekta, a DJ and producer whose fusion of spirituality, intention, and raw energy has defined her signature ceremonial bass sound. From Atlanta roots to festival stages, Zen Selekta shares how meditation, breathwork, and self-reflection shape her creative process and keep her grounded on and off stage. She opens up about transforming anxiety into presence, turning music into medicine, and drawing inspiration from thinkers like Joe Dispenza, who teaches the power of embodying what you want before it manifests. We also explore her path through the music industry, building community in Atlanta's bass scene, learning the value of a great agent, and navigating professionalism behind the decks. Zen Zelekta reflects on mentorship, creative faith, and the lessons learned from Pretty Lights' comeback shows, while offering perspective on what it means to thrive as a woman in a male-dominated space. This episode is a reminder that the most powerful artists move both body and spirit.

Get your Disney's Little Mermaid Jr. tickets at https://www.parklandsd.org/departments/arts/ticket-informationNovember 21 - 23, 2025 at Parkland High SchoolShow Times:Friday 11/21 7pmSaturday 11/22 3pm & 7pmSunday 11/23 3pmTicket Prices:$12 Adults$10 Seniors (65+)$10 Students/ChildrenSpringhouse Middle School (SMS) presented A Night Under the Stars, an evening of humorous and heartwarming stories set in the great outdoors.  Orefield Middle School (OMS) performed Shuddersome: Tales of Poe, bringing Poe's most haunting tales to life.  Their shows were held in early November.

Highland Park native, Meghan Malloy, had a brief stint as an apprentice in 1991.  She triumphantly returned in 1996, appearing in Alice in Wonderland. She later appeared in Main Stage productions, Dance Troupe, and One Acts. After graduating from Point Park College, she joined the staff and taught acting in the outreach program. Meghan led Camp Friendship and directed children's theatre shows. She currently works as an actor, an accent and dialect coach, a teaching artist, and a playwright. I hope you enjoy our conversation, so come along and have some fun . . .LINKSWebsite - MeghanMalloyCreates.comYouTube - @meghan.malloy.createsWe all have stories to tell, and they can be heard here. Welcome to Brave and Strong and True, a podcast that engages Summer Stage alumni of all ages. I'm Bob Falkenstein.Our music is composed and performed by Neil McGettigan https://neilmcgettiganandtheeleventhhour.bandcamp.com/releases. Please click on the link to visit Neil's BandCamp website to listen to songs from his album, including cut number 7, “Harry Dietzler.” Please support Neil's work by buying downloads of your favorites.Please follow Brave and Strong and True on Apple Podcasts. While you're there, please rate the show and leave a comment.  If you want to be a guest on Brave and Strong and True, please contact me at braveandstrongandtrue@gmail.com. I can record five guests simultaneously, so reach out to your friends for an online mini-reunion.You must have the latest version of the Google Chrome browser on your desktop or laptop computer. I can now record interviews with guests who have iPads or iPhones. It helps if you have an external microphone and headphones, but Apple earbuds work too; however, Bluetooth ones are not 100% reliable, so see if you can borrow wired ones.Support the showUpper Darby Summer Stage is now part of the non-profit organization known as the Upper Darby Arts and Education Foundation. Justin Heimbecker is the Executive Director of the UDAEF. If you can support Summer Stage financially, please visit udsummerstage.org to find out more. Calling all alumni. You are invited to join the newly forming Upper Darby Summer Stage Alumni Association. Please follow their journey on Facebook and let them know who you are and how you would like to participate by completing their survey. https://docs.google.com/forms/d/e/1FAIpQLSdhsawqmXCP_xvBgaAp-p_Qx7mFdEGSrXGr7tvcBByIbrRolg/viewform?fbclid=IwY2xjawLnHi9leHRuA2FlbQIxMABicmlkETFad2dYVE9vUktCck15c0ZkAR74qth55MAixuxK4-9kkdlZblik6wc0iEVKMfzX80IlXprMdAUQRAyJUn5LxA_aem_mPsQyGx6X5TFyTGxXKVd9A

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LOS40 Dance FESTIVAL: Conexión Main Stage. Los sonidos más bailables de la electrónica mainstream. Sábados y domingos, de 20 a 22h, revive los momentos más épicos, y los himnos que más han sonado en los festivales de todo el planeta, con LOS40 Dance FESTIVAL, en LOS40 Dance by Germán Pascual ¡mucho más que un programa de radio!

LOS40 Dance FESTIVAL: Conexión Main Stage. Los sonidos más bailables de la electrónica mainstream. Sábados y domingos, de 20 a 22h, revive los momentos más épicos, y los himnos que más han sonado en los festivales de todo el planeta, con LOS40 Dance FESTIVAL, en LOS40 Dance by Germán Pascual ¡mucho más que un programa de radio!

Pega provides the leading AI-powered platform for enterprise transformation. The world's most influential organizations trust Pega's technology to reimagine how work gets done by automating workflows, personalizing customer experiences, and modernizing legacy systems. Since 1983, Pega's scalable, flexible architecture has fueled continuous innovation, helping clients accelerate their path to the autonomous enterprise. Learn more at Pega.comWhat if the most valuable use of AI in the enterprise is actually the often overlooked yet incredibly costly work of untangling decades of legacy code and process documents? Agility requires the ability to adapt and evolve, but for many enterprises, that ability is trapped inside decades of legacy systems and byzantine processes. What if the same AI that's creating the new could also be the key to understanding and modernizing the old? Today, we're going to talk about moving beyond the hype we're so used to hearing about AI and into the practical, high-impact world of agentic AI. We'll explore how this approach can help large organizations finally tackle their technical debt, not by ripping and replacing, but by understanding and redesigning from the inside out, fostering a new level of collaboration between business and IT along the way. To help me discuss this topic, I'd like to welcome, Don Schuerman, CTO at Pega. About Don Schuerman As CTO and Vice President of Marketing & Technology Strategy at Pegasystems, I see my role as being a "Chief Translation Officer" – bridging the gap between cutting-edge technology and real-world business value. With 25 years of experience in orchestration and AI technology, I'm passionate about translating complex technical concepts into meaningful solutions that drive digital transformation for global organizations.My approach to technology leadership has been shaped by an unexpected source: 20 years of improv comedy at ImprovBoston's Mainstage. The skills I honed there – active listening, storytelling, and thinking on my feet – now help me connect with both technical teams and business leaders. It's where I also met my wife, proving that sometimes the best partnerships form when you say "yes, and..."At Pega, I lead the intersection of technology and go-to-market strategy across our enterprise AI decisioning and workflow automation platform. My focus is two-fold: translating the power of technology into tangible value for our Fortune 500 clients, while ensuring our technology roadmap reflects the evolving needs of these organizations. I believe that inclusivity is a key ingredient of innovation and am honored to service as Executive Sponsor of the Pride@Pega Employee Resource Group. Don Schuerman on LinkedIn: https://www.linkedin.com/in/donschuerman/ Resources Pega: https://www.pega.com Pega provides the leading AI-powered platform for enterprise transformation. The world's most influential organizations trust Pega's technology to reimagine how work gets done by automating workflows, personalizing customer experiences, and modernizing legacy systems. Since 1983, Pega's scalable, flexible architecture has fueled continuous innovation, helping clients accelerate their path to the autonomous enterprise. Catch the future of e-commerce at eTail Palm Springs, Feb 23-26 in Palm Springs, CA. Go here for more details: https://etailwest.wbresearch.com/ Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstromDon't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.showCheck out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

Every week, Kasa Remixoff his favourite tunes of the Remixoff Mania radio show and puts them into his official Podcast. The freshest tracks and promo releases in the transfer one of the Ukrainian producers of sound KASA REMIXOFF. Excellent taste and care is a radio show Remixoff Mania emotional tracks from various labels (the most unusual music from progressive, techno, electro-tech), the material will not leave indifferent even the most experienced music lover

Pega provides the leading AI-powered platform for enterprise transformation. The world's most influential organizations trust Pega's technology to reimagine how work gets done by automating workflows, personalizing customer experiences, and modernizing legacy systems. Since 1983, Pega's scalable, flexible architecture has fueled continuous innovation, helping clients accelerate their path to the autonomous enterprise. Learn more at Pega.comWhat if the most valuable use of AI in the enterprise is actually the often overlooked yet incredibly costly work of untangling decades of legacy code and process documents? Agility requires the ability to adapt and evolve, but for many enterprises, that ability is trapped inside decades of legacy systems and byzantine processes. What if the same AI that's creating the new could also be the key to understanding and modernizing the old? Today, we're going to talk about moving beyond the hype we're so used to hearing about AI and into the practical, high-impact world of agentic AI. We'll explore how this approach can help large organizations finally tackle their technical debt, not by ripping and replacing, but by understanding and redesigning from the inside out, fostering a new level of collaboration between business and IT along the way. To help me discuss this topic, I'd like to welcome, Don Schuerman, CTO at Pega. About Don Schuerman As CTO and Vice President of Marketing & Technology Strategy at Pegasystems, I see my role as being a "Chief Translation Officer" – bridging the gap between cutting-edge technology and real-world business value. With 25 years of experience in orchestration and AI technology, I'm passionate about translating complex technical concepts into meaningful solutions that drive digital transformation for global organizations.My approach to technology leadership has been shaped by an unexpected source: 20 years of improv comedy at ImprovBoston's Mainstage. The skills I honed there – active listening, storytelling, and thinking on my feet – now help me connect with both technical teams and business leaders. It's where I also met my wife, proving that sometimes the best partnerships form when you say "yes, and..."At Pega, I lead the intersection of technology and go-to-market strategy across our enterprise AI decisioning and workflow automation platform. My focus is two-fold: translating the power of technology into tangible value for our Fortune 500 clients, while ensuring our technology roadmap reflects the evolving needs of these organizations. I believe that inclusivity is a key ingredient of innovation and am honored to service as Executive Sponsor of the Pride@Pega Employee Resource Group. Don Schuerman on LinkedIn: https://www.linkedin.com/in/donschuerman/ Resources Pega: https://www.pega.com Pega provides the leading AI-powered platform for enterprise transformation. The world's most influential organizations trust Pega's technology to reimagine how work gets done by automating workflows, personalizing customer experiences, and modernizing legacy systems. Since 1983, Pega's scalable, flexible architecture has fueled continuous innovation, helping clients accelerate their path to the autonomous enterprise. Catch the future of e-commerce at eTail Palm Springs, Feb 23-26 in Palm Springs, CA. Go here for more details: https://etailwest.wbresearch.com/ Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstromDon't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.showCheck out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

Live Recorded Set from VirtualDJ Radio ClubZone

Deze podcast aflevering is anders dan anders. Geen tafel tussen David en Arjan, maar wél een kolkende zaal vol liefde, kwetsbaarheid, humor en échte vragen over relaties. Samen met 2500 mensen in de Mainstage in Den Bosch doken David en Arjan live de diepte in op liefde en relaties tijdens het Superrelatie Event. Wat als je bindingsangst hebt? Moet liefde eigenlijk voor altijd zijn? Hoe herstel je vertrouwen als iemand is vreemdgegaan? Hoe weet je of de plek naast je vrij is? En... wanneer mag je weer daten als je nog midden in een scheiding zit? Een bijzondere aflevering vol inzichten, live interactie met het publiek en alles wat je gewend bent van ons– maar dan rauwer, eerlijker, spontaner. Deze aflevering staat op Youtube.

Mon, 03 Nov 2025 22:30:00 GMT http://relay.fm/upgrade/588 http://relay.fm/upgrade/588 Dodging the Question Intentionally 588 Jason Snell and Myke Hurley We react to Apple's latest financial results and the promise of grand iPhone sales to come, break down some juicy rumors about new OLED Apple devices, and consider Apple's latest reported AI strategies. We react to Apple's latest financial results and the promise of grand iPhone sales to come, break down some juicy rumors about new OLED Apple devices, and consider Apple's latest reported AI strategies. clean 6694 We react to Apple's latest financial results and the promise of grand iPhone sales to come, break down some juicy rumors about new OLED Apple devices, and consider Apple's latest reported AI strategies. This episode of Upgrade is sponsored by: Squarespace: Save 10% off your first purchase of a website or domain using code UPGRADE. DeleteMe: Get 20% off your plan when you use this link and code UPGRADE20. Fitbod: Get stronger, faster with a fitness plan that fits you. Get 25% off your membership. Udacity: For 40% off your order, head to Udacity.com/UPGRADE and use code UPGRADE Links and Show Notes: Get Upgrade+. More content, no ads. Submit Feedback

Mon, 03 Nov 2025 22:30:00 GMT http://relay.fm/upgrade/588 http://relay.fm/upgrade/588 Jason Snell and Myke Hurley We react to Apple's latest financial results and the promise of grand iPhone sales to come, break down some juicy rumors about new OLED Apple devices, and consider Apple's latest reported AI strategies. We react to Apple's latest financial results and the promise of grand iPhone sales to come, break down some juicy rumors about new OLED Apple devices, and consider Apple's latest reported AI strategies. clean 6694 We react to Apple's latest financial results and the promise of grand iPhone sales to come, break down some juicy rumors about new OLED Apple devices, and consider Apple's latest reported AI strategies. This episode of Upgrade is sponsored by: Squarespace: Save 10% off your first purchase of a website or domain using code UPGRADE. DeleteMe: Get 20% off your plan when you use this link and code UPGRADE20. Fitbod: Get stronger, faster with a fitness plan that fits you. Get 25% off your membership. Udacity: For 40% off your order, head to Udacity.com/UPGRADE and use code UPGRADE Links and Show Notes: Get Upgrade+. More content, no ads. Submit Feedback

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Τα λέμε για τη συμφωνία της Apple με τη Formula 1 (με το κατάλληλο άτομο φυσικά), μαζεύουμε τις φήμες και κάνουμε χάζι αφιέρωμα της Ναυτεμπορικής στο iPod. Επικοινωνία με την εκπομπή: Email | Facebook Group | Twitter Λεωνίδας Μαστέλλος: Facebook | Twitter | Spotify Μάνος Βέζος: The Vez | Facebook | Twitter | Instagram | Apple Music Apple TV Apple Original Films lands “Sponsor,” starring and co-written by Jason Segel Apple And Chernin Developing Adaptation Of Marc Guggenheim Graphic Novel ‘Last Flight Out' With Sam Hargrave In Talks To Direct Apple TV Could Gain Major Warner Bros. Titles via Acquisition - MacRumors F1 Apple is the exclusive new broadcast partner for Formula 1® in the U.S. Apple pays $750 million for US Formula 1 streaming coverage Gaming Apple has been appointed to The Game Awards' Advisory Board The Big Sad Trump Apple Donating to Trump's $350M White House Ballroom Project - MacRumors Ads Apple Reportedly Moving Ahead With Ads in Maps App - MacRumors App Store Apple loses landmark UK lawsuit over app store commissions ATT Apple Warns App Tracking Transparency Could Be Disabled in Europe - MacRumors Apple Threatens to Withdraw App Tracking Transparency in Europe – Pixel Envy Swift Developers Can Now Make Android Apps With Apple's Swift - MacRumors Sky και OpenAI Sky Acquired by OpenAI - MacStories OpenAI Acquires Apple Shortcuts Creators to Bring Deep Mac Integration to ChatGPT - MacRumors Immersive Video Vimeo adds support for VR180 and Apple Immersive Video Φημολογία Apple's Plan to Launch Three New iPhone Designs Allegedly Revealed iPhone Air Apple's iPhone Air Experiment Fails as Supply Chain Cuts Production by 80% - MacRumors iPhone 17e iPhone 17e Could Feature Dynamic Island - MacRumors iPhone 18 iPhone 18 Pro Could Gain DSLR Camera-Style Aperture Control - MacRumors iPhone 18 Said to Use Simpler Camera Control Button Design - MacRumors iPhone 20 iPhone XX? 6 Features Rumored for Apple's 20th Anniversary iPhone - MacRumors Apple's Custom Image Sensor Could Debut in 20th Anniversary iPhone - MacRumors 20th Anniversary iPhone May Replace Mechanical Buttons With Haptics - MacRumors iPad Pro (M6) M6 iPad Pro Likely to Feature Vapor Chamber Cooling - MacRumors iPad mini Apple's 2026 iPad Mini Could Be Water Resistant Like the iPhone - MacRumors OLED Apple Expanding OLED Displays to iPad Mini, iPad Air, and MacBook Models - MacRumors Pro apps Apple Might Release iPad Apps for Pixelmator Pro, MainStage, and More - MacRumors iPod Όταν 1.000 τραγούδια χώρεσαν στην τσέπη μας - Μια επανάσταση σε λευκό κουτί

Diese Folge ist ein emotionaler Ritt – pure Gänsehaut, Baby! Ich nehme dich mit hinter die Kulissen einer der krassesten Wendepunkte meines Lebens: Wie ich vom verletzten Ego, das sich geschworen hatte „niemals Greator!“, zur größten Bühne Deutschlands gekommen bin – 15.000 Menschen in der Lanxess Arena.  Yes, it's happening!

LOS40 Dance FESTIVAL: Conexión Main Stage. Los sonidos más bailables de la electrónica mainstream. Sábados y domingos, de 20 a 22h, revive los momentos más épicos, y los himnos que más han sonado en los festivales de todo el planeta, con LOS40 Dance FESTIVAL, en LOS40 Dance by Germán Pascual ¡mucho más que un programa de radio!

LOS40 Dance FESTIVAL: Conexión Main Stage. Los sonidos más bailables de la electrónica mainstream. Sábados y domingos, de 20 a 22h, revive los momentos más épicos, y los himnos que más han sonado en los festivales de todo el planeta, con LOS40 Dance FESTIVAL, en LOS40 Dance by Germán Pascual ¡mucho más que un programa de radio!

Hello Everybody This week, Ed talks about reviewing MCM London in October 2025 by discussing The Good, The Bad and The Ugly of the event. We chat about the move of the Cosplay Central area and the Main Stage to another part of the venue, the crowd levels, the celebrities' lineup and comments from the If you would like to add your comments to the discussion, you can do so via the links below. https://www.instagram.com/reel/DQT-3NuDB8j/ https://vm.tiktok.com/ZNdcoEuYd/ Feat: arcadiabailey Instagram // BSky // Tiktok & tasogarecos Instagram // BSky // Tiktok Music credit – Hotshot, produced by Scott Holmes Artwork by khemmings94 To support my podcast, please visit our Patreon page Food And Cosplay Links Website // BSky // Instagram // Threads // Facebook // Twitter

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Live Recorded Set from VirtualDJ Radio ClubZone

This is an audio playback of our YouTube VOD of the panel of the same name. Feel free to watch that on YouTube or enjoy a second look at this amazing panel!A 'Rare' opportunity was bestowed upon the CGC stage this year! Come watch the epic moment where the creators of some of your favorite games (Donkey Kong Country, Battletoads, Goldeneye and more) take the stage to field the CGC community questions. Truly a moment worthy of collecting some bananas and jiggies!A sincere thanks to our special guests: Steven Mayles, Kevin Bayliss and Grant Kirkhope.___________________Come be a nerd with us at the Cleveland Gaming Classic 2026, September 11th - 13th at the Huntington Convention Center in Cleveland, OH. _____________________Learn more about the show and check out all our socials at https://linktr.ee/gamecleveland__________________#videogames #videogamesretro #cleveland #nintendo #sega #playstation #xbox #halo #nbajam #nflblitz #cgc2025 Hosted on Acast. See acast.com/privacy for more information.

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We head back to the roasting hot summer of 2025 and London Film and Comic Con at Olympia, where the Main Stage saw Mark Newbold sit down with guest Jerryl Prescott - the Nightsister Great Mother Aktropaw from seasons 1 and 2 of Ahsoka - where they discussed the show and Jerryl's wider life and career in front of a live audience on this special episode of Making Tracks. Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook, YouTube, X, Instagram and Twitch and check out our Fantha Tracks Radio Friday Night Rotation every Friday at 7.00pm UK for new episodes of The Fantha From Down Under, Planet Leia, Desert Planet Discs, Start Your Engines, Collecting Tracks, Canon Fodder and special episodes of Making Tracks, and every Tuesday at 7.00pm UK time for your weekly episode of Making Tracks. Thanks to James Semple for the Fantha Tracks intro, Blues Harvest for our Making Tracks opening music and Mark Daniel and Vanessa Marshall for our voiceovers. Subscribe and tune in to all of our shows at https://radio.fanthatracks.com And of course for all your Lucasfilm and Star Wars news 24/7, 365 days a year head on over to https://www.fanthatracks.com You can contact our shows and send in your listeners questions by emailing radio@fanthatracks.com or by leaving a comment on our social media feeds: https://www.instagram.com/fanthatracks https://www.facebook.com/FanthaTracks https://www.x.com/FanthaTracks https://www.threads.net/@FanthaTracks https://www.reddit.com/r/fanthatracks/ https://mastodon.social/@fanthatracks https://bsky.app/profile/fanthatracks.com https://www.pinterest.co.uk/fanthatracks/ https://fanthatracks.tumblr.com/ And be sure to check out our live streams and video content at: https://www.youtube.com/@FanthaTracksTV/ https://www.tiktok.com/@fanthatracks https://www.twitch.com/fanthatrackstv All of our links can be found at https://links.fanthatracks.com/

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Even the most seasoned songwriters hit creative walls and Scottish singer-songwriter Findlay Napier knows that feeling all too well. In this candid and funny conversation, Findlay opens up about how perfectionism once stalled his songwriting and how leaning into play, co-writing, and community helped him rediscover the joy of creating.We talk about everything from songwriting retreats and the power of consistency to goats, spreadsheets, and writing songs that make you laugh just for the sake of it. Findlay shares how joining I Heart Songwriting Club shifted his process and even led to one of the standout tracks on his latest album Outsider The Greatest of All Time.About Findlay: From the Main Stage of Cambridge Folk Festival with folk rock supergroup The Magpie Arc to an intimate acoustic show in the back room of a pub. Findlay Napier is widely regarded as one of the finest performers on the UK music scene. This fact was further highlighted when Napier was the first solo act ever to be nominated for Live Act of the Year at the Scot's Trad Music awards in 2018. Tirelessly creative he has been touring and releasing music since the early naughties. First with groundbreaking trad folk band Back of the Moon, then with Nu-Folk pioneers Findlay Napier and the Bar Room Mountaineers and most recently as a solo act working under the guidance of legendary songwriter Boo Hewerdine.Contact Findlay: Website / Facebook / InstagramSong Credit: “The Greatest Of All Time" - Written by Findlay Napier. Performed by Findlay Napier. Listen to Findlay's PlaylistFind out more and contact us at I Heart Songwriting Club & Francesca de Valence.Ready to deep dive into songwriting? Join our 10-week online intensive course to write 10 new songs with lessons, personalised mentorship and practical tools to refine your craft. Learn more at iheartsongwritingclub.com/songwritingcourses.Get your creativity, confidence, and songwriting output flowing. Join The Club and receive the support and structure to write 10 songs in 10 weeks and get feedback from a private peer community. Just getting started on your songwriting journey and need more hands-on support? Establish a firm foundation and develop your musical and lyric skills with our Beginner Songwriting Courses. Don't struggle to write your next album - write an album a year with ease! Watch our Free Songwriting Masterclass. Get songwriting insights from I Heart Songwriting Club: Instagram / Facebook / YouTubeBe inspired by Francesca on socials: YouTube / Facebook / InstagramTheme song: “Put One Foot In Front Of The Other One” music and lyrics by Francesca de Valence If you love this episode, please subscribe, leave a review and tell everyone you know about The Magic of Songwriting.

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WANT TO JOIN US FOR BOSS OCTOBER? Email me at hello@proorganizerstudio.com   In this episode, Melissa shares the second part of her mainstage presentation at the How To Summit in Dallas.   She discusses seven key insights for professional organizers, emphasizing a solid digital foundation over social media vanity metrics and the importance of community support. Melissa also highlights the value of understanding ADHD and neurodivergence to better assist clients and grow your business.    Additionally, she provides details about the upcoming changes to the Inspired Organizer program and invites listeners to join. Throughout the episode, Melissa encourages organizers to focus on sustainable business practices, value their email and customer lists, and find joy in their work.   00:00 Introduction and Podcast Update 00:31 Inspired Organizer Program Details 01:27 Starting the Main Presentation 02:14 The Importance of Clients and Digital Foundation 02:37 Social Media Realities for Organizers 06:14 Ownership of Your Business Assets 10:14 The Pitfalls of Comparison 14:18 Understanding ADHD and Neurodivergence 19:07 The Value of Community and Support 23:15 Conclusion and Final Thoughts

If you weren't able to be there--or even if you were and want a refresher--here is the presentation I gave at the How To Summit Last week.  You can follow along on slides and see what I presented by going to proorganizerstudio.com/links  If you want more information on Boss October--check it here: CLICK ___________________________________________________________________ In this episode of the Pro Organizer Studio podcast, Melissa returns from hiatus and dives deep into the key learnings from her experience and 233 podcast episodes. She discusses her undiagnosed ADHD, her journey in organizing, and her main stage presentation at the How To Summit.   Melissa shares the first three of seven lessons she's learned, including choosing the right business structure, overcoming perfectionism, and the importance of setting a solid digital foundation. She also introduces 'Boss October,' a concept aimed at helping organizers reset and improve their businesses before the new year.   00:00 Welcome Back: Melissa's Return and Podcast Overview 00:31 Diving into the Main Stage Presentation 01:24 Accessing the Presentation Slides 03:21 The Seven Things 233 Podcast Episodes Taught Me 06:05 Organizing Changed My Life 12:04 The Importance of Setting Your Own Business Goals 16:29 Perfectionism is Ruining Your Business 23:18 Setting Your Digital Foundation 28:39 Introducing Boss October 29:51 Recap and Conclusion  

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Want to get selected to speak at your next multifamily conference?Then you'll want to meet Lia Nichole Smith—a creative force of nature and the mastermind behind MainStage Creative, now officially partnered with the MMN. In this special announcement, Mike Brewer and Lia unveil the powerful new collaboration set to revolutionize how multifamily suppliers, speakers, and associations craft their message and command the stage.MainStage Creative isn't just another service—it's a movement built on pitch, prep, and present. From writing winning proposals (RFPs) to designing sleek, on-brand decks to offering top-tier public speaking coaching—Lia and her team are turning speakers into storytellers, and sessions into standing ovations.

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Live Recorded Set from VirtualDJ Radio ClubZone

What really happens behind the scenes of the professional speaking world—and why do so many aspiring speakers hit a wall before ever seeing the spotlight?In this episode of Thrive Loud, host Lou Diamond welcomes back speaker coach and manager Li Hayes to unveil the truth behind building a thriving speaker business and getting to the coveted main stage.Li Hayes pulls back the curtain on the realities of the speaking industry: from why “just getting gigs” is a myth, to the gritty work and knowledge required to succeed, and the kinds of speakers the industry actually needs. She reveals the origin story of her game-changing “Path to the Main Stage” podcast, a platform created to democratize inside knowledge for emerging and established speakers alike—no gatekeeping, no half-answers.Li and Lou dive into:The real difference between agents and managers—and why most emerging speakers are asking the wrong questionWhy the best professional advice often comes from co-host conversations, not just interviewsThe newest trend in speaking: why audiences now demand more contextual interaction and engagement from the stageHow top speakers, bureau agents, social media experts, and even Olympians are sharing their insider secrets on Li's podcastThe personal “gift” Li receives from contributing to the growth of others—and the evergreen value of truly generous contentIf you're a speaker striving for the main stage or just want to know how the best in the business keep leveling up, this episode packs both strategy and inspiration.Episode Overview by Timestamp:[00:00:02] — Lou introduces Li Hayes and sets up the main question: "How do you actually build a career as a speaker?"[00:01:27] — Li's origins in speaker management and why knowledge-sharing is crucial for emerging speakers[00:03:45] — Unique podcast format: Co-hosts, not just guests, and sharing generous, specific knowledge[00:06:39] — The 80/20 surprises: What Li is learning from her all-star roster of co-hosts[00:09:07] — The “gift” of creating content that makes a difference (and the power of truly giving value)[00:13:06] — Why every speaker's path is different: multiple expert perspectives, repeated topics, and myth-busting industry advice[00:14:34] — NEW trends in speaking: Demand for audience interaction and real engagement[00:16:42] — How to connect with Li (goleeward.com, email, how she works as a manager not an agent)[00:18:28] — The story behind “Go Leeward” and its meaning for career navigation[00:19:01] — Fun Street: Podcasting, horseback riding, and the surprising value of trying new things[00:20:32] — Shocking wildlife story: Two bald eagles battle it out on Li's front lawn![00:21:49] — Closing: Building evergreen resources, staying generous, and the call to keep moving onward and upwardDon't miss this episode if you want practical wisdom and real talk from industry insiders who walk the walk.

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Transcripts and some chapter headings are AI Generated. They are not authoritative. Always refer to the actual content of the podcast. Please support Tommy's work: Urban Scoop SupportTiming approximate only: stream for the Main StagePlease support Tommy's work: Urban Scoop SupportThis is the complete audio from the main stage stream of the Unite The Kingdom festival on September 13th, 2025.

#314: Geoffrey Huck joins Darin and Viktor to discuss the ins and outs of building a speaking career, starting from small meetups and leading up to major conferences. He shares his personal experiences, tips on overcoming fear of public speaking, and the importance of community engagement in the developer industry. Geoffrey emphasizes the need to keep slides minimal and engaging, and highlights the benefits of starting with small presentations to gradually build confidence. He also explores techniques for initiating conversations, handling stage fright, and continuously improving speaking skills. Whether you're an introvert or an extrovert, this episode provides actionable advice for anyone looking to enhance their public speaking abilities.   Geoffrey's contact information: LinkedIn: https://www.linkedin.com/in/geoffrey-huck/   YouTube channel: https://youtube.com/devopsparadox   Review the podcast on Apple Podcasts: https://www.devopsparadox.com/review-podcast/   Slack: https://www.devopsparadox.com/slack/   Connect with us at: https://www.devopsparadox.com/contact/